Bristol’s fun-loving house producer, Daniel Pearce, tells us about the tracks that shaped him.
Eats Everything took a break from his 12-week residency at London club XOYO, where he’s sharing the decks with Skream, Heidi, and Totally Enormous Extinct Dinosaurs until March 29, to join the panel on the recent RBMA Sessions: Road to Tokyo tour.
The Bristol dance-music magpie, who draws from the best of techno, UK bass and more to craft his own distinctive sound, is a sought-after talent these days. He’s put together three Essential Mixes for Radio 1 and in 2012 won DJ Mag’s Best British DJ gong.
Before things get even more hectic for Daniel in 2014, we asked him about the tracks that mean something to him.
There are many examples, but one that stands out right before I started is the Plump DJs’ remix of Bumper by Elektronauts. It was on the A Plump Night Out album that came out in 2000. It was a sublime album from a genre that I wasn’t really into but when I heard that track I was blown away by the originality, the depth, the way in which the track grew. You really have to listen to it from start to finish to get just how good it is, which I’ve done on many, many occasions. The elements that make up the track are ingenious and the way it grows is masterful. I got the bug from that record.
I don’t really remember, but my friend Hannah’s first romantic fumble with her boyfriend at the time was to Bon Jovi’s Bed Of Roses which has always made me laugh. What sort of dude do you have to be to choose Bed Of Roses as the theme tune to the loss of your virginity? Very suave, I would imagine.
It has to be Working Day And Night, by Michael Jackson. You can wow the tens of onlookers with crotch grabs, flick-kicks and ‘u-cha-ooohs’ galore. It sends them into a frenzy, mark my words. It’s not a major Jackson hit either, so you can really go to town and make it your own.
This one’s easy. The Horrorist’s One Night In NYC. A proper techno record with a mildly disturbing monologue running throughout. Not one for fans of day-time Radio 2, that’s for sure. I actually played this record on a weekly student radio show I did back in 1999 or 2000 and promptly got sacked. It was fun while it lasted, though.
Paul Simon’s Graceland. It's my favourite song of all time and it’s an absolute masterpiece of songwriting. The lyrics are really well thought out and mean something, and the music is out-of-this-world good. I was never a major Paul Simon fan, but this record is just perfect. The main guitar hook is second to none.