| Dynamix pres. Inda Matrix - Bodyfly :: Press and Reviews
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FLY Life INDA MATRIX Continues her mission of dancefloor domination with “BODYFLY” the latest single from powerhouse producers DYNAMIX.
Truthfully I was a bit nervous before meeting Inda Matrix. After seeing her perform several times over the past year dragging some poor muscleboy or other across the stage while belting out her s&m inspired Kult Records club hit “Love dominates” [No Man Can Tame me] it wouldn’t have surprised me in the least if the same leather loving dominatrix kicked the door down and tied me to the wall before we even got talking. Happyly Inda Matrix is just a character, and one whose biting ferocity is confined solely to clubland performances of the aforementioned “Love Dominates” and her new single ‘Bodyfly”. I’ve always liked being different people onstage and offstage. I am so not this dominatrix commando! Inda (Whose real name is Zhana) giggles- As I take a relieved breath. “But I understand [ The lifestyle ]. Its something that just gives so much life to to life sometimes. Those foreboding woman who slap you down, you know?”. Unlike other dance music divas or remix artists, Inda Matrix was a child of the underground long before her performance days. “When Limelight and Roxy and Sound Factory were some of the hottest joints. Back in my day, you had people turning it out all over the dancefloor. Back then, everything was about being colorful. It’s a different crowed now. On a mission to bring back some fabulous extravagance to the scene, the singer is prepared to hit the road with “Bodyfly”.
The single’s roots go back an astonishing 5 years. A product of the creative collective of Dynamix (Songwriter Beppe Savoni and Sound designer Eddie Cumana), whose smash hits have included Tina Ann’s “Don’t Want Another Man” and Nina Eve “Never Get Me”, “Bodyfly” was originally a slick demo that became a Twilo anthem without ever being completed or released. It wasn’t until Savoni and Cumana hooked up with Inda Matrix that the pair decided to breathe new life into the the track. “We realized that we had an Artist that could match the original performance. She nailed it in two hours, and the mix came together in one week. “Eddie says of Inda Matrix. Whose guttural drops and pearcing belt were a perfect match for ‘Bodyfly”’s big room sound. The finished version possesses both the unmistakable hard-noised synth line that has become a Dynamix trademark and fresh aural nuances-most emphatically earth on the song’s zooming electric guitar riffs. Eddie and I are big fans of music played with real instruments” savoni Says. “It gives the track a completately different feel, something that you cannot reproduce with a synthesizer.” “We always try not to repeat ourselves”. Savoni continues. But try as the may have, it looks like Inda Matrix and Dynamix are about to do just that-by scoring yet another hit.
Gregory T D’Angelo HX Magazine
INTERVIEW with EDDIE CUMANA of DYNAMIX [ Dancemusic weekly ]
Dynamix, the inhouse production/remixer team of Kult Records, continues their string of clubland hits with “Bodyfly” which is a current favorite of Junior Vasquez. Following “No Man Can Tame Me,” “Never Get Me,” and “Don’t Want Another Man,” with remixes of Toni Braxton and Tamia, the team of Eddie Cumana and Beppe Savoni are currently working on an album project.
Eddie took a break from the studio to speak with About.com
DJ Ron Slomowicz: So is Dynamix a group? a remixer? a singer?
Eddie Cumana: Dynamix is a multi - artist group orchestrated by KULT Records and based on the label's sensibility. (I am both part of the production house Dynamix and I work for KULT Records, to which I am signed exclusively). KULT commissions various songwriters to write demos (but as a rule Beppe is the official songwriter for Dynamix presents since he has already written 10 projects, both released and unreleased). The label chooses among the songs and then gives its approval for production to me to execute with an appropriate vocal artist. KULT hires multiple vocalists to present and showcase under the comprised name Dynamix, to explore the different angles linking them under our production house. Dynamix is in fact the name behind the concept of opposite talents complementing each other. The label's vision is that with my sounds and technical skills and dancefloor knowledge I needed to pair up with a viable musically trained counterpart with a mainstream sensibility to lead the songwriting and hooks department for collaborations and multi-artist development.
RS: How did you all meet up? How did the group come about?
EC: Kult Records individually picked and hired all of the players separately and paired us up to work together under the Label's direct commissioning so we all met via the label. Coming off from the now failing one-offs market, the label was set on "not "investing on the same projects as the rest of the indie dance labels and wanted to have exclusive A&R control. It wanted to avoid investing in "Label whores" and instead build our own sound by creating an exclusive inhouse team that would target the mainstream and the artist development market. We came to the conclusion in late 1998 that the underground vinyl release game was not worth the stick in our positions since the hard core networking needed was massive and yielded less returns each year as the market was getting flooded. In 1999 KULT decided that things had to change and that we had to consider new market approaches because the vinyl-compilations-one-offs underground market was collapsing and in what we now call "desperation" started to want to try a new model of business just to get away from a sinking business model. KULT decided that we where going to develop our own production house and target the crossover market and proceed to find and hire the talent needed for each. Beppe was introduced to the label by a friend of his (Enea Burattoni) at the same time another producer songwriter Jeremy Skaller was recruited to write the first project. Beppe was very fond of KULT Records and just came up to meet us hoping to collaborate with the label and we clicked. He had with him demos of "Bodyfly" and "Elements" by Yasmin already cut, so KULT scooped him and the songs up on board and signed him. When we lost the original singer for our first project, Beppe Savoni found Tina Ann and introduced her to "Don't Want Another Man." That's how the first Dynamix project was articulated into place .
RS: So does a little bit of Italian help with the music?
EC: Beppe is a classically trained producer with many credits to his name in Europe. He knows his keys and sings his initial demos like Celine Dion (gag) and that always helps. We compliment each other 's talents well. Sometimes his Italian side is expressed via his cooking for us. Also I am happy he's got that Italian side since he's in Italy now and its his trademark to bring us back some Taralli (Olive oil based loops of bread sticks) and Citterino (Italian salamino) from his native town of Bari. A little bit of Italian in my music partner indeed goes a long way, bring it.
RS: Do you prefer DJing or producing?
EC: Could not choose. I love to execute both the same especially because I play one way when I DJ but I produce many styles.
RS: There are several singers who have worked with Dynamix - Nina Eve, Tina Ann, Inda Matrix - do you choose the singer for a song you have written or vice versa?
EC: Our first singer, Adrianne was hired by KULT Records and then sent to the studio. The follow up, "Never Get Me" was written for Adrienne after she co-wrote the first song "Don't Want Another Man". So first we started from the artist and then came the two songs written with and for her voice . On behalf of a sudden but happy pregnancy, the singer decided to put her career on hold to be a full time mom. That's when Tina Ann and Nina Eve where hired to re-record the two songs which were left for release. Tina Ann had to cover the performance of the original singer of "Don't Want Another Man" faithfully due to the fact that the record was already out and available and becoming a big success. Nina Eve recut her new take of the first singers of "Never Get Me" and sung it in a higher key with new lyrics where that added for the release. With Inda Matrix it was almost like Nina Eve in that we had the demo and then got the singer, but this time we were looking for more than a voice, we wanted a larger than life club persona and she definitely has that stage presence. She took our demo of "Love Dominates" and rocked it on her own terms, adding a lot of her own vocals and taking it much further than our original writing just by her ad libs on the spot.. Her forthcoming single "Bodyfly" also was renewed by her original sensibility. She came in the studio and nailed it in 2 hours.
RS: What other vocalists have you worked with for Dynamix?
EC: We are putting together an album and we just cut a demo with Deborah Cooper entitled "How Deep" and have a project with Janice Robinson entitled "Everyday Faith" with both demos written by George Lyter (who wrote for Donna Summer and CeCe Penston) and Yasmin Rashid who is a traditional Indian singer that Beppe had found before he met up with the label. We have been moving very slow under Dynamix since we both have other things to do. My partner in crime Beppe, this past winter and spring was in his last year of college and he did not have anytime for anything but to study for his finals. I recut the vocals of Bodyfly with Inda Matrix without him just to get a head and get a demo from Inda Matrix once we decided to have her record the song, but it turned out a good session. And so I did my own mix while he was studying in which I used Beppe's voice (The vocal chord saying "fly fly bodyfly") and some of his keys from a session from a previous unreleased dub mix of the original "Bodyfly". I am now waiting for Beppe to come back from Italy after his graduation and vacation to do the Dynamix NYC mix together for the commercial release.
RS: Tell us the story of Bodyfly - how did the sought after classic become the current buzz record of clubland?
EC: The fact that we never released it and never became available made this record kind of a big item... plus Beppe wrote a great record! Bodyfly was a big unreleased hit at Twilo and strangely enough, it was inspired by the hardcore Junior fans on the dancefloor of Juniorverse. Bodyfly was one of the demos that Lilla picked up from Beppe that he had already cut with a singer called MB before he met with us in 1999. Beppe said that right after moving from Italy to NYC, he went one Saturday to hear Junior Vasquez at Twilo and he remembers standing in the middle of the floor and feeling people's "Need for More" and the "addiction to it." So he left the club and took a train later that morning and went to the beach and set on the shoreline at Coney Island and wrote the song as if he was the voice for Junior's floor and opened his communication with the God of "GIMME ME MORE". We loved the song and went working on it and made a Dynamix original mix and then we gave it to Junior. It just blew up with reactions. Maybe it did resonate with Junior's crowd because in a sense, they fathered it. But at the time we felt that the vocals needed backgrounds and that the song was lacking some polishing and no one could do this background but MB herself as her voice really is unique and would not sit with an alien backing. And since "Never Get Me" was hitting hard at Twilo during the same period we decided to sit on "Bodyfly" to get better vocals... but MB was touring all year and we just waited for her come back to town and she never did, or at least we never hooked up.. Despite this Junior loved it so much he wanted to do a mix anyway for his usage and by then he had moved to Exit and Junior blew up his remix. All the while we planned to re cut the vocal and never hooked up with MB. She almost performed at Earth but we did not make it happen 2 times because of scheduling complications until we just sidetracked from this project as there was so much else happening with our other projects on the market that we dove into that and simply forgot about it for a while..... Then one day a few years later the smart idea came to KULT to play it for Inda Matrix as a possible follow up to "Love Dominates" and she gave her thumbs up to re-cut it. She came to the studio and we did the first vocal try but she nailed it right away so I got inspired and did this mix while I was waiting for Beppe to finish his exams. I played it for Beppe and he feels it.
RS: The record has a real rock feel to it - with guitars. Are you ever concerned that adding nontraditional elements to dance records might affect their success?
EC: Paradoxically, one's problem and one's solutions are always in the same place. I actually feel that the guitar riff gives it a mainstream edge. I feel that traditions cause stagnation and I am looking to affect the song's success by using nontraditional elements. The great song Beppe wrote and Inda Matrix's awesome vocals really lead my programming and rule over my mix. My mix could not do any of this without those ingredients! I come from the underground where you are requested to allow yourself to contribute your vision and your level of evolution as that is the contribution asked of you. The guitar was also a happy accident and not as studied as one my think. A friend came by with his 16 year old teenage son (From the rock group Invidia) and I had finished the song and felt it needed something so we hired him for a session on the spot , he left and came back with his guitar and plugged it in my studio and he freestyled over the piece. I then cut little parts of it and composed the backing and flew snippets here and there. KULT liked it and so we sent it out like that for advance pre-buzz.
RS: Junior Vasquez seems to have championed the record. How is he helping with the record?
EC: As I said, the original Bodyfly was an advance play copy with Junior at Juniorverse and it blew up in NYC thanks to Junior's play alone. On top of it, the Inda Matrix new guitar mix version has renewed Junior's support and its been a staple in his mixshow on KTU which gave the song an amazing overnight exposure and renewed hype. I can say his support has been priceless especially on this record which he has been playing in every form so far and remixing and supporting for about 2 years. Junior also has booked Inda Matrix to debut at JV B-day party this up and coming August 24th at the Roxy...and also will also contribute a new Junior Vasquez remix for the new vocals by Inda Matrix . Since he's also behind the launching of Nina Eve "Never Get Me" at his 2001 Gay Pride Event at Roxy as well the launching of Inda Matrix's first single "No Man Can Tame Me" at the Black out party 2002 (Black Party Weekend) we know what to expect when he turns his spotlight on us. So I'd say, Junior's support has been a catalyst for our artist's success!
RS: Dynamix is also a remix team. How did the Toni Braxton remix come about?
EC: Anthony S. Filippo hooked that up. He was commissioned to a&r the remixes of "Maybe" by Arista Records and so it happened that he was at the label (KULT) for another matter entirely. After the ongoing business between Anthony S. Filippo and KULT was settled, KULT proceeded playing him Dynamix's forthcoming releases and he liked what he heard and said he would want to solicit us for a remix of Toni Braxton and he had the CD album and played the original vocal for me and Beppe. Arista agreed with his suggestion and hired us.... A big shout out to Anthony S. Filippo .
RS: What is your favorite piece of gear?
EC: Anything Urei and anything Tube Tech and API
RS: Is there an artist you would like to work with - a dream artist?
EC: As far as vocalists, David Bowe and Donna Summer and as far as a producer, Giorgio Moroder .
RS: Eddie - you must be a busy man - because you are also remixing with Keith Haarmeyer (under the name of Sweet Voodoo). How do Sweet Voodoo mixes differ from Dynamix projects?
EC: Both Beppe Savoni and Keith Haarmeyer have a distinct musical edge and are songwriters, keyboardist and producers on their own right and when I work together with one or the other we get different results from the merge of their music end with my programming and beats. Also with Beppe, he does most of the initial songwriting then once approved by the label we usually get together and develop, record and compile the a cappella at the label. Then I counter helm the production end of the single . Sometime Beppe just sends me the keyboards via e-mail or he comes by and we works with me hands on. We did try it so many ways, its whatever happens. With Keith since we do not develop artists, we produce remixes together taking turns at the helm. As rule of thumb we share the same dynamics in complimenting each other skills (keys/beats).
RS: How did Sweet Voodoo come about?
EC: Billy Sullivan, had the vision of calling both of us as he had a personal relation with both and sold us to the idea of a potential massive combustion among us two. He was aware of the idea behind Dynamix and knew mine and Keith's background and saw a synergy with Keith under the same premise of Dynamix and of opposite and complementing expertises. On the other hand Carmen Cacciatore was pulled into the vision by Keith Haarmeyer and proceeded to represent Voodoo as a remix team and he is totally responsible for commissioning to us all the projects for Sweet Voodoo.
RS: I heard that Cyndi Lauper really took a liking to the Sweet Voodoo mix of "Shine"?
EC: Once she heard it... she requested The Voodoo mix to perform live. She had someone contact our label and Carmen Cacciatore is making it happen... I am glad she liked our mix enough to request the tv track, I hope she'll remember us for her new album!
RS: What would you want people to know about you?
EC: I come from clubbing to Keoki at Disco 2000, and followed Tenaglia since Agua Boogie. I have been following Digweed and Carl Cox as well as David Mancuso, Knuckles,Tony Humphries, Louie Vega, and Doc Martin for years. Those DJs and countelss others underground DJs are my Clubbing roots and I still produce underground house under various monikers and just because I have been producting full vocals with Dynamix and Sweet Voodoo I am not a commercial DJ. I haven't lost my vibe and creativity and I still feel the need to express myself outside the box. I found that people want you to belong to a category or another and cannot be both an underground DJ and a crossover Act. I love to do a lot of different music style and I do not want anyone to penalize me for my commercial success and label me to be a Circuit sensation as there is way more to me and to the music - totality I represent and support.
DJ Ron Slomowicz - Dancemusic weekly about.com dance music editor
Interview with INDA MATRIX of DYNAMIX About.com
DJ Ron Slomowicz: You have long lasting relations with many top artists such as your relationship with Taylor Dayne , how long have you been in the game?
Inda Matrix: I have actually been in the game since the late eighties early nineties. But I have been dancing and doing theater since I But I have been dancing and doing theater since I was very young. The music end of the game came into fruition in the late eighties...I think what most people want to know is when did you actually get paid to do what you do...many artists have been doing what they do forever but arent considered true artists until they get paid to do what they do. And by getting paid I am assuming it means sort of major money? ...my first major singing gig was with Al-B-Sure. That was my first major tour that I was on along with New Edition and Bobby Brown that was the year Bobby Brown blew up. and then others followed from there.
RS: You achieved success as Zhana and then changed your name to Inda Matrix? What was the motivation?
INDA: Actually, I was signed to Groovalicious/Strictly at the time as Zhana. They put me out on loan to work with another producer Eddie& Beppe of Kult, since my next project with them was...still getting underway. Upon listening to the song they (KULT) wanted me to sing, it was on a sharp curve to the left from the mainstream dance cuts I was doing at strictly. The name change was an attempt to step outside of my image as Zhana. Kinda like how Garth Brooks became Chris Gaines singing different material.
RS: Are you seeking more underground than commercial success?
INDA: Yes, I prefer more underground success as I have become older. There is not such a push to fit into the little boxes that have become mainstream. This era is not an artist market if you are in mainstream markets. This is the age of pop stars, instant success, and out the box hits, and perpetual youthful looking artists. This is not the era for a true artist to shine in the mainstream. Those that are older and who shine today, came into the business when music...quality music, as well as showmanship, Artistry, was at an all time high. The underground notoriety allows one to keep a sense of intregity and creative art about themselves...you get to keep your anonymity and yet prosper in the same ways as mainstream artist....just not at such a grand and overt financial scale. You dont have a ton of indians telling what you can and cannot do how you should look what you should sing etc.I happen to like being able to walk down the street go into a store and no one know who or what I do. (not to mention find every little move you make headline news) .
RS: Your stage shows are insane - how have you developed them?
INDA: I come from the old school. I watch alot of old movies. ...And..musicals where shows were thought out and had a theme, rhyme or reason to them. I like to incorporate my theatrical background and expertise in developing a concept for my shows. People like to be entertained when they watch an artist. To set myself apart from the Diva that just stands there and sings or the Diva that just dances and lip sings....I try to give them both. A singing, dancing, visually moving show with a theme or story. I know what I like to watch and what enchants me so I like to give others that sense of enchantment too, when they are watching me.
RS: What was the reaction to your show in Stereo Montreal?
INDA: The reaction to the Stereo show in Canada was one of shock and awe...I guess they had never seen anything quite like it... It was not, at the time.... for me, one of my better shows. This was one of my first shows and so much was going on at that time, I was so nervous and hadn’t quite put all the props and things in order to perfect it, but they loved it With each show that I do...my work grows with each new performance.
RS: Are you excited to debut with Junior again at his b-day?
INDA: Oh yeah it's gonna be a blast...and expect to be surprised yet again....reinvention is always a hobby of mine...so get ready.!!!