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Tom Hades talks about his new Gate Null Remix and artist career

Belgian techno producer Tom Hades has been at the top of his game for considerable time now, releasing across numerous labels and successfully building and running the influential label Rhythm Convert imprint alongside longtime friend Marco Bailey. Tom’s most recent production finds him back under the Gate Null Recordings umbrella, this time round remixing Claudia Cazacu’s monstrous ‘Infinity’.

We caught up with Tom following the release of his impressive rework to find out more about how he’s been spending his time, Rhythm Convert and what went into this remix.

Electronic Groove: Hi Tom, what has been keeping you busy today?

Tom Hades: Well, as my usual daytime occupation, being busy with my company on software development and figuring out what will be the best way to get new businesses. Next to that, always with music in my head. Happy to be in the studio by evening and night!

EG: For those who don’t know, what is your background in electronic music? Where did it all begin and was it always based around a techno influence?

TH: I started back in the year 1988-89’ when I went out on new wave parties. I fell in love with the electronic part of music and how sequences can almost hypnotize people and bring them on a journey into soundscapes. That was for me the start of a long journey in exploring new styles, which eventually led me towards techno; and since day one that felt like the thing that appealed me most.

EG: Nowadays, where do you feel most of your time is spent, in the studio or out behind the controls in the club?

I guess at the moment I’m a bit more in the studio because I decided to do less touring and more focusing on rebuilding my studio where I bought a lot of outboard gear. 

EG: Your label Rhythm Convert has been going for a number of years now, how do you feel running a label has changed you, as both a person and artist?

TH: It has made me more of an adult artist, because it gives you more responsibility towards other artists, and in many cases they start to see you as a kind of “parent” which helps them out to develop in different ways, especially since I decided to release a lot of unknown artists to give them a platform to release their music out.

EG: Looking back at the Rhythm Convert back catalogue, is there one release that really stands out above the rest and why?

TH: For me the most important is the first one “Rigoria” back in 2004. Even if it didn’t jump out towards some other releases on the imprint, it made me so proud to have my own label and get vinyl’s out and supported by many different artists! But the best one on the label until now must have been the Joey Beltram remix, followed by Egbert’s take on Steve Slight’s release.

EG: Moving back to you as an artist, how do you feel your sound has changed over the years?

TH: I guess as every artist, you start to grow in your sound and be more critic on your own productions. Music wise I started with a complete hardware studio where I started to move over to complete software, and then eventually I’m going back to my roots. What felt important to me was to get the human feel back in the productions and that is something I was missing on the software approach.

EG: You have recently remixed Claudia Cazacu’s Infinity, over on Gate Null Recordings. What pulled you in to remixing this production and how did you approach it?

TH: I really liked the original track and it felt like immediately how I could get my own signature on it, I was happy to do this. I started, like I always do with remixes, getting all samples laid out in different samplers and then get to jam on portions of them. Gradually I add some effects, and then get everything laid on different knobs so I can start a sketch of an arrangement using a single record take.

EG: What did was the main goal you wanted to achieve from this production, how did you want it to affect the dance floor?

TH: I wanted to put my own stamp on it, which means turning it into a big peak time builder with good energy inside and playing with lot percussion elements which are working together with the sounds as a question/answer.

EG: Have you had a chance to test it out on the club scene, if so how has the reaction been?

TH: Yes I did and it works like a charm! I got some requests from DJ’s playing before or after me that wanted to know what it was. That means always a good thing! 🙂

EG: You have released previously on the label, how did this relationship come about in the first place?

TH: I like the approach Andrea takes towards how he works with his label. He’s very professional in everything he does and that is something I really respect. We need more professional people out there who do it for the right reason, bring quality experiences to the crowd and artists/djs. It will only make parties better and better!

EG: Do you have any further releases in the pipeline to drop on Andrea’s imprint?

TH: Yes I do! Watch out the label for more to come! 🙂

You can pick up a copy of Tom’s remix here:


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