By clicking “Accept All Cookies”, you agree to the storing of cookies on your device to enhance site navigation, analyze site usage, and assist in our marketing efforts. View our Privacy Policy for more information.
Blowing our own trumpet isn’t really our thing but when we stand back and reflect that for many music makers CDR has been a vital catalyst in their trajectories, it’s heart-warming. One artist we’re particularly proud to have seen brave the move from playing music privately to publicly is Daisuke Tanabe. While in London from 2001 to 2006, Daisuke would frequent CDR sessions (on Thursdays back then), now living in Chiba, he answered our Qs about his CDR memories.
Type:
When and where did you first attend CDR? It was 2005? Or 4? Can't remember but long ago, in Plastic People.
What do you recall? It was kind of scary when I first attended the night! I think it was ‘Sand Hill’ [that was submitted] which is on the CDR compilation.
How did you hear about CDR? My friend told me about the night and was almost forcing me to attend.
What has CDR meant to you? It's quite big to me really. Without the night I would not be doing music like I am now.
Have you collaborated with, or hope to, any artists via CDR sessions? I met Aaron Jerome in CDR and did a remix for him. Also meet many good people there.
Any other noteworthy CDR memories? For me every night at CDR was special. can't chose which, but the night got special feeling, and I never felt something same in any other night.
Please could you describe your work life/creative life tussle. Any tips or tricks for managing to keep making music? Not really sure but I'm trying to do my own thing.
Have you a favourite club and/or soundsystem? Every clubs got its own sounds and I can't really say which one. But I like Funktion-One sound which was in Plastic People.
Please give describe your current production set up. Macbook, Logic, Ableton, sound recorder and some synths (Roland Juno 6 and Roland SH101). Some rubbish I picked from ground, like a weird colour stone or an old broken toy. I found them when I travel around. It helps me to remember the places.
Have you a favourite piece of equipment? Field recorder is my favourite thing. I almost put field recorded sounds in to all of my production, I love one on ‘Flowers on a wall’.
Any projects or tracks your working on at the moment that you'd like to let us know about? Kidsuke project with Kidkanevil. And my own album (it's takes long time..).
Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR? CDR is great place that you can play anything you make. You don't have to think about music scene today, which was really great thing about CDR for me!
Director and co-founder of Santuri East Africa David Tinning reflects on the inaugural instalment of Nairobi’s underground creative music summit, Kilele.
For a very special "in conversation" style masterclass, CDR founder Tony Nwachukwu sits down with Irish-Saudi Moving Still to discuss the impact and influence of his mixed heritage on his music.
Lorem ipsum dolor sit amet, consectetur adipiscing elit, suspendisse varius.
Thank you! Your submission has been received!
Oops! Something went wrong.
My First CDR | Daisuke Tanabe
Blowing our own trumpet isn’t really our thing but when we stand back and reflect that for many music makers CDR has been a vital catalyst in their trajectories, it’s heart-warming.
One artist we’re particularly proud to have seen brave the move from playing music privately to publicly is Daisuke Tanabe. While in London from 2001 to 2006, Daisuke would frequent CDR sessions (on Thursdays back then), now living in Chiba, he answered our Qs about his CDR memories.
When and where did you first attend CDR? It was 2005? Or 4? Can't remember but long ago, in Plastic People.
What do you recall? It was kind of scary when I first attended the night! I think it was ‘Sand Hill’ [that was submitted] which is on the CDR compilation.
How did you hear about CDR? My friend told me about the night and was almost forcing me to attend.
What has CDR meant to you? It's quite big to me really. Without the night I would not be doing music like I am now.
Have you collaborated with, or hope to, any artists via CDR sessions? I met Aaron Jerome in CDR and did a remix for him. Also meet many good people there.
Any other noteworthy CDR memories? For me every night at CDR was special. can't chose which, but the night got special feeling, and I never felt something same in any other night.
Please could you describe your work life/creative life tussle. Any tips or tricks for managing to keep making music? Not really sure but I'm trying to do my own thing.
Have you a favourite club and/or soundsystem? Every clubs got its own sounds and I can't really say which one. But I like Funktion-One sound which was in Plastic People.
Please give describe your current production set up. Macbook, Logic, Ableton, sound recorder and some synths (Roland Juno 6 and Roland SH101). Some rubbish I picked from ground, like a weird colour stone or an old broken toy. I found them when I travel around. It helps me to remember the places.
Have you a favourite piece of equipment? Field recorder is my favourite thing. I almost put field recorded sounds in to all of my production, I love one on ‘Flowers on a wall’.
Any projects or tracks your working on at the moment that you'd like to let us know about? Kidsuke project with Kidkanevil. And my own album (it's takes long time..).
Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR? CDR is great place that you can play anything you make. You don't have to think about music scene today, which was really great thing about CDR for me!
Since we started back in 2001, CDR has been all about community, creating spaces for people to connect and develop through music. Back in the Plastic People days, you could fit all of us in one small room around one soundsystem. Today, our projects and programmes extend from the dancefloor to schools, youth centres, as well as grassroots clubs and venues across the country and further afield. But in challenging times, with grassroots organisations like ours closing all around us, every bit of support counts.
Your help will enable us to continue delivering music programmes and events in the UK to the people who need it most. Our mission is simple: to build an equitable music ecosystem for producers and artists. If you have any questions or want to support in other ways please contact us at support-us@createdefinerelease.com Thank you
%20(1).jpg)
