SpaceAgePoetry takes you on a trip through space using stories and music. It’s a combination of deep & slow electronic music and spoken word, that organically evolved out of the shared music taste of Josh Dupree & Justin Samgar. This is Justin’s story:

SpaceAgePoetry is the culmination of a lot of things. Influences on me as a person and finding my way in life. It’s weird to realize in hindsight that the thing I didn’t like going to every week, was also one of the most defining features for me as a poet.

My dad is a pastor in a cult. The way he preaches and used to tell us stories was very specific and is something I unintentionally copied from him. I found a way out and have been looking to substitute that affection I lost ever since and more importantly, what ‘the truth’ is, I felt, that was withheld from me in that period. This struggle found its way into the lyrics of the Sputnik EP.

My mother has named me after the singer of The Moody Blues, Justin Hayward, but I have been mostly raised with a lot of classical music and opera. As a teenager, I started and at a later point only wanted to listen to hip-hop, thereby finding a way to reject my parents’ music and faith. Only later in my life, in my twenties, I discovered music from bands like The Doors and Pink Floyd and more electronic-oriented music.

In that time the lyrics from Jim Morrison and Gil Scott Heron really touched me and inspired me in a special way. I didn’t feel lonely anymore, or as much, through my writing. These two poets inspired me to take SpaceAgePoetry in the direction it has been going and even further. Huge inspirations are also Flying Lotus and Moderat. When I met Guy, I found out that we both have a broad taste in music, complementing each other. We started looking for electronic music that helped to elevate my lyrics and their recitation. After many rehearsals and performances, we set out the musical direction for the productions on our first EP.

Conceptually, the rapping alter-ego of Flying Lotus, called Captain Murphy, is one of the coolest things happening in hip-hop in recent years. Concerning finding ‘the truth’, Neil deGrasse Tyson opened my eyes with his documentary Cosmos, it’s still is one of the best I’ve ever seen. I was always into space and science because I felt there was more than the narrow view of religion I was raised with. The Sputnik EP is my account of this journey.

HESSEL STUUT

It’s difficult to pinpoint exactly what inspired me to produce this track (Zwarte Gaten), I guess it has something to do with hip-hop. In the early days, I used to listen to hip-hop a lot (and still do). The first source that comes to mind is the Beastie Boys, as they were experimenting with samples and sounds relatively new to hip-hop back in the day. Hello Nasty features some interesting material, bringing a more songwriting approach to hip-hop, with lots of twists and turns in the tracks.

Deltron 3030 also sprung to mind, a futuristic, science fiction themed side-project from Del tha Funky Homosapien. They used this outer-space theme for all tracks and lyrics. Working with a similar approach, the talented Dutch producer Kubus produced DMT with Rico. A song about hallucination/space, where beat and lyrics go hand in hand, just what I tried to accomplish with Zwarte Gaten.

MYRTHE VAN DE WEETRING

I am inspired by (the possibility of) extraterrestrial life. There are many possible explanations for the things we fail to comprehend. Explanations could be anything, varying from string theories based on assumptions to polytheism based on beliefs. Explanations like string theory and religion are very commonly accepted, despite the improbability of some aspects, yet extraterrestrial life somehow mostly remains subject to sci-fi movies. Let’s add extraterrestrial life to our train of thoughts.

ARJUNA SCHIKS

My biggest inspiration would be the artist NU. For me, he was one of the first producers experimenting with downtempo that felt like a modern take on house music. Especially his four seasons sets, like S O L in the video above.

And because of that was still very much danceable. It had these amazing acoustic and atmospheric vibes to it that made it feel modern and familiar at the same time. To create that feeling he blended in a lot of world music and for me is a true pioneer in the genre.

With ’Ons Juweeltje’ I took a lot of inspiration from that. The tempo is pretty low, whilst still being playable and impactful on the dance floor. For the track, I worked with a lot of acoustic sounds spread on a dark backdrop to give it that distinct sound.

The collaboration with SpaceAgePoetry allowed me to experiment with this. And because of the extensive amount of hours in the studio together it really paid of in a special way. It wasn’t easy to keep the track fresh and interesting for 9 minutes, but I’m really happy we pulled it off and made this amazing track.

DIALOQUE

The process of making the track Supernova started with a beat Justin had heard that Jasper made, named after his son’s nickname.

Justin liked the beat and the groove so we decided to use it for this project and turn it into a real Dialoque band track. Using this as a starting point, we recorded the guitar and violin.

We added new keys and changed the structure of the track a bit. The main idea was to really create some kind of supernova breakdown in the middle that is referring to the text Justin wrote.

The violin was recorded last and gave the finishing touch to the break. We are really happy with the result of this collaboration track. It’s so beautiful to see how a simple idea can become so much deeper and intense by working together with more people at once.

PERCUSSION

My first music lessons were on a djembe when I was eight years old. It thought me the importance of the rhythm, still mostly the basis for my music. It’s also thanks to these lessons that I learned to appreciate sharing music and the intimate bond between musicians that results from that. Like spontaneous drum circles we used to do.

It immediately aroused my curiosity and desire for music. In the beginning, therefore, I was totally focused on African rhythms, the culture, and also that side which is both original and pure in a tribal sense. Most of what I produce usually begins with a rhythm because it is the place I’m most drawn to the most and I invite you to feel that.

FIRST STEPS

Having to stop percussion lessons, because of a lack of musical schools where I moved, prompted me to find my own path. I had my djembe at home, but nobody to play with. And because this was where I had the most fun, either way, I persisted and found a new way.

I had the chance to start my first tracks on a PlayStation with Music 2000 which sort of filled the gap of having no-one the play with. This was a small revolution since software for music production was pretty expensive at the time. After two years of creating house and techno tracks, I decided to buy Korg Electribe ESX-1 sequencer that allowed me to express myself more.

My first tracks on this machine were varied, but as a rule, the rhythms were created to make you dance. I practised various styles, such as hip hop and Drum ‘n Bass. After that, I sold my PlayStation to invest in a computer and a DAW to find the true infinite possibilities of musical creation.

DAFT PUNK & ELECTRONIC MUSIC

The artists who have been my main inspiration for years. Artists with an unusual personality and breathtaking music. When Homework went on the radio, a shrill sound came out of nowhere that forced us all to move our bodies. The depth, the quality of the textures the groove and all this mix of new sounds you’ve never listened to before was a revelation.

This allowed me to take things to another level in my production process, and it still does. Creating an alliance between organic sounds, such as vocals or guitars, combined with more electronic and strident sounds is one of my main lines of conduct. Music can not be explained, it speaks directly to our emotions, our sensations, our heart.

TRAVELING

Thanks to my parents, I’ve always had the chance to travel. Travel is something I’m very attached to, just as much as music. There has always been a relationship between my music and my travels. Because music can feel like a journey as well. It was a great experience with a lot of different emotions.

My last trip to Australia in 2015, where I had the chance to stay there for a whole year, deeply changed my perception of making music. Something I didn’t have the time to do before because of my work. This inner discovery was made during this journey, with beautiful encounters and a way of life that I had never experienced before. I participated in many events around art (mostly aboriginal culture) and music, through festivals of all kinds and meeting musicians by the beach and in the streets. It really allowed me to dream again about working in the music industry.

Today, music is the result of adaptation for me, it is also the ability to communicate my emotions, even shared emotions, to unite us and reduce tensions.

SHIGETO

From the start, drumming has been the backbone of my relationship with music, and as a drummer, watching Shigeto work is a marvel. His style ranges from hip-hop to jazz drumming, two genres which I’m a big fan of. As an artist, he’s also influenced me to create music which attempts to push the boundaries of sounding both organic and electronic, melancholic yet uplifting, calm yet lively. Lastly, his live shows are also inspiring, he doesn’t hold back and puts everything into the performance – which is a work ethic I aim to uphold.

CLUB AUTONOMIC

From around the ages of 18 to 20, I solidly listened to and made only drum & bass. It was a like a bug, and all of a sudden I became obsessed with the genre. Along with this, I started DJing, going out to raves, and making more music. After a while, a lot of releases started sounding the same, but when the autonomic podcasts came about, it was like a breath of fresh air. Here’s some music which takes from the drum&bass template, flips it, and the end result is something soothing, relaxed, and not specifically designed for the dance-floor – but it worked. I was really taken back by its originality, which was a unique turning point for me.

BLOC. FESTIVAL

I think festivals are almost an epitome of what music is all about. People celebrating, dancing, and coming together for a single cause – to have a good time. They’re such amazing experiences to share with friends, and you get to listen to a ton of new music – which is like creative fuel to me. The last two Bloc festivals were inspiring for several reasons: the people I was there with, the people I met, and the music I encountered. Those weekends have had a lasting effect on me, despite the fact that unfortunately Bloc. is no longer around.

PASSION

To me, music is all about the emotional response I get from it. For example, the warm sinking feeling I get when I listen to my favourites. The feeling of accomplishment I get when someone tells me they’ve had the same response when hearing my music. The feeling of elation I get when I find that new sound to use in my tracks. The rush and thrill of playing my music live. It’s personal, but I think that’s always been my purpose, it’s what I live for and why I make music. Essentially it’s who I am, and I’d like to share that with you.

THE JOY OF CREATING

A year ago I quit Music University. My friends were surprised and not many understood why. My decision also left me confused: I did so much to get in, but somehow I wasn’t in the right place. After I quit, the urge to make new music was gone and it took a while for it to come back. When it did, it resulted in these songs. The feeling that followed is best described as a big relief, like making up after a fight with your best friend. But moreover, I rediscovered the joy of creating something out of nothing, something that was not in this world before and will be here longer than me. This Boards of Canada track somehow captures that insight, possibly because this track was one of the reasons for me to start making music again.

COLLABORATION

After seeing the movies Oldboy and The Handmaiden, Park Chan-Wook became my favourite Korean director. I love how he combines black humor with bizarre storylines, but what especially strikes me is his collaboration with composer Jo Yeong-Wook. Jo’s soundtracks go so extremely well with Park’s films. It’s fascinating how two people can complement each others work in such a way, that the symbioses formed in the final piece of art, causes each contributor’s work to reach a whole new level.

KOREA

Besides music, I study the Korean language and culture. I’m fascinated with the cultural difference, language, and history, and it influences my music a lot. Sometimes in a very literal sense, like the title of this EP, “San”, which means “mountain” in Korean. But more often, studying Asian culture makes me wonder about how people think so differently in different parts of the world. I strongly feel that trying to understand different perspectives, can alter your worldview, but also broaden your artistic mindset.

CLUBBING

I always find it very strange, that the environment in which house music is made (in my case sitting behind a messy desk, in a comfy chair and with a coffee mug in my left hand) is so different from where the music is actually played: a smoky, dark and loud club. While working on this EP, I really tried to close my eyes from time to time and imagine myself being on the dance floor. I asked myself these questions: What gets me in that mood of being able to lose myself in a seemingly endless DJ set? What do I want to hear next? I can’t wait to try out these tracks on a real dance floor, instead of an imaginary one.

Watch the full Planet Rose documentary here.

SIDA

A real inspiration for this album was traveling. The tracks of the album were made during my Brazilian and European tour and so they were done in cities like Sao Paulo, Berlin, Amsterdam. One of them was a really special one called Nida in Lithuania. It is the westernmost point of Lithuania and the Baltic states, close to the border with the Russian Kaliningrad Oblast exclave.

I played there at a party by Nearing, the local radio station. The whole stay there was really inspirational. The track I made there tries to capture the view and deepness of the place… full of nature and mysteries.

THE MOON

Another great inspiration for this 5-track EP was the ‘Moon’ itself. It has always been important for me to look at it at nights and somehow I feel that it was definitely present in the process of making these tracks. It has two sides, one really bright, clear and facing the earth; and another really obscure and hidden. I think these tracks contain some of this duality.

The song ‘Tonada De Luna Llena’ written by the Venezuelan artist Simon Diaz (August 8, 1928 – February 19, 2014), really describes this feeling about duality in a poetic way.

ETHIO JAZZ

One of the internal quest I was on this year, was exploring and adding scope to my harmonic and rhythm knowledge. I’ve found a lot of new inspirational music and always from different parts of the world.

Jazz was always a good partner for me but finding musicians as Mulatu Astatke really opened the game. I was always a big fan of strange melodies and in this kind of music, you can find some crazy atmospheres.

ABSTRACT HIP HOP

Hip hop has been always a great inspiration. Mainly at the beginning of my electronic quest. Beats, Melodies, structures, and concepts from hip-hop were really present the last times.

Producers from the past like Dr.Dre or J Dilla and contemporary like fLako or Kaytranada are something very impressive for me.