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TranZfusion's Welcome 2003 Special - Timo Maas

Author: michelle pirovich
Wednesday, December 25, 2002
It's always refreshing when a dj/producer is unwilling to follow current trends and recognises that music lovers do in fact grow tired of hearing the same old thing, time after time. When Timo Maas released 'To Get Down' early this year many a sceptical eyebrow was raised, with the crossing over into 'rock' finding many a dance music enthusiast in unfamiliar territory. Despite the criticism which arose from a narrow minded few, what Timo in fact did was unleash a movement that saw countless dj's crossing boundaries and exploring new sounds. Dance music became interesting again, and ultimately, it was we the clubbers that gained from this the most. 'It has opened people's mind to the point that I think...the 'usual' styles don't really exist anymore.'

As genres continue to collapse into one another and dance aficionados (thankfully) start to move away from the often-abused act of pigeonholing, there does still remain the tinsy winsy need to label what we hear. Of late Timo's sound has been described by many as 'wet funk' for Timo and long time production partner Martin Buttrich however, they produce music 'that we's as simple as that.'

Timo's move into production actually arose from a sudden realisation that he was in fact getting 'a little tired of playing the other guys work.' Since his early days with Hope Recordings Timo has successfully managed to produce music that takes in breakbeat, rock, progressive, leftfield and chilled with the fence jumping finesse of an accomplished equestrian rider.

Never keen to stay in one place for too long, and being a man who acts on his thoughts 'When I wanna change something in my life, I`ll start immediately.' Timo has kept dance devotees on their toes and has never failed to please. The proof quite simply lies in the tracks Schieber, Ubik, Twin Town, Island and Shapeshifter as well as the countless remixes for Tom Wax, Steve Wilcken, Jan Driver, Green Velvet, Fatboy Slim, Madonna, Delerium, Starecase, Oliver Lieb and Paul Van Dyk.

It was however (and I almost feel like I don't need to mention this) the remix of 'Dooms Night' that turned Timo Maas into the biggest name in electronica. The track became a certified classic as everyone from progressive house jocks to masterful techno dj's caned it across the globe. Though on a more personal level the overwhelming success of 'Dooms Night' gave fame and notoriety to Timo in his homeland Germany which had previously been difficult for Timo to achieve. 'The level of support here in Germany has changed drastically…it's all very good now'

A superstar dj Timo most certainly is, but is life now all about martinis, fast cars, and beautiful women- 'Honestly, sometimes I love it very much, sometimes it sucks... It depends on the people you are hanging with but as long as I can keep having fun and have my friends I will remain motivated to do what I really love.'

It's taking music from beyond the usual realms of clubland that has always kept Timo ticking, and on his recent 'Loud' tour of the US Timo decided to play at rock venues as well as clubs, an exercise that went down with mixed success. 'It was different from gig 2 gig, we had highs and lows, especially in the 'rock venues', but as well, its important to do, to have this kind of experience. I'm learning from that'

In speaking of his album 'Loud' Timo summed it up the way music should be; by how it makes you feel not by its genre. 'It's not trance, it's not techno, it's just ass shaking music!' Loud came with quite an impressive list of guests; Kelis, Finlay Quaye and Fatboy Slim to name but a few. With all things Timo, the guests were so intertwined with the music that they too became instruments alongside the guitars and rolling basslines, a practice that Timo endeavours to continue in future projects. 'Of course, LOUD was the introduction to a much longer story. Martin and I are currently working on Music for the Maases Vol.2 which I hope to release in May 20