A-Trak

HS: The live party mix takes it back to the origins of the mixtape, when New York based DJs would dub their parties and sell to high rollers (reductively speaking). How does it feel to get in on this tradition with the Fabric series?

A-Trak: I can't say I was thinking of old school tapes when I was making this mix. But the Fabric Live series is an institution in itself, my CD is #45 in the series so I was definitely thinking about the other CDs when I made mine. In the end I just chose to reflect my current club sets, with all the idiosyncrasies that come with it.

HS: How do you define a mixtape? There are a few different iterations out at the moment.

A-Trak: I'd simply say that it's a mix of songs that isn't an album, usually songs by other people, assembled by a DJ.

HS: One of the more intriguing developments in DJing, for me, recently has been the advent of scratch notation. There are a few different ways of doing it, but generally speaking I'd like your thoughts on how this helps legitimize turntable manipulation as a musical art form within the academy? Or, on the flip, do you think it is a just a bit ridiculous?

A-Trak: I'm really surprised that you're asking about this now! I developed a scratch notation system exactly 10 years ago. I wrote a few articles about it back then. In the early 2000's it was a relatively hot topic, when the whole concept of legitimizing turntablism as a form of music was relevant. But I think a lot of those concerns fell by the wayside years ago when pure turntablism started losing steam.

HS: Anything in DJing you've seen recently that has blown your mind? Any young kids that will become the next Q-Bert, Craze or A-Trak?

A-Trak: To be honest a lot of the DJs that have blown my mind lately aren't turntablists. They're house or techno DJs that do extremely intricate yet smooth mixes with 3 decks and live loops. Boys Noize is really an excellent DJ.

HS: Coming from the battle scene to DJing international tours, which isn't a totally new thing with Mix Master Mike rolling with the Beasties and such, how has your approach to music and to the turntable changed?

A-Trak: Doing those tours with Kanye taught me to adapt my craft to new circumstances, new audiences without ever feeling like I compromised myself. One of the reasons why Mixmaster Mike was such a good DJ for the Beastie Boys is that he's undeniably dope. Someone who never saw any form of turntablism can watch him and be floored. That's a huge asset.

HS: Are there any parallels preparing for a battle and for a live gig?

A-Trak: Not really... aside from generalities.

HS: You've worked with a good number of MCs, and I think a lot of people know you from your association with Kanye. From there I want to ask -- how is it working with other elements of hip-hop culture? Are there take away lessons for you? Is it just a fusion of ideas?

A-Trak: I never looked at is as a "elements of hip-hop culture" thing. If anything, maybe a "MC and his DJ" thing. But in general working with Kanye just felt like a collaboration with a particularly dynamic, inspired and inspiring artist. He always gave me a prominent place in the shows and I appreciated that confidence that he placed in me. But at the end of the day it was his show and I had to know when to fall back.

Sometimes I watch award shows and see DJs scratch during the entirety of the rapper's verses and I just shake my head.

HS: To shift focus to fashion, tell me a little about you interest in clothing and style and where it developed from.

A-Trak: I think it's something that I became more aware of in the last couple of years, as opposed to when I was doing those DJ battles when I was 15. I just think when you make music you're surrounded by lots of creative people and it's pretty natural to take a certain interest in fashion.

HS: There are rumors of a clothing line - care to share?

A-Trak: Nothing new, I've got this collaborative line called Sunglasses Is A Must. I don't manufacture or sell any of my own stuff but I use that name when I collaborate with other brands, which is something I started doing in 2006. It's not only clothes. My next release is a toy with Kid Robot coming out this summer. I worked on it with my designer Dust La Rock.

HS: Fusing music and sportswear, how was your experience working on the Nike+ project?

A-Trak: It was very interesting because to Nike that record was truly designed for runners, whereas that was a bit secondary to me when I made it. But when I handed it in they seriously sent people running to it and made comments in terms of that. It was pretty funny. But more than anything I have to say Nike is an amazing brand and I was really flattered to work with them.

HS: How do you approach commissioned worked, music for specific purposes?

A-Trak: The "Running Man" record for Nike was really the only record I ever made for a specific use. For the most part I just make music that feels like a good representation of me and what I'm about.

HS: Who is the greatest Canadian rapper?

A-Trak: Ah man, do you know how many feelings could get hurt regardless of what I answer here? I can't answer that question, too much politics.

HS: Is Strange Brew the height of Canadian cinema?

A-Trak: Hmm, I never heard of it!?

HS: And to end, a brief test to see just how Canadian you are... Nachos or poutine?

A-Trak: That's hard. You know what? I love poutine, but I can only have it so often. I'm inclined to say Nachos here. Controversial.

HS: Basketball or hockey?

A-Trak: Hockey.

HS: Budweiser or Labatt's?

A-Trak: Labatt's. That's not even a Canada vs. USA thing. Bud is a joke.

HS: Mike Meyers or John Candy?

A-Trak: Mike Meyers.