With Opposites, we show a different - opposite - side of Belgian artists as they let us in their personal bubble and showcase five of their favorite tracks, completely opposite of what they’re known for.

"So, picking five tracks that can showcase a completely different side to me proved quite difficult, as I am a pretty one-dimensional guy when it comes to music. I consider drum&bass to be an extension of reggae/dancehall, hiphop, funk and rave music, and all of that is pretty much all I listen to. So, you won’t find any Mobb Deep, Wu-Tang or Redman in here, nor will I mention any Shabba Ranks or Third World, or early techno or James Brown style funk, as the sum of all those parts is what makes up drum&bass for me. But I did manage to find a few bits and bops that you might not automatically associate with me!"

Sade - Sweetest Taboo

"When I was 10 years old, my parents took me on a holiday to Brighton, a beach town in the UK. It was sort of a pre-airbnb type situation, as we stayed there in the house of a friend of a friend. Actually, the friend was the deacon of the London branch of the Anglical church, who was gay, and his friend was his black lover, who had a house in Brighton but obviously didn’t spend much time there. So we got his fully equipped house for a few weeks, and I got to explore his record collection. I am pretty sure this holiday is what introduced me to a lot of black music I had never heard before at that moment, and maybe even planted the seed for my lifelong love for all things funk-soul-hiphop-etc! As the weather was mostly shit, I spent a lot of time indoors, listening to The Commodores, Michael Jackson, Marvin Gaye, Ike & Tina and Prince. But one album in particular really struck a chord, and that was Sade’s ‘Diamond Life’. The cover was superclassy and the woman has never looked better than in that picture, but the music was positively enchanting. Even if I still think a lot of it is quite cheesy, and I generally prefer the kind of funk and soul that is a bit heavier on the groove, I love every song on that album, as Sade’s music is so full of vibes, so heartfelt, silky smooth, sexy and above all, truly unique."

Paul Simon - Late In The Evening

"My parents didn’t have much music lying about when I was growing up, but one album - scratch that, actually it was a cassette tape - they had, was Paul Simon’s ‘One Trick Pony’. There’s a lot of good music on that album but ‘Late In The Evening’ takes the cake. It has bits and bops from different styles of music, but I can’t name one song that does what this one does. The jazzy bassline, the percussion, the horn section, the latin rhythm… a real bombshell of a song. On top of that, in each verse, Paul Simon tells short tales that do not need one extra word to complete the picture."

Carl Orff - Carmina Burana

"I am a real sucker for loud, overdramatic combinations of kettle drums, strings and choirs. One artist that captured the spirit of this sort of thing was Adam F, who I feel channelled Carmina Burana in his intro to ‘Smash Sumthin’. It had a genuine choir signing ‘Redman’ over and over again, with strings and percussion building up, and that bit of music is what actually convinced Redman to join the project. Creating big movie-like intros is the sort of thing I also try to do in the Rampage intro of Burning Up, and in the VIP version of this year’s Rampage anthem, ‘Fire’. 

On a side note, I was in Orff class when I was 12 but I got kicked out for continuously playing ‘Girls’ by the Beastie Boys on the xylophone."

Gypsy - Funk de Fino

"When I was at Uni in Brussels, there was this guy running around on campus that was hard not to notice. He was pretty huge; tall and muscular, and he had a head full of dreadlocks. He was a waiter at the main bar of the site, KultuurKaffee, but he was also a DJ. Before long, I started spending hours on end at his house, smoking and playing music, and especially watching him play music. His name was Pascal Saint-Dic, but everybody just called him Scalle. He played on and off at Food club in Leuven, and a few years later he’d land himself a residency at Fuse’s Motion Room - and he defined that room. He could mix & blend everything. He mixed up deep house, electro, acid jazz, breakbeats, techno, hiphop, acid, funk… but to him it was all just House Music. One big metling pot of all types of music that he somehow managed to play around 128 bpm, even if it took playing it at double speed, or half speed. Watching him prepare for the weekend was nothing short of spectacular. Every 10 minutes he’d say ‘Roll another one’, meanwhile going through endless stacks of vinyl, carefully filing up the two metal flight cases he’d bring out that night. All vinyl, with most of the tracks taped off so nobody could  figure out what exactly he was playing. These are the pre-Shazam days, mind you! But he was very willing to share the information with friends, and i got to know a lot of new music thanks to this guy. One track that he played quite often was this one: almost 14 minutes of progressive breakbeat funk, that would become even better in his hands, as he played the Rodec MX180 EQ’s like a fiddle. Sadly, he passed away 10 years ago, and this song was played at his funeral. It seemed very fitting, as the song goes “we used to party all the time". Rest in peace, Scalle."

Toto - Africa

"I am a child of the eighties, and although there isn’t that much music from that era that I still care for, here’s a slice of delight that can lift my spirit any time, especially when slightly to severely intoxicated. I have no idea when I picked up on this track, or when or why it got embedded into my subconscious, but safe to say it’s a masterpiece. I could have gone for Yarbrough & People’s ‘Don’t Stop The Music’, Zapp’s ‘I Wanna Be Your Man” or Chaka Khan’s ‘Ain’t Nobody’ as well, but as this one is now somewhat of an anthem at these undercover parties I help set up regularly, I thought it was the perfect pick."

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