Untitled #909 founder Basic Chanel traverses the abyss with 1hr 45 of texturally rich and hypnotic techno.
London-based DJ Chanel Kadir channels a sound that is anything but basic. If anything, it’s about as expertly woven and layered as Gabrielle Chanel’s famous tweed suits. And, like the popular contemporary fashion house, it’s clear that she appreciates the finer details.
Whether it’s her fascination with leftfield music scenes or her multi-genre mixes that focus on mood, emotion, and texture, her willingness to explore the slower and more intricate corners of the art form – and her ability to freely express herself in such a manner – is refreshing to see from someone, who in her own words; has ‘only been djing a year’.
It’s a modest approach from someone far more advanced than she lets on. Starting out as a journalist and PR agent, her career has led her to work for the likes of Listen Up, Boiler Room, and Draaimolen Festival, as well as running her own PR agency, DAWN Creative, representing the likes of re:ni, CCL, Tristan Arp, Ciel, and more. She has also helped curate wav.world, a mix and editorial series that highlights the ethics and importance around the craft of the DJ mix, while also running her brilliant ongoing mix series Untitled #909.
It’s the latter that has given Chanel a more introspective view into the depths of the craft. As she transitions from one side of the industry to the other – whether for her artists or her sets – it’s becoming clear that Chanel’s appeal lies in her ability to create stories. Her mix is a slow blend of sonically tactile psychedelic techno tracks that gradually merge and evolve into one another. In her interview with //SNCMAG, Chanel talks about her mix, Untitled #909’s impact, and the ‘low-end psychedelia’ scene that’s capturing her attention.
Tell us a bit about your background. How did you initially get into music?
Going back to the very beginning, my mum took me to my first ever gigs (Blue, Pop Idol) and was always playing music in the car. The car music was usually a rotation of Jamiroquai, The Black-Eyed Peas, Kylie Minogue, and Pink. Our family parties were also always filled with music, with my cousins trying to get my brother and me into some old 80s bands whilst we were wholly disinterested and only wanted to listen to current pop music. After that, I became a fan girl. I had my Justin Bieber and One Direction moment – some very embarrassing stories and photos from that era. It wasn’t until I was 18 that I was first introduced to ‘underground’ club music through my boyfriend at the time. He took me to Playaz at Fabric three months into our relationship, and that’s when everything changed. Like most things I love, I became obsessed with discovering everything I could about electronic music and seeing what I connected with the most. So many rabbit holes! It was such a transformative time where fabric every weekend became a big part of my musical education, seeing the likes of John Digweed, Ricardo Villalobos, Ben Klock and Marcel Dettmann, Robert Hood, the Hessle Audio nights – so many fond memories in that club!
Can you summarise your sound and style for us? What techniques are you using behind the decks, and what is your approach to music curation?
I’m still figuring out my sound and style. Still, there’s always an emotional through line that often leans towards music’s deeper and more psychedelic side. Right now, I’m very into sci-fi prog, otherworldly halftime and deep, dubby sounds (let’s see how often I write deep in this interview). I’ve only been DJing for a year, so I’m still very new to this and have much to learn. I plan on doing some sessions with Mix Nights to get to know the equipment better and learn some techniques that would benefit my preferred way of mixing, which is usually long, trippy, loopy blends.
My approach to curation is that there must always be an emotional connection to the music I play. I use curation as a way of processing how I feel at any given time, so the way I approach sets, and mixes is very dependent on mood or the kind of emotion I want to convey or process. Once the gig offer or mix series comes through, I usually visualise the space I will play in or mix for and go from there. It also depends on the rest of the line-up of course. At the moment, I’m at a point where I have a schedule of upcoming gigs and mixes to prepare for, so I have some Notes documents and Rekordbox playlists to which I’m constantly adding music that I come across in my research. When it comes to the recording process or gig, I will organise the playlists by theme, mood, or sound (for sets) or arrange in order for the mix recording.
Your popular mix series Untitled #909 started 7 years ago now. What impact has that series had on you as a DJ?
It’s impacted me so much. I’ve studied some of these mixes for years. I call Untitled 909 my baby, and it’s genuinely nourished my soul in more ways than I could’ve ever imagined when I started. I’ve had the pleasure of hosting artists from all over the world, from a huge variety of sounds and scenes, which has allowed me to listen in and learn about so many different mixing styles, their individual approaches to pulling together a mix and the techniques they use, also, not just from the mix series but the interviews I’ve done for the site too. Being able to speak to these artists directly about their craft is so inspiring. I feel so honoured to get this time with artists and dig deeper into the who, what, when, and why of their artistry. I love it so much!
Talk to us about wav.world? How and why did you create this platform?
I was brought onto the project after the initial concept was formed as a consultant, mainly to help with the curation of the series and how we pitch it to artists in the early stages before the platform was built. So, the idea of creating this sustainable platform where everyone is paid fairly for their time and work was already there. Its whole ethos is about giving music the value it deserves. The DJ mix was such an integral part of a DJ’s career, pouring so much time and effort into curating a mix which could lead to a breakthrough moment. Some of that magic has been lost now with the oversaturation of the DJ mix – when was the last time you listened to a mix and kept going back to it? So with wav.world, we’re trying to bring that magic back and create a timeless series that people can keep returning to while building a more sustainable ecosystem.
As an explorer of electronic music culture in all its forms, what’s currently going on out there that’s grabbing your attention?
Right now, I’m obsessed with something that I read coined as ‘low-end psychedelia’. It covers a spectrum of genres, but it’s tied together by a deep and trippy soundscape, usually at an intersection of techno, bass, and trance. While digging through artists and labels pushing this sound, I noticed that many of them are based in France, most notably in Lyon. I currently have a Notes document filled with Lyon-based artists, labels, events, and platforms in this world, and I am hope to write about this one day (when I find the time). I’m so intrigued as to why this is happening in Lyon specifically and the history there. It’s super fascinating! I think we’ll be hearing a lot more of it in the next few years with festivals like per:sona for example, curating an entire line-up that could come under this umbrella. Some examples of artists include Beatrice M., Christian Coiffure, Vardae, Azu Tiwaline, A Strange Wedding, Toé, Sindh, Minu Jr, Solma, upsammy, softi, Trois-Quarts Taxi System, Smogo and Kick21.
As an active participant in the electronic music scene, what do you want to see more/less of?
Less competition, more support within local scenes. Venues and promoters speaking up on global issues and standing for something. The days are gone when you could just be a club or event; there’s a cultural shift where guests and artists are looking to connect with spaces that align with their values, which needs to be evident publicly through actions and words. More safe(r) spaces. More honest conversations within peer circles about creating sustainable partying habits and environments.
What are some of your highlights of 2024?
The first one would be visiting Johannesburg in May and witnessing the vibrant scene that’s taking place in the city right now; it’s super inspiring! upsammy’s set at Waking Life, which you can now thankfully listen to on repeat as the festival has archived it online. I swear, one day I’ll stop speaking about it. I made the trip to Wuppertal to visit Open Ground – it was the best clubbing experience ive had this year. The space is incredible, super sleek and beautiful with a crazy sound system, cute crowd, and excellent programming. We saw Blawan and Pariah there, and I haven’t been locked in on the dancefloor like that in so long.
Most recent highlight would be attending and playing at the first ever Sublimation Festival in Tashkent. Sublimation is a collective run by Sabina & Madina, two wonderful people fiercely motivated to build a scene for the next generation of artists in the city. At the moment there’s not much of an infrastructure for an electronic music scene to thrive in the city, with many barriers in the way. Still, Sublimation are doing everything they can to build one and support the local artists. It was mad inspiring and beautiful to have been able to witness their first ever festival, and of course an absolute honour to play. I hope I get to visit again soon. I left that trip with a very full heart and belly and miss the crew so much already!
Give us one festival/club and DJ that people need to experience in 2025?
Festival: Draaimolen Festival
Club: Open Ground
These are two of my best dance floor experiences this year, both with impeccable production and sound systems.
I’m not sure I can pick one for DJ. It would be Beatrice M., Dj Wiggles, softi and upsammy.
Tell us about your mix for //SNCMAG.
I wanted to create something slow that builds with patience. I was so inspired and moved by Mama Snake and Martinou’s opening set at Draaimolen this year where they played these really dreamy, deep, hypnotic tracks that kept the crowd captivated for 4 hours. It was a masterclass. So, this is a nod to that experience. In the mix are some of my favourite playful textural tracks balanced with introspective loopy moments.
What’s next for Basic Chanel?
I’m making my debut at Pickle Factory for Refuge Worldwide on the 25th of October. I’ll also be returning to Corsica Studios in November to play for one of my favourite promoters, Wigflex, with a crazy line-up. I’m so excited to open Room 2 again. It’s such a special room with one of the best sound systems in London, and I had the craziest experience playing there earlier this year. I’ll also debut in Paris in December with the cutest crew – I can’t wait! Feels very surreal right now. Definitely making the trip to Disneyland afterwards to see it all lit up for Christmas ✨
Tracklist:
Somatic Rituals – Loby
Adhémar – Bwindi
Polygonia – Dreaming Trees (Forest Drive West Remix)
Paul Rêve – Jasmund
Kaspiann – Satakieli
Feral – Brahma
Luigi Tozzi & BLNDR – Dawn
Aiôn Lazura – Transhumanist Fatalism
natural/electronic.system. – Terrae Nullius
Saphileaum – Lay
Jonny From Space – Confession
Martin Goodwin – Eclosion Pt.5 (Dusicyon Remix)
Kaspiann – Four
Absis- Search and Find
natural/electronic.system. – Sicut Erat (Rimodulazione)
Fels – Coder V (Caldera’s LF Mix)
Dorisburg – Voices
Eletun Selona – Safe
Rambadu – Alaya
Tammo Hesselink – Ideomotor
Sebastian Russell – Boar Whisperer (Part II)
Dorisburg & Efraim Kent Tecken I
Claudio PRC – Kaikō
Trøm Borg – Sepheric Guide
9beats – Palo Santo
Rrose x Polygonia – Diastole
PRG/M – Giardini e Palagi
Feral – Three Faced Queen
Martinou – Exhilaration
