Desyn Masiello is undoubtedly one of the DJs you have to go out and see. His career has been exploding in the last few months, and according to the music he plays many people has changed their opinion on house.

We met in Warsaw to talk about his compilation for Bedrock, partying together with John Digweed, about Internet and... Luke Fair’s girlfriend.

Sound Revolt: There’s a story in your biography about one hundred CDs that made you famous...
Desyn Masiello: I did a demo CD just to promote my name, because nobody knew me anywhere in the world, not even in my home town London where I lived. The CD gave me a few international gigs. It was a one small stepping stone.

Sound Revolt: Is there a way to get it?
Desyn Masiello: I’m going to find it and I’ll put it on my website soon. Yes, definitely. But it wasn’t like the thing made me. There’s been so many little things, different steps of the ladder. I was slowly, slowly, slowly climbing and the demo was just the first step.

Sound Revolt: What kind of music did you start from? Was it closer to “In House We Trust” or maybe to “Original Series”?
Desyn Masiello: On “In House We Trust” was all Yoshitoshi music, so I can’t say it’s a CD of my sound. But I did like all those tracks. The promo was more Bedrock. More housey, melodic stuff, quite hard at the end.

Sound Revolt: So you must felt happy receiving proposal to do “Original Series”?
Desyn Masiello: Yes, “happy” is a very good word. But I didn’t go out to celebrate that thing.

Sound Revolt: Did you know the title before you started working on it? Did it influence you in a way? What does it mean to you?

Sound Revolt: Has it influenced you in a way? What does the title mean to you?
Desyn Masiello: It meant nothing to me. I just took a chance to put an hour of music that I love onto CD. I could choose anything I wanted.

Sound Revolt: So it was different from what you could do for Yoshitoshi.
Desyn Masiello: Yeah! But with Bedrock I had a lot of problems with licensing. I put forward 20 tracks, and to 7 of them the labels said “no”. Every time it was a different reason. One French label said “our music is never out on compilations, we save it for ourselves”. This is a French way of promoting. Another label in Germany, Compose, they said “we want to use the track first on our compilation”. I did go for some very non progressive music so there was another reason, that some labels didn’t want their music on Bedrock, I think. Also some of the tracks, or maybe samples in them, were not cleared, so the labels got nervous and they didn’t licensed.

Sound Revolt: What did you feel then? You wanted to promote some tracks on such label like Bedrock and they refused.
Desyn Masiello: Hurts for about 15 minutes. It didn’t matter, because when I did my Essential Mix in October, a month after the Bedrock came out, I used all those tracks on there. So in the end people got to hear it.

Sound Revolt: Are you fully satisfied with the album, or would you change something now?
Desyn Masiello: I was only given three weeks by John to do the album. He came to my house and said “I want you to do a CD and in three weeks it has to be ready. Have you got enough music to do it?” So I had no chance to phone people and ask to send tracks. But I wasn’t going to say “no” anyway.

Sound Revolt: What was the rush for?
Desyn Masiello: Because I was the first one to do it, and they had already the schedule. From the time you hand the mix in it’s still another two months for pressing CDs, promotion, and so on.

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