Satin Jackets is the brainchild of german music producer Tim Bernhardt who teamed up with his friend Den Ishu as lead performer. Recent successes like “You Make Me Feel Good”, collaborations with highly demanded vocalists, as well as top-ranked remixing work have turned the project into a very recognizable brand name for lush Indie Dance tunes with a pop appeal and a four-to-the-floor groove. Having toured three continents with over thirty gigs in 2014, plus their massive debut tour across the USA and Canada that included fifteen shows in Spring 2015, Satin Jackets has claimed their place as protagonists in the scene with their live show. Their ongoing work with the acclaimed Eskimo Recordings will ensure that Satin Jackets continues playing a vital role with crowds favoring momentum between 105 and 115 beats per minute.
Satin Jackets, where did the name come from? Any story behind it?
It was just something that came up when tossing around a few ideas. It sounded a bit quirky, but also fun and retro. I liked picturing people talking about “The Satin Jackets” as a formation and the decision was made.
How did you get into music? Any specific artist/s that influenced you in the past?
I have been working in music since the mid 90s and the past ten years as a full-time freelance producer. Around 2009, I came across labels like Eskimo and Permanent Vacation with Marcus Worgull’s remix of “Woolfy vs. Projections – Absynth” and Phoreski’s “80s Boy”. To me, it was a bit like Deep House, but better – less strict, more musical and explorative. I liked the retro aspect as well as the “why not?” attitude and, most of all, the slow tempo that gave room to laid back grooves and bigger basslines. Then came Tesla Boy and I blissfully checked out their “Spirit of the Night” video. That was the point when I was hooked enough to sit myself down and start my own thing.
Can you describe your sound? Who’s your main audience?
I would say Satin Jackets’s music picks up the ideas of 70s to 80s Disco and New Wave, and wraps it into a modern soundscape borrowing elements from Electronic Dance Music and House, while still sticking to the original essence. Some of it might be seen as club music, but I also want to preserve a listening experience that is not limited to the dancefloor. Since I promote and distribute my music over the Internet, my audience is made up of all kinds of people across the world who simply appreciate this kind of sound.
How do you typically start your tracks? When you use synth, are you using presets, or editing them, or making fresh patches?
I have a carefully administered library of handpicked sounds and beat elements that make up the typical Satin Jackets sphere. I also know how they behave in the mix, which is important. I don’t start working before I have some kind of a feeling in which direction I want to go. Then I create a groove and sit myself at the keyboard finding bass, chords and overall rhythm. Once I approve of the sound and feel, I start arranging.
We know that nowadays there are a lot of people producing electronic music. When you produce a track, do you think about anything specific, or do you make what feels right at the moment?
Having an idea of where I want to go is essential. It does totally depend on what feels right; but whenever I find myself randomly trying out sounds or elements, I stop and return to introspection until I have a clearer perspective.
What are your thoughts on the amount of remixes producers are putting out almost every day? Example: One original single = 3 remixes!
I was never a fan of making an original interesting or genre-compatible by remixing. I try to complement a release musically with remixes. The original mix always has to be strong and interesting enough to stand on its own legs or simply be accompanied by a b-side to make up a release.
We know that in Germany people listen mostly to techno/house! Do you think the fact that you’re living in Germany affects your musical career?
Yes. Not for the better. The only good part is that it keeps me diligent and away from going partying. I work in the studio almost every day of the week.
What has been your favorite experience as an artist?
Having somebody tell me how my music reached and touched them in a special way