Being born within a musical melting pot and learning his abc´s alongside taking music lessons, didn’t give him an opportunity to escape his natural born talent. Rotterdam based dj and producer Lucien Foort studied saxophone and orchestra for eight years. Growing into adolescence, he moved on to rock, rap and rave, playing in different bands and experimenting with different music genres. Lucien’s first claim to fame was with his well known rave anthem Quadrophonia.

How important is it for you to stand alone as an artist, I mean it doesn’t seem like you’re clinging onto the remix of a big name or other collaborative efforts?
It’s not that that’s my philosophy and I realize that that’s how it looks. But it’s more that I’ve invested extensively in my own development in both the creative and technical field (sound engineering). I’m at a level now where if I was asked to produce and/or mix any a-list artists, I have options rather than be a one-hit wonder.


It’s refreshing to hear a DJ that really can venture into an array of styles and even bring instruments uncommon into the scene. Do things just seem to fall in place that way or you’re like “I need more cowbell” or something?
As an artist I firmly believe in the bending of creative boundaries. As long as the source is as good, well produced and therefore convincing enough to be incorporated onto the master before ‘print’ it pretty much writes itself. You can put any instrument on a record if the artists who plays it masters their skill. No one would turn around and doubt a convincing performance. That’s indeed when things fall into place.

Since you handle the production yourself, doesn’t it ever get to be overbearing when factored in with everything else you do for your music? You ever sleep?
Hahaha, no sleep for the wicked they say… Well, I’m happy to say I can rely on my team so that not everything falls on me alone. There’s a tour management division, a bookings division, an assistant sound engineer, a media assistant and of course my partner Dymphna who handles all legal issues and contracts. I can focus solely on my music, recording and mixing. DJ-ing and producing nowadays is much more of a team effort and I’m happy to have everything in-house.

Would you ever be willing to work with a producer or the idea of somebody tinkering with your sound just isn’t a bridge you’re ready to cross?
I would definitely consider working with someone else since I’ve always been hungry to venture into unknown worlds. It would depend on who it was and what style though. Currently I’m toying with the idea of exploring my work with top level engineers like David Pensado, Tony Maserati, Michael Brauer, Jack Joseph Puig etc to have a professional hands on approach to improve my productions.

From the ground up, some 15 years back, how do you think the electronic landscape has been changing and where do you think you fit?
It’s an exciting rollercoaster ride for me as the music has changed mainly due to the electronic revolution. HD recording and laptop computers housing multi-track recording software were things one could only dream of and it has revolutionized the way we all perceive and produce, market and distribute music. Things can go a bit fast at times but quality control is where we can make a difference.

Where would you like to see the scene elevate to?
I’d love to see more ‘out of the box’ thinking in current dance– and pop music productions. Most stuff out there is a copy of what’s the ongoing trend and I’d love to see more cross-pollination, style-wise

What many don’t know is that you’re actually a lot more than just a DJ, but a studied musician, so how does that background help energize your music?
It helps to hear if stuff is in-key or out. And it helps to make choices while you’re DJ-ing out to not try to match records that clearly shouldn’t be mixed. It can be a blessing and a curse at times too. If you’re blocked it’s easier if you had less options both mental as well as creative since to the end user it’s an ‘I like’ or ‘I dislike’ kind of emotion. I’m happy that it gives me the ability to interact on a professional level with skilled musicians and have better performances from them so that I get what I search for on tape.

Well that’s about it, but definitely fill us in if there’s anything else you’d like to mention.
Thanks for the interview and stay in touch with all your Dreadman news on my twitter handle, and Facebook


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