INTERVIEW : SENTINEL
Interview by : Paul Bastrot
Pictures by : www.sentinelsound.de
on Saturday, February 11th 2006 - 11 813 views
Conducted a few days before their visit to Paris, it was important to present the new world champion of sound systems, Sentinel "The everlasting Sound". Originally from Stuttgart, they pulled off the feat in October 2005 in Brooklyn of beating the cream of the sounds such as Mighty crown, Bass Odyssey and Black Kat. It was therefore important to introduce this German sound which, after becoming a European leader, has now entered the league of the great international sounds. Elmar, the founder of the sound, agreed to answer a few questions.
Reggaefrance / Could you give us a short introduction to Sentinel, your beginnings, your discovery of Jamaican music?
Sentinel / My first experience of reggae was in 1995 on a trip to Jamaica, where I was able to appreciate the vibes of the island, the people and the music. At that time I was already listening to reggae on cassettes, but I wasn't really invested in this music or in sound-system culture. I listened to a lot of drum and bass and jungle, and I found the same influences in reggae, which is their foundation. In 1996, we started going to see Stuttgart's resident sound Super Nova, who launched us, and then, with Nadia, we set up the Sentinel sound system. Our motivation was the pleasure of playing this music, and little by little the crew grew with Mario, Uli, Tobi, Bongsi and Thilo.
What was the German sound-system scene like at the time? Who influenced you?
At that time it wasn't as popular, there were local sounds and also bigger ones like Silly Walks, Pow Pow, Soundquake, Concrete Jungle… Dubplates weren't as widespread, it was really Pow Pow who developed them here, we went to listen to them in our early days, getting slap after slap with every new dub he played.
We belong to the second wave that got into sound-system, like Supersonic, we want to raise the level even further and make reggae/dancehall culture stronger in Germany.
You've been to Jamaica several times, how do you feel about that country?
Feelings are mixed because it's sometimes somewhere between love and hate. Visiting this country is essential for any reggae fan, to feel the real vibes, the way people feel the music, sometimes violently, in certain sounds that play hardcore dancehall. I first went there on holiday, then I went for reggae business and for holidays too. Now unfortunately I don't have enough time for both, so I concentrate on studio work in Kingston.
Or do you prefer to cut your dubplates in Jamaica or in Europe?
In Jamaica, it's easier to reach the artists, directly or not, but it's not a real problem. Things get complicated when you have to make appointments, find the right riddims, the right studio, we don't have those problems when we're in Germany. However, in Germany it's sometimes hard to reach the artists because they're on tour. The number of artists is tiny in Europe and many big artists never come.
Listening to your jugglings, we hear a lot of originality in the way you cut dubs. Where do these ideas come from? Can you name a few anthems?
What I like about dubplates is the possibility of creating something new, not just a remix. You can change the lyrics, the riddims, create a unique tune, that's what I appreciate. It's hard to name anthems, we have a Max Romeo "The Everlasting Sound", we have a TOK on the Clappas "Everlasting Sound" that mashed up a lot of dances. We also have excellent Sizzla, who is my favourite artist, and also a Cecile dubplate, "Top a Top", that we like a lot. The best thing is to come and hear them on Friday in Paris (laughs).
Another of your particularities is the presence of a woman in your sound. What does that bring you that's different?
It's very positive, we love women and we want to big them up in our dances. It's good because Nadia brings something extra. She holds it down as well as any guy behind the decks, she gives confidence to all the young women involved in the business.
German sounds are now the European leaders, when will the Sentinel / Soundquake / Supersonic clash take place?
I don't know if it will happen, because everyone wants to explore other horizons, they want first of all to clash other international sounds to make their name too.
Which sound would you like to clash in the coming months?
We had a clash with Sound Trooper that was cancelled in April, I hope to do it in May or June and I'll take care of Trooper's head (laughs).
Let's talk about your feat of 2005 at World Clash in New York, how were you chosen?
We caught people's attention by clashing Soundquake in Germany, and also after our performance at Riddim Clash. We also clashed Gramina in Rome and we were the first Germans to clash in Jamaica, with Turbo Force. That's what made us known internationally, but I think Soundquake or Supersonic could also have gone to represent Europe, judging by their recent clash performances.
Your selections went down very well with the New York crowd, usually very cold towards new sounds. How do you feel about that?
It's hard to talk about that personally, I haven't really listened back to the other sounds' rounds to compare, but I think they liked our energy and the way we worked our lyrics. They appreciate specials and well-placed speeches, we had recurring forwards and we tried to keep up the pressure from the start to the end of each round: if a tune flopped, we went straight to the next one so that the crowd only remembered the forwards.
What was your strategy that night?
Against those sounds you have to be smart. They have a lot of anthems, but some of their anthems are so old that they sometimes become a handicap, because everybody knows them and some people want new dubs. Pantha of Black Kat was in a difficult position after his four victories and he stuck to his classics without bringing anything new, it didn't work. I thought Mighty Crown would play much better, but they never really managed to find the way, which was lucky because they can become impossible to stop once they get going after a big forward. Some people are very critical of them in NYC, which may have helped us, but I don't think we would have won without an excellent performance that night. We gave no respite, to any sound, and that's what New York liked: "real sound war"!
Do you think your victory will help the European scene to develop and open the Jamaicans' eyes to what is happening here?
Lots of people asked me how the Jamaicans reacted to our victory, whether they were disappointed that we beat their own sounds. They're very happy to see that people who come from so far away are interested in their music. They're flattered to see the interest we take in their culture, and the fact that we're white makes the buzz grow even more.
Now, the business in Europe is still very different from other countries like the United States or Japan. Artists can't earn as much money here. Entrance prices are much lower, people are less into the new tunes, it takes longer for new artists to break through. It would be unthinkable, for example, to see Voicemail fill a German venue the way they do in England.
Some clash fans regret the one-on-ones being replaced by clashes with four or five sounds. What do you think?
There are advantages and disadvantages in both. In a one-on-one you need a very heavy box: that's where you see the complete sounds. In the other case, it's sometimes easier for a younger sound to make its place. I think it's also more exciting for the crowd to see more than two sounds, but for the real fans, it's true that the one-on-one clash forces each sound to show what it's made of.
You're booked for the UK Cup Clash, but you're no longer outsiders now. Do you think it will be hard to stay at that level?
No, I don't think so, because England is a new territory, it will be harder to play New York again because this year we took the trophy like a tornado. It's hard to stay at that level. Black Kat is an example to respect on that count, because the New York crowd is very hard on champions. Mighty Crown gave everything they had to become champion in New York again, yet the crowd is reluctant to give a trophy to the same sound several times. In England, it's a new challenge again, a new territory to conquer, we have to prove the musical quality of our sound, and I think we also have our chances of winning.
I wish you that. Elmar, a last word for the massives of France?
Big up to all the massives at Reggaefrance.com, we're very happy to be coming to France, see you at La Maroquinerie for a big night of dubplates and live sets with Sentinel "The Everlasting Sound", Guiding Star, YT who's a wicked deejay, and Papa Tank. Bless.
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