Richie Meldrum
Richie Meldrum

mail@richiemeldrum.com

Ever turned up to work and thought ‘fuck this shit’? Unless you’re one of the lucky ones then the answer is ‘hell yeah!’ For most of us, work is a means to an end and nothing more, a way to fill your days with hours that someone else is going to pay you for. The only reason we can come to terms with this wretched set of circumstances is by focusing on our free time. The opportunity to participate in your own choice of extra curricular activities means that, away from the desk, warehouse, bar or worksite, you can embrace your passions, unleash your ambitions and forget the fact that Monday morning is ever going to come around again.

But what if your 9 to 5 was as good as your Friday night? What if overtime meant party time? It’s a sacred circle, but if you can break the seal and enter into a world where work and pleasure morph into one, surely you’re onto a winner.For Dutchman Dave Huismans, a talent for quality bass-boned electronica allows him the freedom to do things because he wants, not because he feels obliged to. ‘I don’t consider it a business or a career,’ claims Huismans, ‘I make music because it’s what I want to do.’ It’s an enviable position to be in, but don’t think for a minute he takes it for granted. The name Dave Huismans might not mean a lot to you, but as 2562, this producer has been plucking the pleasure strings of everyone from Kode 9, Mala and Mary Ann Hobbes to Francious K and Laurent Garnier.

Merging the substance of dubstep, garage and techno with the uncharted spaces between them, 2562 is at the forefront of an exciting collection of artists who offer up a beautifully considered amalgamation of sounds and refuse to follow the footsteps of those that have gone before them. ‘I started learning production in 2003 and basically still do the same I did back then; start with a couple of sounds, play around until something hits me, then build it from there… there is no master plan.’ The reluctantance to place structure or pin purpose on himself or his music pushes Huismans to the periphery of what can be a sickeningly self-indulgent industry. Fuck fame, forget fortune, Huismans would still be making music even if it never made it off his hard drive. ‘Actually I’m still keeping a part time day job,’ he says, ‘that way there’s no pressure on the music and I can do what I want anytime. It just wouldn’t feel right to depend on my music to pay the bills. I don’t mean to say your music will automatically suffer if you do, but I think it inevitably changes your outlook and writing spirit if you have to feed yourself off it.’

With the release of his debut album Aerial, 2562 (Huismans’ zipcode in The Hague) was invited to spin at some of Europe’s most forward thinking clubs including Berghain in Berlin and Fabric and FWD in London. ‘Production is always number one, although with my current touring schedule it doesn’t always work out like that time wise. I definitely started playing out a lot more since my releases got attention. It’s funny cos dj’ing was my dream when I was 18, ten years down the line I had long given up on the idea and I suddenly find myself doing it all over the world. I have to say though; I find the mechanism in which you almost have to release records in order to be booked as a DJ a bit unfortunate. Bottom line is I only play music I really believe in, but that usually leaves enough room to interact with the vibes coming from the people.’ Forget employment, 2562 is the only number you need to punch into the clock this working weekend.