What happens at the end of the cliché? In Luke Chable’s case you’re left with talent to burn. There is only so long a person can adequately be described by such terms as ‘wonder-kid’ before they are either buried beneath the weight of expectations or new adjectives are needed to portray them.
Now 25, Chable has progressed far from that talented teenager of only a few years ago, having established himself as one of the foremost dance music producers on the international stage. With over 70 productions and countless remixes attributed to his name, far from being regarded as over-exposed, it is testament to his talent that each new release is keenly anticipated by his growing legion of fans and seldom are they disappointed by the results.
While it was at 18 that Chable began his professional production career, his metamorphosis started at the age of 10.
In his own words, “I didn’t know that this was something I always wanted to do. I just always did it.” However, there is only so much bedroom production you can do before it’s time to test yourself, and for Chable this came under the tutelage of Ivan Gough, aka Traveller, with Accelerator. How many producers can claim that their first record was licensed to eight compilations, had four sold-out pressings, and was in the record bag of the biggest progressive DJs the world over?
Accelerator was the first of many collaborative efforts for Chable as he honed his craft with the likes of James Holden, PQM, Austin Leeds and Cass. However, arguably his best collaborative work has been when working with fellow Melbournians Phil K, Ivan Gough, Nubreed and Jono Fernandez. Not particularly strange when the likes of Sasha, Dave Seaman and Chris Fortier are talking Melbourne up as the world leader in progressive house and breaks. Some of Chable’s better known collaborations include Ride with Bonnici (of NuBreed), One Day with NuBreed, Before You Break on Me with Fernandez and The Roots & Burma with Phil K under the guise of LoStep.
While talent was never an issue, the real test of a producer is their ability to record as a solo artist. Proving very quickly that he was more than capable of meeting this challenge, releases such as Eat Static, After the Storm, Sealers Cove and The Shepherd on Melbourne labels Zero Tolerance and Vapour Recordings received nothing but praise from all that heard them. The overall reaction was perhaps best summarised by Simon Jones of Progressive Sounds: “f*ck the hard sell, as if you need to be told that this rocks. Buy it now.”
Is it any coincidence that three of Renaissance’s most popular compilations of 2003 all included tracks by Chable? Hernan Cattaneo’s ‘The Master’s Series’ featured The Shepherd while Melburn, released on Bedrock Breaks, was a highlight of Dave Seaman’s ‘Therapy Sessions Vol 1’ compilation, as was Ride on Sander Kleinenberg’s ‘Everybody’. It is also no coincidence that there is nothing like success to suddenly make a person very popular.
The number of remix requests Chable has received by labels and artists would be enough to keep him busy for the next five years if he so chose. While there are worse fates than this, having a remixology that already includes the likes of Sasha, Ferry Corsten, Bjork and GusGus on some of the biggest dance music labels such as Bedrock, Yoshitoshi, Positiva and Baroque, it is understandable that he has new projects and goals in mind.
Chable always has and continues to be a unique talent. Recently, many producers have moved to Melbourne to be closer to the action. In contrast, having joined Europe based Extrema Management, Chable will spend most of 2005 in Holland, drawing inspiration from his new surroundings and growing as is only possible when removed from ones comfort zone. This is, of course, when not touring the rest of the world after being added to the Therapy DJ roster.
Additionally, compiling and mixing the second ‘Renaissance presents Therapy Sessions Vol II’ with Dave Seaman has ensured that the few spare evenings he has left will go towards gigs promoting ‘Therapy Sessions’. Lucky Chable owns a laptop as how else would he find time to launch his own label, Trojan Records, in 2005?
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