Funky House Music | FHMDC » Interviews

South of Roosevelt – 5 Magazine’s Project Video

Suneel — Tue, 07 Sep 2010 14:29:16 +0000

Meet South of Roosevelt: a trio made up of JP, Josh and Kris. Chicago’s own are widely recognized for their production and remix skills, and have released music on Flapjack, Blueplate Global, Smooth Agent and Juiced. In this video, the SoRo guys talk about growing up in the Midwest House scene in the 1990s, some classic mixtapes and influences.

Source: 5 Magazine

South of Roosevelt: “What’s Your Story” (5 Magazine’s Anniversary Project)

South of Roosevelt for 5 Magazine from Czarina Mirani on Vimeo.

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James Curd – 5 Magazine’s Project Video

Suneel — Sun, 05 Sep 2010 15:06:23 +0000

James Curd began DJing at 15 and formed Greenskeepers in 1999 here in Chicago. As part of the critically acclaimed Greenskeepers, James has released four albums and his music has been released on Classic, OM, Farris Wheel and Aroma records. The Greenskeepers’ track “Lotion” was also possibly one of the first viral video hits of the pre-YouTube age, garnering over a million plays.

In this video, James talks about his first ever DJ gig, skateboarding in Medusas and the formation of Greenskeepers.

Source: 5 Magazine

“Mona Lisa” (Ron Carroll & James Curd Mix) (5 Magazine’s Anniversary Project)

James Curd (of the Greenskeepers) for 5 Magazine from Czarina Mirani on Vimeo.

James Curd (Greenskeepers) – ‘Blue Sky’ DJ Mix

Justin Long – 5 Magazine’s Project Video

Suneel — Sat, 04 Sep 2010 14:58:15 +0000

Justin Long has been abusing sound systems as a DJ around the world for nearly two decades. His records and remixes have been released on IHR, G-Swing and of course his own dotbleep record label. He’s also well-known for his multitude of partnerships with other producers, the latest of which is Wasted Chicago Youth (with Mazi).

In this video (shot at Chicago’s Kstarke Records), Justin talks about finding Medusa’s at the age of 14, the horrors done to Jack and what House Music might sound like in 10 years (if we don’t blow the world up first).

Source: 5 Magazine

Justin Long: “Stranger in the Silence” (5 Magazine’s Anniversary Project)

Justin Long for 5 Magazine from Czarina Mirani on Vimeo.

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Tensnake – In The House Interview

Suneel — Fri, 03 Sep 2010 14:57:17 +0000

If you don’t know who Tensnake is you’d be forgiven for thinking it was a name for new heavy metal band or magician with a weird serpentine routine. He is in fact neither of these things, but actually the super cool German producer responsible for a plethora of disco and early 90s inspired remixes and productions that people are currently sucking up like an icy cola on a summer’s day. Presently, he’s riding the wave of hysteria that surrounds his most recent production ‘Coma Cat’ a track that is leading the way to the new sound of the 90s revival which is clever, innovative and inspirational.

Here he tells us about his background, his influences, his ultimate DJ line up, why he owes Resident Advisor a pint and why he is so excited about his new album…

Source: Defected PR

Tensnake – In The House Interview

Mark Grant – 5 Magazine’s Project Video

Suneel — Thu, 02 Sep 2010 14:12:10 +0000

One of the greatest DJs, producers and songwriters in House Music, Mark Grant is renowned worldwide for his soulful touch on the keys and his impeccable productions. The former resident at Red Dog has released music on OM, Guidance, Ultra and of course his own Blackstone Records, as well as mixing the seminal A Taste of Cajual compilation from 1997. He was also named our 2009 Remixer of the Year!

In this interview, Mark talks about his influences as a producer, his early days in the Chicago House Music scene and the total experience of playing at Red Dog.

Source: 5 Magazine

Mark Grant ft. Russoul: “You R The 1″ (5 Magazine Remix; courtesy of Blackstone Records) (5 Magazine’s Anniversary Project)

Mark Grant for 5 Magazine from Czarina Mirani on Vimeo.

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Frankie Knuckles – 5 Magazine’s Project Video

Suneel — Wed, 01 Sep 2010 14:21:43 +0000

A wonderful interview and a wonderful track from a truly wonderful man. Ladies and gentlemen: Frankie Knuckles.

Source: 5 Magazine

Frankie Knuckles: “Chicago Theme (La Sonata di Fascia Bassa)” (5 Magazine’s Anniversary Project)

Frankie Knuckles for 5 Magazine from Czarina Mirani on Vimeo.

Mazi aka Audio Soul Project – 5 Magazine’s Project Video

Suneel — Mon, 30 Aug 2010 15:06:30 +0000

Better known under his production moniker Audio Soul Project, Mazi has written or remixed well over 200 records over the last decade and a half, with his work appear on labels such as Ovum, Dessous, Systematic and his own Fresh Meat Records (co-owned with Nathan Drew Larsen), and on compilations from Loco Dice, Darren Emerson and Ralph Lawson. He’s also known for his partnership with Chicago’s Justin Long as Wasted Chicago Youth.

In this video, Mazi talks about the influence of Spencer Kincy, the crazed nights at Medusas and his evolution as a producer in search of new sounds and inspirations.

Source: 5 Magazine

Mazi for 5 Magazine from Czarina Mirani on Vimeo.

320kbs – Mazi and Ron Carroll: “My Desire” (5 Magazine’s Anniversary Project)

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CZR – 5 Magazine’s Project Interview

Suneel — Wed, 25 Aug 2010 13:47:32 +0000

CZR has been steadily producing music since 1990 on labels such as IHR, Moody Recordings, Simple Soul and Nocturnal. Most of his tunes have such an appeal that they’ve been heavily licensed – it’s pretty rare to look up one track that didn’t appear on a half dozen comps, including DJ International, Ministry of Sound, Underground Construction and Subliminal.

In this video, CZR talks about the people that influenced him, being on top of your game skill-wise and Chicago’s better breed of DJs.

Source: 5 Magazine

CZR for 5 Magazine from Czarina Mirani on Vimeo.

Free Download Of The Allstars – “Time To Get High” – Produced by CZR for 5 Magazine’s Anniversary Project (Courtesy of Chi City Records)

Cajmere (Green Velvet) – 5 Magazine’s Project Interview

Suneel — Tue, 24 Aug 2010 19:03:44 +0000

This one is a classic, and I’m talking about the video, the track but most of all the man. Cajmere (aka Green Velvet) is one of the most forward-thinking producers in dance music, and through Cajual and Relief Records (to say nothing of his own tracks… of which you can say a lot) almost single-handedly ushered in the Second Wave of Chicago House Music in the 1990s.

Here he talks about the old days (even before Cajual and Relief, when he was dancing at the clubs) – names like Jamie Principle, COD’s and Ron Hardy – as well as the collaborators he’s working with today.

Source: http://www.5chicago.com

Cajmere (aka Green Velvet) for 5 Magazine from Czarina Mirani on Vimeo.

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Paul Johnson – 5 Magazine’s Project Interview

Suneel — Wed, 18 Aug 2010 13:46:32 +0000

If anyone tried to keep track of such things, Paul Johnson would most likely carry the title as the most prolific House Music producer in history. The admirable efforts of fans to catalog his huge library of underground EPs, edits released and unreleased and official productions on his page at discogs.com really doesn’t even scratch the surface.

In this amazing interview, Paul goes deep: from his beginnings as a teen in 1982 listening to the Hot Mix 5, scratching from Steve “Silk” Hurley and Farley Jackmaster Funk, rumors of his releases under other artists’ names in the 1990s and the cold science of making a beat.

Source: 5 Magazine

Paul Johnson for 5 Magazine from Czarina Mirani on Vimeo.

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Aaron Ross – Soul Heaven Interview

Suneel — Mon, 16 Aug 2010 14:05:02 +0000

Aaron Ross gets about a bit. Whether it’s hosting the Defected Radio Show, jetting off around the world for far-flung DJ appearances, or troubling the Traxsource charts with his soulful-yet-sturdy house beats, he’s never short of something to keep him occupied. On top of that – as Soul Heaven resident – he’s just been asked to mix a retrospective compilation celebrating 10 years of Soul Heaven. Happily, he managed to squeeze us into his hectic schedule for a quick chat…

Source: Defected Media

Aaron Ross – Soul Heaven Interview

Busy P – Time Out Hong Kong Interview

Suneel — Fri, 06 Aug 2010 14:30:39 +0000

Fifteen years ago a burgeoning electronic band from Paris asked party promoter Pedro Winter to be their manager. That band was Daft Punk and that promoter is now Busy P. Since then, Winter has started a record label (Ed Banger), launched the mega-career of D.A.N.C.Eers Justice and parted ways with Daft Punk to focus on nurturing the careers of his label artists, which now include the likes of Feadz, Sebastian, Uffie and DJ Medhi. On his way to play Volar on August 6, his third show in Hong Kong, Busy P took some time out to talk to Andrea Yu (Time Out HK) about *itties, robots and alter-egos.

Source: Time Out HK

Busy P – Time Out Hong Kong Interview

Chromeo – RBMA Radio Interview

Suneel — Thu, 05 Aug 2010 14:23:22 +0000

Red Bull Music Academy Radio conducts this audio-based interview with P Thugg and Dave 1 from Chromeo. The duo have been currently touring anywhere and everywhere showcasing their new album – ‘Business Casual’ – and the groundswell has swiftly followed.

High school friends P Thugg and Dave 1 have been touring the world over the last few years as purveyors of electro funk, playing stints with legends like Hall and Oates amongst others. Hailing from Montreal, their influences include US hip hop and funk and soul grooves. Chromeo have kept their audiences dancing with hit singles like ‘Bonafide Lovin’, ‘Fancy Footwork’ and ‘Tendoroni’ as well as singing along to anthems like ‘Momma’s Boy’. The band have also lent their hand to remixing for a range of artists from Lenny Kravitz to Feist to Tiga. In between albums, they have occupied their fans with mixtapes including ‘Ce Soir On Danse!’ and a special DJ Kicks compilation in 2009. Chromeo’s third album ‘Business Casual’, the follow up to 2007’s ‘Fancy Footwork’, sees the band introducing more harmonies to their sound. There is a collaboration with Solange Knowles, who lends her voice to ‘When The Night Falls’. Plus Cassius member and Phoenix producer Philippe Zdar, a longtime Chromeo collaborator, mixed the disc.

Source: RBMA Radio

Chromeo – RBMA Radio Interview

Aeroplane – TMS Interview

Suneel — Fri, 30 Jul 2010 16:30:50 +0000

So, about a month ago I had the chance to interview Aeroplane, it was just after the ‘break-up’ of the band and during the entire walk to the interview I spent a lot of time debating with myself whether it would be chill to bring it up. Not only that, but, I was totally late and stuff…

No jokes. After the introduction, I did this….

Source: Too Many Sebastians

Aeroplane – TMS Interview

Copyright – House Masters Interview

Suneel — Mon, 26 Jul 2010 13:32:43 +0000

A lot has been said about Copyright over the years, especially by us at Defected. The amiable and energetic duo have been knocking out their distinctive brand of soulful, song-based house for over a decade now, and have been doing so to an army of loyal fans. Anyone who heard hundreds of people singing ‘Wizeman’ accapella at the 10th anniversary celebrations last year will understand just how influential these boys have been, and now they’re getting the recognition they deserve.

It’s time to stop talking about them and let them speak for themselves as they discuss, their roots, the highlights in their career and what is means to be officially awarded the title of House Masters…

Source: Defected Records Media

DJ Gregory – Bali ‘10 Interview

Suneel — Mon, 19 Jul 2010 17:57:20 +0000

DJ Gregory is atypical of your average successful DJ. For a start, he is not in it for the glory. He has a sense of humor, he approaches production in a unique way and he creates seriously good music but he does not take himself too seriously, all of this making him a super-cool character.

Tirelessly looking for new sounds and beats he travels the world in search of inspiration and it is this urge that has been particularly evident of late, returning as he did from a trip to Brazil and Angola and literally bursting with new ideas. Listen to his tracks and you can hear how much he was deeply influenced by the sound of the South American and African continents.

His travels do not stop there. Here he tells us about Bali – the Indonesian ‘Island of the Gods’ – where he will be performing again at the annual beach festival ‘Junction’. Now, Defected Records has invited him to put together a new mix that perfectly reflects what you would hear if you were actually there, dancing in the sun with the sand between your toes…and funnily enough he has managed to nail it.

Source: Defected Records Press

DJ Gregory – Bali ‘10 Interview

Gramophonedzie – Beatportal Interview

Suneel — Sat, 17 Jul 2010 20:41:41 +0000

Belgrade’s Gramophonedzie (Marko Milicevic) first broke through in 2009 with his hit ‘Why Don’t You’, incorporating soul and swing samples into feel-good filter house that earned the support of top-tier DJs, went to #12 in the UK sales charts, and logged over a million views on YouTube.

Since then, he’s remixed DJ Sneak, Mange Le Funk, Mowgli, the Young Punx, and more, bringing to each his unique filter-house touch, and he’s kept the singles coming with ‘Street Lady’, ‘More I Get’, and more; his DJ sets, meanwhile, are helping him make the transition to Balkan superstar to global superstar.

We caught up with him in a rare moment of downtime; read on for the interview.

Source: Beatportal

Gramophonedzie – Beatportal Interview

Flight Facilities – Take Off

Suneel — Mon, 12 Jul 2010 18:01:03 +0000

Australian duo Flight Facilities have been causing waves and waves of buzz this year thanks to their lounge-resurrecting smash single Crave You ft. Giselle. Currently in the middle of their ‘maiden voyage’ as DJs, ITM caught up with the group’s Hugo Gruzman to get the low-down on the success of ‘Crave You’, hanging out with their heroes, writing tracks for Louis Austen and what we can expect next from Flight Facilities.

Source: ITM

Flight Facilities – Take Off

Aeroplane vs Friendly Fires vs Flight Facilities

The Electro Wars – Filmmaker Stephen Vasquez Interview

Suneel — Thu, 08 Jul 2010 15:22:38 +0000

Can a documentary finally tell the story of the electronic music scene? Primus Luta has become a scholar of electronic sounds himself, and joins us in a guest post to examine a film that, like the music itself, is a work in progress. Electro Wars premieres in its current form in New York Friday, but you can get a first glimpse at the movie and the state of music in the Internet – whether wishful thinking might imagine the Web’s age is over or not.

Source: http://createdigitalmusic.com

The Electro Wars – Filmmaker Stephen Vasquez Interview

The Electro Wars Final Trailer from Stephen Alex Vasquez on Vimeo.

Chromeo – Fader TV @ Bonnaroo Interview

Suneel — Thu, 24 Jun 2010 17:32:11 +0000

Dave and Pee from Chromeo engage with Fader TV at the annual Bonnaroo festival through this impromptu interview session. The discussion revolves around the group’s inspiration, and their highly anticipated new live show currently on display wherever the group presently tours.

Osunlade – Strictly Ibiza Interview

Suneel — Thu, 24 Jun 2010 14:03:56 +0000

Osunlade is an intelligent, spiritually minded and classically trained musician, DJ and producer. Drawing influence from the wider sphere of world music and live instrumentation, Osunlade isn’t a created professional persona, he really is at one with his art.

African beats, jazz, soul and captivating vocals are all part of the Osunlade sound, a sound with uncommon depth for house music but one that remains focused on the dance floor.

Here he tells gives us the ’scoop’ on his new artist album, why he is so in love the work of the contemporary surreal artist Wangechi Mutu, his grumbles on remixes and why you won’t be able to stop dancing to his new Strictly Rhythm Ibiza mix. Here’s what the legendary producer had to say first hand…

Q. It’s been a while since we last chatted, so what have good things have been occurring in the past year?

Oh, everything! I’ve just taken some time off to live and relax, working on the next album and doing this mix! It’s been quite a big production, and having a few small tours here and there.

Q. You say you’re working on your new album after ‘Rebirth’. Is this a new artist album?

Yes it is. It’s actually complete, but I’m still living with it. I’ve done about maybe 23 tracks but it’ll be about 11 or 12. It’s pretty much done, just making the final selections, tweaking mixes, sequencing the entire project. Getting art ideas and just trying to formulate a product. When I do an album I try to get a full idea completed so I can live with it and see it as a full album.

Q. Does your album have a name yet?

Yeah it’s called ‘Romantique’.

Q. Ok, will you be creating the artwork as you did last time?

Yes. It’s going to be a difficult one, I’m trying to incorporate some art of a very lovely artist. I’m in love with Wangechi Mutu she does really strong, some people say dark, collages. It’s really amazing and I like her work because it’s not your typical idea of beauty. So I’m trying to formulate a situation where I get in contact with her to use some of the images. I hear she’s quite difficult to deal with! She’s Kenya born and New York based.

Q. Now I wanted to ask you something. You did an interview recently where you said “I think the music business itself is non-existent.” I don’t know if you remember saying that. What did you mean by this? Is it because of the new digital age?

Well, as I speak now, I probably meant I grew up in the major label forum. That’s totally gone. The digital music age is definitely the way now, but I think the formula now is quite strange from the original make up of the music business. The form of music business that I know, it’s gone! It’s dead. It’s kind of a sad thing that you have so many labels popping up, it’s like they have new artists, new producers that are not really musicians, producers. No one’s really taking the role of quality assurance I guess I would say. Anyone can put a record out, or have a label, there’s no overhead, there’s no promotion outside of the digital site. The song is Top 10 because they sold 200 downloads! There’s not much structure. I think I’ve made a conscience decision to not make another house artist album. I think this is it for me, it’s time to let the new guys take over and there are some I really appreciate. This is my last one.

Q. So does that mean Osunlade is turning his back on his deep house fans?

No, I’m not going to do another artist album but I will still produce music for other artists on the label. I probably won’t do much remixing, I’ve not done many in the past 2 years. I’ve done about 2 or 3 in that period, I’m phasing out of it.

Q. I caught somewhere else that you have an opinion on remixes as well.

Yeah the one thing I dislike is how in the house music genre, everything comes with the ‘Original Mix’. The actually title of the said says ‘Original Mix’. That’s kind of discerning to me. There are so many versions of the song that the original version has to be called ‘Original Mix’. If a song is good then you don’t need a package with 7 remixes! It’s just quality versus quantity. It’s an over load of nothingness! I’m adamant about spending at least 30 hours a week searching for music whether it’s house, jazz, whatever. I’m a big supporter of dying music and finding new artists. It’s important for me to stay on top of what’s going on. I’ll spend so much time looking through electronic music and I may find maybe 3 tracks that I’ll actually use, and that’s kind of sad. Whatpeopleplay.com is my favourite site, the referencing is great, the pack shots are good, good reviews. Whereas with others sites, you spend hours and hours going through these genres and the genres are incorrect! There’s just too much.

Q. So, why do you think Osunlade and Strictly Rhythm are such a good match?

Well it goes back to quality. Strictly Rhythm is a name people associate with quality. It has a long standing catalog and it’s the new house label for people like myself, Quentin Harris, and these kinds of artists have built careers with quality music. There aren’t many other labels doing that, you hear about these artists who are coming up and getting a great buzz, then you listen to the music and it’s just 12 minutes of drum loops and that’s not a song!

Q. So let’s talk about Ibiza. You are doing the Ibiza mix for Strictly Rhythm. For you, what tracks would you say would sum up Ibiza for you? Either your own, or others.

I really like Johnny White ‘Desensitise’ which is on the first mix CD. ‘Kinky e79’ is good and I also like the new version of ‘Warning’.

Q. If you were to pick one of those tracks for the best mood, which one would it be?

I’d say ‘Kinky e79’, there’s something wrong with you if you don’t dance to that!

Q. Have you spent a lot of time on the island?

No, not really. I was there 2 years ago with Simon Dunmore and we had a great time. I’ve gone about 3 or 4 times.

Q. I would have thought that being the artist you are, you would have gone there more. It’s quite a spiritual place.

Oh yeah, I love it, I love the locals, there are a lot of hippies and I’m basically a hippy at heart so I totally understand the culture there. But I think with Ibiza you think of a club scene which is totally not my thing.

Q. Ok, did you film something there last year?

Yes I did. I filmed the video for ‘My Reflection’ with my own drummers from the band.

Q. Now I wanted to ask you about the album now. There’s a lot of your productions on there, which would you say are you most proud of?

‘Momma’s Groove’, ‘Butterfly’ I’m really proud of, the new mix of ‘Pride’ I just did, I’m really loving that one.

Q. So just tell me about the feeling of both CDs and how they flow.

Well the first one is more of deep soulful kind of thing and the second one is like a club. My idea was one preparing for the club and then one at the club. So one where you are having dinner, in a restaurant, at home or on the beach and the other is like, yeah, let’s do it!

Q. Was it difficult to select from the vast Strictly catalog?

Well what I tried to do is incorporate the newer versions of older classics or things that are upcoming. So I got to put my own remixes and new versions on there.

Q. Are there any exclusives on the album?

Yeah ‘The Pride’ is an exclusive, the ‘Hey Hey’ mix is an exclusive as well and the ‘Manoo dub’ as well.

Q. I’d now like to ask you about forthcoming project, what singles are you putting out?

Yeah I’ve got a four song EP that I’m working on, I’ve not got a title, it’s more tracky stuff than vocals. I’ve found a guy in London who is more a long the lines of South African sounds.

Q. Is that project done then?

Yeah it is, I’ve just got to work on the mastering and cover art. Cover art is almost the hardest things after the music is done. I spend a lot of time on the imagery and that it works with the song and the idea of the project. So until I get the cover art, because I like to live with it, put it on my iPod, and visualise it as a project for myself before I put it out.

Q. So what is the project called?

There’s ‘Jungle Beats’ and the other project, the guy is called At 1 and the project is called ‘Kina Mawazo’.

Q. What about European gigs? Where will we see you playing in the next few months?

I’m in Paris on the 4th of June, Switzerland on the 5th, Athens on the 6th and London on the 25th, 26th in Amsterdam at the Awakenings Festival and back in London on 27th for a Prince Tribute Party.

Q. A Prince Tribute party? Why are you playing at that?

Well Kyri from R2 and I, he’s done a few actually, we are just big Prince fans. We’ve got a pretty good vibe, and it’s not just Prince music, it’s Prince inspired. So anything that sounds like that Minneapolis sound.

Strictly Ibiza Mixed by Osunlade is out July 5th on Defected.

Interview by Tambourine – Defected Records Press.

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Tensnake – Defected Interview

Suneel — Tue, 22 Jun 2010 18:20:59 +0000

Fear not, Tensnake is not the nickname of a certain serpent-haired mythical monster; rather the musical alias of one Marco Niemerski, the German producer who’s been causing quite a stir of late with a particularly explosive track. The track in question is ‘Coma Cat’; a hooky, upbeat slice of disco-infused house loveliness which looks set to reach its in peak both in Ibiza and at the thousands of upcoming festivals this summer.

We caught up with its creator to get the lowdown on the track’s name, the inspiration behind it, and why he has a permanent grin on his face…

Source: Defected Records Press

Tensnake – Defected Interview

Fool’s Gold Records – The Creators Project Interview

Suneel — Tue, 22 Jun 2010 16:30:30 +0000

The minds behind the Creators Project migrate to Brooklyn, NY and take some time inside the Fool’s Gold headquarters to get inside the thought process of how the project began, strategies, philosophies, and artistic directions. Another quality video interview from this recent initiative…

Fool’s Gold Records – The Creators Project Interview

Boys Noize – The Creators Project Interview

Suneel — Tue, 22 Jun 2010 13:45:42 +0000

A few weeks Vice and Intel launched The Creators Project, a global initiative bringing together the world’s leading and most relevant innovators in music, art, film, design and architecture through a common passion for creativity and technology. Don’t miss this insightful and in-depth interview experience with the rising German legend. This is essential viewing!

Boys Noize – The Creators Project

Dirty South – Scandinavian 2010 Mini Tour Interview

Suneel — Tue, 08 Jun 2010 18:46:25 +0000

A 10 minutes interview with Dirty South as he breaks down his personal story with CUEPOINT.TV about his name, his upcoming releases for this summer, how he started and more!

Source: CUEPOINT.TV

Interview: Dirty South @ His Scandinavian Mini Tour. from CUEPOINT.TV on Vimeo.

Swedish House Mafia – Who Do They Respect?

Suneel — Thu, 27 May 2010 14:09:29 +0000

The whole world knows (and quite a lot of it loves) the Swedish House Mafia, but who do they love? We speak to the artists they have hand picked to support them…

Source: http://uk.soonnight.com

Swedish House Mafia – Who Do They Respect?

Laidback Luke – The Fun Is Back

Suneel — Wed, 26 May 2010 21:19:53 +0000

From his big-room house productions to the Super You&Me dress-up parties he throws around Europe, Laidback Luke is all about putting fun first. The flying Dutchman returns to Australia next month to play the inthemix 10 years main arena at We Love Sounds and Winter Sound System, following his energetic performances last year. He gets on the phone to inthemix to get enthused about round two.

Source: http://www.inthemix.com.au

Laidback Luke – The Fun Is Back

Sebastien Leger – Cuepoint.tv Interview

Suneel — Wed, 26 May 2010 13:43:05 +0000

A very personal interview with the legend, Sebastien Leger. Finally it’s live, due to some small complications. Thanks to Sam Reaves (Swedish House Mafia Forum), Christian Styf and of course Sébastien Léger. We had a blast over in New York and the show Léger gave us was truly amazing. Cheers!

Source: Cuepoint.tv Press

Interview: Sébastien Léger @ Nokia Theatre, New York from CUEPOINT.TV on Vimeo.

Simon Dunmore – Defected Interview Exclusive

Suneel — Tue, 25 May 2010 14:53:09 +0000

He’s the founder of one of the most successful dance labels of all time, regularly DJs at the world’s most prestigious venues and festivals and has – according to Simon Marlin of the Shapeshifters – “the best ears in the business”. We can only assume that Marlin was referring to his ability to hear the potential in a record from several miles away rather than the shape of his aural organ, but of one thing we are left in no doubt; Simon Dunmore is at the absolute top of his game.

Now Dunmore – after putting together the latest installment in the In The House compilation series; Ibiza ’10 – is stood proudly at the helm of the good ship Defected, ready to guide them thought a second successive season hosting Saturday nights at Pacha. However, it’s not all been plain sailing, as a lack of stand-out records and difficulty in putting a theme for the night have both had to be overcome in order to produce the goods, but Dunmore’s pretty confident he’s cracked it. We caught up with him to talk producers, the enduring appeal of Ibiza and the rewards that come with putting in that extra effort…

“If you want your records to be noticed, to have any chance of rising above all of the mayhem that is dance music at the moment, you’ve just got to put a little bit of time into the production, into your beats, into the musicality of it. Beats and bass lines, there’s a million tracks like that and you’ve got no chance if that’s all you’re going to do. So just put that extra 10%, actually no, put that extra 70% in to it and you’ve got a better chance”. Simon Dunmore Defected Label Head.

Q. What are your passions outside of dance music?

Unfortunately in these times, I don’t really have the time to indulge the passions that I would like to get involved in because first of all, my job is my passion. It takes up an enormous amount of my time. When I’m not DJing or doing AR for Defected, I have my family to consider. But if I do have another passion, then it’s football. It’s a bit of a lads’ thing and my team aren’t doing so well right now. I support QPR and they are terrible at the moment, so it means I can enjoy watching other teams. It’s a real release for me, I get rid of a lot of pent up energy. I love to see Arsenal win and I love to see Chelsea lose.

Q. What’s the magic ingredient?

It is, in these days and in these times, really hard for records to stand out. Everybody uses the same programs, the same presets, the same sound. To me, the majority of music I listen to these days is extremely formulated, pretty soulless and dull! Or I find it quite soul destroying listening to records on Beatport and all sorts of tracks I get sent because they all sound so similar. I think that’s why they all come and go, they have no longevity, there’s nothing to make them stand out. If you want your records to be noticed, to have any chance of rising above all of the mayhem that is dance music at the moment, you’ve just got to put a little bit of time into the production, into your beats, into the musicality of it. Beats and bass lines, there’s a million tracks like that and you’ve got no chance if that’s all you’re going to do. So just put that extra 10%, actually no, put that extra 70% in to it and you’ve got a better chance.

Q. For you, at this moment in time, who the most exciting producers?

That is really difficult. I’m going to mention Dennis Ferrer again, who I’ve mentioned for the last four or five years. The reason is every year, he comes up with what, I believe, is an exceptional record. This year he has surpassed himself with ‘Hey Hey’, a massive record for the last six months and something I think is going to run all the way through the summer. There are some new kids around, people like Joris Voorn who has some really well produced and solid productions. But I’d like to see him put something on top of what are amazing grooves and well produced tracks, I’d love to see him put a song or something that takes it that little step further. The musicality of someone like Henrik Schwartz is also something I love.

Q. Right let’s talk about Ibiza. If you were to flog Ibiza to me as someone who hadn’t been there before, what would your sales pitch be?

Well, a salesman should be able to pitch his product to a wide range of demographics. If I were pitching it to a clubber, say 20 – 30 years old, I’d say the place is just hedonistic mayhem, some of the best clubs in the world. Everyday of the week you can see some of the best DJ talent in the world. There’s sex from wall to wall. All the things that pump your nads when you’re a kid! Music, sunshine beach, the opposite sex! Just the concoction of the whole place is just electric. When you are done with that and when you just can’t take anymore, there’s just the most serene, tranquil places that you can go. You get over the fact that you’ve obliterated your body for 48 – 72 hours when you can kick back, chill and recuperate. If you were older, I’d say if you want to reminisce back to when clubbing was the main thing in your life, there’s great clubs you can go to in Ibiza. You can go to Pacha, you can go on the terrace, you can go into the VIP. You can still feel good, and still feel comfortable doing it. Then there’s great shopping, great restaurants, great beaches. The one thing that Ibiza doesn’t have is sight-seeing, it’s not that kind of vacation. It’s just relaxation where you can have a great time!

Q. That’s going to be my new pitch to the travel journos! Right, should I drive a scooter in Ibiza?

If you are in your twenties, and you think you are indestructible, then yes absolutely. But do it with caution. If you are my age, in your forties, and feeling a little bit mortal, don’t go anywhere fucking near it!

Q. Should I swim in the sea?

Yes you should swim in the sea. It’s an amazing feeling to swim in the ocean, you feel absolutely free. But beware of the jellyfish! The island does get invaded with those and it’s pretty nasty when they sting! No sharks though.

Q. Right lets talk about hit records. Is Ibiza the breeding ground for hit records? Is that where you go to look for them and if so, how does it work?

(Yes we do go to Ibiza and try and look for records. Anytime we go out, anywhere in the world, we are always listening to what DJs are playing. If something stands out, we are always interested in whatever that record may be. You have a concentration of that in Ibiza, because you are hearing club music everywhere. It’s absolutely incessant and covers a wide variety of things too. That’s the great thing about house music. Are there records broken out of Ibiza? I think those days are over because the internet makes things happen so fast. If a record is played in the States, it can be played in Ibiza the next day, Japan the day after and Australia the day after that. So records seem to happen instantaneously across the world, rather than coming out of one place. So I don’t know if one place breaks music at all in these times.

Q. Let’s talk about Pacha. We’ve got every Saturday at Pacha. For you is it more of a prestige thing or not? What does having a party at Pacha say about your brand?

Whatever you do in life, if you are proud of what you do you want to play on the biggest stage, you want to be noticed. Even people who say they are cool, and underground and they don’t want to sell out, most of the times I don’t believe it; they are screaming to be noticed! I think that we’ve done a really good job at Defected by working and nurturing some great producers, giving dance music some great house records. Whilst I’m not preoccupied by having the recognition and the acclaim, I do want to be recognized for the hard work we do. It’s good for the soul to know that people appreciate what you do and I think that to play at Pacha in Ibiza every Saturday night just puts all of that into one moment! It is undoubtedly one of the biggest, if not the biggest club in the world. They’ve got clubs in various places but the spiritual home of Pacha is in Ibiza. It’s been there since the seventies; close to forty years. You feel the history and heritage when you walk in there. You know, if you are a footballer, you’d want to play for Barcelona, if you are running a night, you’d want to be at Pacha. That’s the level it’s at!

Q. Ok, about the party. Two things, what is the theme and who are the headliners you want to talk about?

It’s been difficult to come up with a novel and interesting theme for the year, but I think some people try a little too hard in that department. We have a constant message that at Defected, we are a great Saturday night out, we’re a disco label, it’s all about the party and people having a good time. That has been constant for the 10 or 11 years that we’ve been going, so Saturday night is about the twist that we have on disco. This year, we’ve kind of gone for trashy disco, it’s kind of en vogue and fashionable. Headliners this year… We support the people who make music for our label, we support them 100%. It would be easy to go “this kids hot,” or “all the kids are loving this producer” but if he has nothing to do with the label then we are just doing it for all of the wrong reasons. I believe we have worked with the producers for as long as we have because we give them as much as they give us. Therefore, our lines ups are based on the artists we have at the label. Obviously we work with new people as the years go by like Chocolate Puma playing for the first time this year. We have Riva Starr, a lot of people are talking about him. We have Quentin Harris back in the house and the fact that we have diversity in our night, keeps our night fresher than most of our competitors.

Q. Good! Let’s talk about the mix. Defected In The House Ibiza is now an institution. What have you done this year, to make it the best mix yet?

It’s really difficult putting together a compilation these days because there’s just not the diversity or the craftsmanship or the soul put into production these days. So you really have to dig deep to find twenty or thirty tracks that actually work. Also there are some political things that restrict you from using the tracks you want to use. You know, the label doesn’t want to license them, if it’s someone signed to a major label, they are really going to restrict your rights where you are going to be able to release it and so on. So you can’t always have the tracks you would love to include, so again just really drumming home the fact that we support the people we work with. We work with them because they make quality productions and their sound epitomizes what Defected is really all about. I’d go to our DJs first, see what they’ve got and then add more tracks to give the compilation more depth and value.

Q. So what are these other tracks you are talking about? Tell me about the tracks from the producers you want to use?

Well, 70% of the album is our current material, which is what most compilations are these days, unless it’s specifically a retro compilation but Ibiza has never been about that for us. It’s been about putting some upfront and current tunes on there, but there are a couple of classics too like MK ‘Burning’. MK’s sound has been ripped and a lot of producers are borrowing what he used to do 15 years ago, so it’s really good to include a track like that. Plus we have Arther Baker ‘The Brake’ which was released maybe 20 years ago, but the version we have put on was released in 1998. It’s just a really good percussive house track. Tensnake ‘Coma Cat’ is a deeper and disco based, it’s a well-crafted and quality production. There is also Azari and III ‘Reckless With Your Love’ which is just an emotional and soulful house record. For me these tracks give it a little bit more depth, and the rest is just quality Defected house music.

Q. Ok, so exclusives?

There are actually a number of exclusives for the compilation. Shapeshifters ‘Helter Skelter’, ATFC Featuring Rae ‘It’s Over’ which is the biggest track I play these days with the exception of ‘Hey Hey’. I say 70% of the compilation is exclusive to Defected In The House. Some of the tracks may be released as singles, but most of them, this will be their first time on a compilation.

Q. When will you stop DJing?

It’s kinda weird actually. After every bad gig (and there’s not many of them these days), when you’ve traveled and you’re in a hotel, and you know your sets gone down badly, you just think ‘What am I doing here?’ I’d rather be with my family, having a good meal, watching the football, anywhere. Bad gigs are a real downer, so I think about stopping after every bad gig, but then when you do a good gig, you remember how much you love it. So while the gigs are still great I’m happy to carry on DJing.

Interview By: Defected Records Press

Aeroplane – Prefixmag.com Interview

Suneel — Mon, 24 May 2010 20:01:37 +0000

Over the past few years, Aeroplane’s Vito De Luca and Stephen Fasano, French-speaking Belgians of Italian descent, have slowly built a rock-solid reputation for crafting sublime sounds that are heavily influenced by late-‘70s and early-‘80s disco, Italo, and pop. By weaving together laid-back grooves, sticky melodies, and smooth, gently danceable beats, they create uplifting, emotion-laden music that evokes blissful nostalgia yet still soars with innovation in today’s banger-filled world of dance music.

This year, the boys have been busy: In addition to wrapping up their debut album (due out this September), they’ve been touring madly (including sets at Coachella and Winter Music Conference; upcoming North American tour dates), working on the occasional new remix, and compiling their monthly chart mixes (which they give away free on their SoundCloud page). Most recently, Aeroplane were honored as the 500th DJs of BBC Radio 1’s seminal Essential Mix, broadcast live from Liverpool, England, on April 23, 2010.

Over the next few months, Prefixmag.com will check in a handful of more times with the de facto leaders of the “nu disco” revolution as they set out to take over dance floors worldwide; the results of the conversations will be published. In Part 1, De Luca and Fasano discuss the little-known stories behind some of their most popular remixes, why they’re still surprised they have fans, and the reason there’s so much booze on their tour rider.

Source: Prefixmag.com

Aeroplane – Prefixmag.com Interview

The Shapeshifters – Helter Skelter

Dave Cortex — Fri, 14 May 2010 22:36:48 +0000

Fans of The Shapeshifters will of course remember their tremendous re-working of Orbital’s classic rave anthem ‘Chime’ back in 2008. Their new track ‘Helter Skelter’ seems at first – at least by name – to hark back to a similar period of white gloves and day-glow club wear. However, as we found out when talking to one half of the group Simon Marlin, you shouldn’t necessarily judge a track by its name.

Source: Defected

Chocolate Puma – Back Home

Suneel — Fri, 07 May 2010 18:22:54 +0000

You know a Chocolate Puma track from the first moment it knocks you around the head with its absurdly punchy beats. A ridiculously catchy vocal will follow soon after and that’s it; it’ll be in your head from when you first hear it, throughout the rest of the day or night and probably for a few days after-wards. You’ll either love it or hate it (although we’ve found most people sit firmly in the former camp) but regardless of which it is, it’ll bounce round inside your head for a considerable time.

Now, the Dutch duo have dropped a new track that’s set to follow in the addictive footsteps of its predecessors and attach itself to your brain like a house-loving limpet. Defected caught up with them to find out more…

Source: http://www.defected.com

Chocolate Puma – Back Home

Chromeo – In The Studio With Fader TV

Suneel — Thu, 06 May 2010 14:05:26 +0000

The organization behind The Fader conducted an interview with the Chromeo boys at their Brooklyn-based production studio. Check out where they create their unique audio magic, along with an up close look at their production studio weapons.

Chromeo – In The Studio With Fader TV

Treasure Fingers – Discodust Interview

Suneel — Wed, 05 May 2010 17:10:31 +0000

Ashley Jones has been an artist known by multiple names and has, in turn, produced tracks spanning the genre spectrum. Taking the building blocks that his musician father prepared him with, he has been playing the proverbial musical roulette wheel landing briefly on everything from high school bands to producing beats for hip hop artists to a drum n bass outfit called Evol Intent. The ball has finally come to rest on his most recent and aptly named nu-disco moniker, Treasure Fingers.

Source: http://www.discodust.blogspot.com

Treasure Fingers – Discodust Interview

Sandy Rivera – The Blackwiz Farm

Suneel — Fri, 30 Apr 2010 01:04:34 +0000

Fans of Rivera’s vocal house classics may be surprised by the change in direction, however the Blackwiz Records boss insists his darker side has always been there, as Beatportal found out whilst chatting to him to about his new album, ‘The Blackwiz Farm’.

Source: http://www.beatportal.com

Sandy Rivera – The Blackwiz Farm

Syke n’ Sugarstarr – Interview

Suneel — Tue, 27 Apr 2010 19:00:23 +0000

Syke’n’Sugarstarr – a name synonymous with pure house music. Since the late 90s, the duo has crafted a whole series of worldwide club hits as played by the likes of Pete Tong, David Guetta or Bob Sinclair.

They have released on leading imprints like Ministry Of Sound, Positiva, Subliminal and Southern Fried and have toured from Miami to Sydney, from Hong Kong to Bogota and from London to Moscow, always providing DJ sets which combine the pair’s very own productions and exclusive edits, whilst they also head up a weekly radio show played to over 70 countries.

Mousse T, Armand Van Helden and Incognito are among the many artists to have called upon the services of Syke’n’Sugarstarr, able as they are to work anything from funky to percussive to electro house into their own style.

IHOUSEU.com caught up with them for more about the show, future work and the WMC…

Source: IHOUSEU.com

Syke n’ Sugarstarr – Interview

DJ Mix: Syke n Sugarstarr – November 2008 DJ Mix

Beatportal – Laidback Luke Interview

Suneel — Sun, 25 Apr 2010 16:00:35 +0000

Despite his soaring profile in the electro house and progressive house scenes, Laidback Luke continues to sprinkle magic dust on a new generation of house producers that includes Avicii, Bart B More, SonicC, and Afrojack.

Via his online forum, Luke has mentored and tutored hundreds of hungry aspiring producers over the years, and now with the launch of a new Super U & Me compilation series, he is giving young guns the kind of professional support that is essential for nurturing young talent.

Beatportal caught up with the Dutch remixer, house music sensation, and boss of Mixmash Records, to chat about future talent, his new compilation, and “trance 2.0”.

Source: http://www.beatportal.com

Laidback Luke Interview

FHMDC Exclusive Interview: Rasmus Faber

Suneel — Mon, 19 Apr 2010 14:36:46 +0000

Global trotting DJ, trained pianist, producer, songwriter, record label owner, and remixer to the stars. Sweden’s Rasmus Faber is a name many of you will have come across in the last 8 years and one look through his biography is like reading a who’s who and where’s where of the electronic music scene.

Undeniably one of the most energetic and captivating entertainers in House Music, Rasmus sets himself apart from his industry counterparts by incorporating not just three CDJs and an ever busy mix of key matched tracks; but also overlaying flawless live piano performances that leave crowds and critics amazed, and dancefloors in shambles.

Which makes you ask: Is there anything Rasmus Faber can’t do? Well, FHMDC decided to reach out and conduct this incredibly deep piece of dialogue to get a few steps closer to how this rising legend views not just electronic dance music, but the idea of music creation from a holistic perspective. We hope you enjoy this interview with an artist FHMDC views as one of the most talented musicians ever associated with house music.

FHMDC: Please describe how it all began – your love for music, instruments, and performance.

Rasmus Faber: Well, I’ve been into music for all my life really. Started playing piano around the age of 6-7, and never really stopped since. My Dad is a great jazz musician (saxophonist) so that obviously has had a great impact as well.

I’ve also always had some kind of computer to make music on, since I was quite young. Got my first Atari when I was 11! That really helped me feel comfortable in computer based studios later on.

FHMDC: What was it about house music that originally drew you to it? If it’s possible, provide the readers of FunkyHouseMusic.com who aren’t as familiar with your history with a short synopsis of how you became the multi-talented and prolific artist you represent today.

Rasmus Faber: I’m trained as a jazz pianist, and worked as a tour and studio musician and a live band arranger from about age 18. When I was about 22 I got into house music, as a studio pianist for other producers at first. Then I realised it was something I wanted to do by myself. Because I’m a musician, always played in various bands, and also worked as an arranger for orchestras and stuff, it was kind of natural to implement those elements in house music.

When my house music career took off I kind of stopped doing the tour musician thing, but luckily I still get to play a lot of piano, in the studio, and also because I bring a keyboard along to all my dj gigs.

FHMDC: Sweden and house music have enjoyed quite a high level of success in recent years. Names that emerged from that scene include the likes of Axwell, Steve Angello, Sebastian Ingrosso and many more. You represent (in our opinion) the polar opposite of that Swedish House Mafia sound with an organic, soulful production style that proves time and time again truly unique to your brand. It blows our mind that just 6-7 years ago, Axwell & yourself were producing and collaborating on projects such as the Mambana – Felicidad anthem on Soulfuric Trax, and these days, new school dance music fans would never associate the two of you. What has motivated you not to follow the trends of epic house/tech rhythms of your native colleagues, and respectfully stay true to your original style?

Rasmus Faber: I believe me and Axwell are still simply expressing ourselves in a way that we both did back then as well. Axwell was all about energy even then, whereas I was and still am a musician. Times and trends change, but I believe we both are examples of two artists who move with their times, but only as long as we dont sacrifice our original nature.

I still admire Axwell a lot as a producer. Lot of people get kind of surprised when I say this, but I’ve never really been into listening to soulful house music that much. I much more enjoy listening to an Axwell track, cause he does things I can’t!

Whats cool about Steve and Sebastian is that they’ve always been into what they’re doing. Even back when soulful house was the big thing, they did their tough things, and because they stayed true to what they loved, they became succesful. I believe that is important for any creator really.

I must say I personally don’t really feel the term “polar opposites” that much. It suggests a correlation within the dance scene, which in my opinion diminishes the artistic value of the music slightly.

To me, I’m no more a polar opposite to Steve Angello, than I am to, say, Coldplay or Britney Spears. We are just creators making different kinds of music. I have high respect for anyone who makes great music, thats why I enjoy to listen to a track produced by someone in the Swedish House Mafia a lot more than I would listening to a mediocre soulful house track for example.

FHMDC: Let’s go back in time to the year of 2003 and the first days of Farplane Records, your well-respected record label. Tracks that we will never forget and still drop in our DJ sets include “Ever After” featuring Emily Mcewan and the unstoppable “Get Over Here” featuring Melo. Talk to us about your artistic vision at the time, the motivation to start the label, and what you were trying to accomplish during this time period of dance music.

Rasmus Faber: To be honest, I didn’t have the motivation to start a label back then, I got helped into it by Simon Dunmore, who was my manager back then. I’m really happy I did it though, and very thankful to Simon for pushing me! It has given me lots of freedom over the years. As for those tracks, they are truly “children of their time” so to speak, the enviroment was good for that kind of music back then.

As for what I tried to accomplish, it is the same thing that I try to accomplish nowadays, when I’m making a house track. When I made those track some of my musician friends asked me: “Why do you have to put a loud beat to those nice tracks, why not make just a latin, jazz, or soul-tune?”

The reason is that I like the accessibility that is introduced when a track becomes a dance tune. It is true that many of my songs would have been good as latin tunes or soul tunes, but they wouldn’t have been so accessible. I believe music is about personal expression, but also about communication, and therefore, “accessibility” is a positive word.

However, I wouldn’t sacrifice my musical message for accessibility, and thats why I haven’t tried to make harder and tougher tunes, or electro, to adjust to the trends of dance music. Making house music for me is about finding the perfect balance between musical message, and dancefloor accessibility. It was back then, and it still is. Recent years, it has been a lot more difficult to do that, because the definition of “dancefloor accessibility” changed so much, so finding that middle ground was very difficult for me (god knows I tried!).

This kind of goes back to the discussion about Axwell, I think back then he was also reaching for the same thing, where his priority was more on the energy side, but he chose a frame for it that became his middle ground. As the trend moved, his energy message got even easier to express. Had the trends instead shifted towards a much more jazzy sound, he might have found himself in the slightly more difficult position I have been in for example. Thats just the way it is.

But I feel actually things are going the right way again (for me, that is); good, innovative songs are coming back, and I’m very excited about the near future of dance music!

FHMDC: The Rasmus Faber YouTube channel, in our opinion, is a fantastic marketing tool for your live performance artistry. We believe the visual awareness of what listeners receive when Rasmus Faber performs “live”, or through DJing, showcases something that educated house music fans should witness at least once in their life time. Have you found that utilizing social media has helped the amount of demand for your live gigs?

Rasmus Faber: I honestly don’t know how much an impact social networking really has. I don’t think anyone really knows that. I do get a good feeling from all the nice comments I get from those videos though, so its a good creative spark! I guess its also good for people so they can see what you do, in my case djing with a keyboard, for others maybe they’re doing crazy things in Ableton or something. Its good that people can see what you’re doing different, cause its not always so easy to notice just by hearing the sets.

FHMDC: There is a very distinct element to most of your original productions, which is the unbelievable energy that blooms and romances dance floors. It is an undeniable injection of positive vibes when Rasmus Faber performs live that we believe is a timeless quality rarely seen in the ever-trendy electronic dance music world. What motivates the to make the type of music you produce today as a solo artist or with a specifically chosen set of talented musicians?

Rasmus Faber: Even though some of my work is more known than others, I’ve been producing quite a broad range of material, even some quite techy stuff, or things that are very mellow and non-housey. I kind of think of it all as different types of communication with music really, and I don’t think too much about style, but more in terms of different expressions that form a sort of creative pallete. Different tracks can contain different amounts of each expression, but since all expressions are part of yourself, they all make sense to you creatively.

I’d say I have two main expressions that I utilize more than anything else. One is basically to use live instruments to create grooves, often kind of merging latin-type rhythms with some funk or soul-grooves, and other styles too. Trying to find sort of common things between the styles, where they can meet, and new mixtures can appear. I guess thats kind of apparent in my music.

The other one is a bit more abstract to explain. I have a harmony inside me that I really want to express in my music as much as possible. It has something to do with the feeling of hope. Also it can be described a bit like “goosebumps-harmony” (at least to me). A very positive vibe, but there’s also some melancholy to it. You can find it quite a lot in movie scores, but it can be found here and there in all different kinds of music. I sometimes feel like I have a purpose or even a duty to make music with this harmonic feeling, and also reaching deeper to find the essence of that emotion, like an alchemist searching for the Philosopher’s Stone. Like if there was some higher goal to be reached by doing so. Its a bit weird I guess…

FHMDC: FunkyHouseMusic.com recently interviewed an artist by the name of Jay-J from New York – USA who has spent the majority of his music production career focused on the organic, soulful side of house music. He claimed in the interview “there are many DJ’s and producers who used to be able to make a decent living in this niche industry of soulful house music and now find it hard to survive. I can’t tell the future but I it seems that soon the music will be relegated to hobby status for many of us as we ponder what’s next in our careers.” Do you feel soulful electronic music is facing a challenging period?

Rasmus Faber: Jay-J is a good friend and we’ve swapped remixes in the past, he’s a great producer. I can understand where he’s coming from saying that. However, I’ve never really felt like I’m a part of that soulful music scene from a creative standpoint.

I’m a musician making house music, and therefore being labelled as a soulful house artist comes pretty close to mind, but I’ve never felt that way myself, its simply not my taste. I personally don’t like the term “soulful house” too much, as it seems to suggest that the creators should stick to certain production methods that to me aren’t very relevant.

To me, a good song is what matters. Now, I’m a musician, and therefore I tend not to like to make songs that are much too simple, but I believe music is also about communication, and therefore there has to be a certain amount of relevance to what you do. Now I believe an artist can achieve this by being totally unique, or by being part of a scene, and sometimes somewhere in between. If you’re a part of a scene though, that scene has got to move with the times. If you’re aiming for unique, well, then you just have to do your shit and don’t care about what anyone thinks. But then you also have to completely stop relying on the scene itself to carry you.

Producers of dance music have a huge help from being part of a scene, compared to creators of other music, I think people often don’t realize that. What creators of dance music have to consider is that what we create if we are within a dance sub-scene, is driven largely by the club scene, and that introduces things that have very little to do with music as such. People wanting to get wasted and flirt on the weekends are the economic driving force behind the club scene, and therefore the artistic merits of any “scene” needs to be toned down in my opinion.

A great producer is a great producer, regardless of genre. I believe a lot of great, innovative music would be made if some producers would see themselves more as a rockband or a singer-songwriter, there by gaining a lot more creative self-dependance, more of a “me against the world” kind of attitude.

FHMDC: What is your goal with the “Platina Jazz” project? This seems to be a different direction from what we are used to seeing your brand associated with.

Rasmus Faber: I am doing a lot of things which goes outside of my brand, especially lately, such as producing albums for other artists, making new styles of music, etc. Since my background is very broad, I never really had the intention of branding myself.

The Platina Jazz project was initiated by my Japanese record label. In Japan, my career is a lot less branded, and my albums and singles are seen more as part of the music scene as a whole, rather than just the dance scene. Over there they are also not as sensitive to artists doing different styles as we are here in Europe. This particular project was so much fun to do! I got to be a producer in the classical sense of the word, overseeing the recording, arranging, and developing the concept, but not actually being a musician. I also got to mix a jazz record, which was so much fun, and a great learning experience!

FHMDC: Can you give our readers some insight on the major hardware and software components of your studio?

Rasmus Faber: I’m on Mac and Logic 9, with loads of plugins. I’m a bit of a gearhead, both with software and hardware, and I LOVE mics and acoustic recordings!

Right now some of the hardware stuff I got is an LA2A, Urei 1178, Thermionic Culture Rooster, AEA TRP, Neve 1073DPA. Got a lot of love for my patch bay as well. Mic wise I use a Flea-47, Brauner Phantom C, Royer SF12, Shure Sm7’s and SM57s, EV RE20, AKG 451s, and a bunch of other stuff.

I use a Genelec 8040 with a 7050 sub for monitoring, and 8020s for nearfield, plus a pair of Avantones, which are awesome. Instrument wise I got a Fender Rhodes, a couple of analog synths, a marimba, lots of percussion and other toys. Getting the sub to the genelecs, plus having the speakers and the room calibrated by a pro, is probably the single best investment I’ve made in the studio (and it wasn’t even nearly the most expensive either).

I recommend everyone to really look over their acoustics before starting to spend to much money on metal tubes and boxes.

FHMDC: If you could only name one artist (musical or non-musical) who is currently “inspiring” you, who would that be?

Rasmus Faber: Currently, I have a lot of love for the Japanese anime film score composer Yoko Kanno. Its rare to find other composers where you feel they are sort of reaching for the same emotions that you yourself are trying to reach, but Yoko Kanno is one such artist, and she does it so well!

FHMDC: When it comes to producing house music, do you have any recommendations on who we should be checking out in 2010?

Rasmus Faber: Actually I really don’t, but I’d love some recommendations myself! Though I do love that Full Intention are making music together again!

FHMDC: What’s in store for the future? Any details you can share about upcoming releases, tours, partnerships, artist/mix CD releases, and/or videos…

Rasmus Faber: At the moment I’m on a month-long tour in Japan, so hopefully there’ll be some new nice dj videos coming from there. I got a new album out here, with some pretty rare stuff, called “So Far 3″ so if anyone is into imported cds…

I just released a digital compilation which I’m pretty excited about, with remixes of my stuff thats been done over the years. I feel really humbled by all the great producers who’ve graced my songs with their production skills!

Other than that I will start on my next album this summer, and aiming to be finished by early next year. I have some plans for how its gonna sound, and I’m quite excited! There might also be occasional house singles coming out as well.

FHMDC: Thank you for taking the time to accept our interview, and for supporting the Funkyhousemusic.com mission. We truly appreciate your effort, and wish you the best of luck with your future endeavors. To learn more about Rasmus Faber, please visit http://www.rasmusfaber.com/

Interview By: Suneel

Ducksauce – MTV Interview

Suneel — Thu, 15 Apr 2010 16:00:51 +0000

Thirty years down the line, it’s easy to forget that hip-hop began with DJs stringing the funkiest disco breaks head to tail. But more recently, as evidenced by the creative direction taken by artists like Timbaland and Kanye West, hip-hop seems to be reconnecting with its disco roots.

The prime example of the moment is Duck Sauce, the collaboration between hip-hop mainstay DJ A-Trak and electro-house DJ/producer Armand Van Helden on A-Trak’s Fool’s Gold label.

Source: http://www.mtv.com/news

Ducksauce – MTV Interview

WMC 2010 – DJ Dan ClubDistrict.com Interview

Suneel — Sat, 03 Apr 2010 19:00:11 +0000

An interesting up & close (although somewhat tense) interview with the U.S. funky house champion DJ Dan who hints about his label changing approaches from electro house to disco house (fantastic news in our respective opinion) along with describing his adventures during WMC 2010.

WMC 2010 – Tommie Sunshine KarmaloopTV Interview + DJ Mix

Suneel — Thu, 01 Apr 2010 15:00:40 +0000

DJ, producer, and songwriter Tommie Sunshine from Brooklyn, NY discusses his 13th visit to the WMC. In addition, we have a live DJ mix by the electro wizard from the W Hotel during his tenure in South Beach last week.

Tommie Sunshine – Live DJ Mix At The W Hotel – WMC 2010

WMC 2010 – Busy P KarmaloopTV Interview

Suneel — Sun, 28 Mar 2010 16:10:42 +0000

Ed Banger Records head of operations – Busy P – gets interviewed by KarmaloopTV at WMC 2010 Miami and discloses the tracks that have him excited at the moment.

WMC 2010 – Donald Glaude KarmaloopTV Interview

Suneel — Sat, 27 Mar 2010 15:37:48 +0000

House veteran and electro master Donald Glaude joins KarmaloopTV for an interview at WMC 2010!

In Flagranti – Juno Plus Interview

Suneel — Fri, 26 Mar 2010 16:00:14 +0000

Disco edit geniuses, In Flagranti have caught attention from the likes of Gildas of Kitsune having released their “Business Acumen” EP on the Parisian label, to Lo Recordings venturing their joint effort with Black Devil Disco Club. Often releasing on their own Codek label, such as their well-received LP “Brash & Vulgar”, they have made a name for themselves with their provocative artwork and distinctive high energy sounds.

In Flagranti – Juno Plus Interview

No related posts.

WMC 2010 – Classixx KarmaloopTV Interview

Suneel — Fri, 26 Mar 2010 13:00:59 +0000

KarmaloopTV is the first online network providing an in-depth look into global street culture. The site features exclusive interviews with designers, brands, artists and musicians, as well as behind-the-scenes looks at events, parties and street culture at large. Check out their interview with LA-based production duo Classixx at WMC 2010!

Mark Brown – CR2 Headquarters

Suneel — Thu, 25 Mar 2010 19:03:15 +0000

As part of their “at home” series, DJ Sounds diverge a little and catch-up with CR2 head honcho, Mark Brown, at his H.Q. in Richmond, London.

Part 1 is where Mark, without drawing breath, recounts the amazing decade he has enjoyed running arguably two of dance music’s most successful labels, Credence Records followed by CR2.

With WMC this week, Mark speaks to CR2’s exciting plans for Miami, with a massive party at Wall in the Mondrian Hotel “W” and the next installment of their live and direct compilations, this time mixed by Jose Nunez, Harry ‘Choo Choo’ Romero and Mark himself. You can be sure that he will have uncovered some nuggets that will go on to enjoy great club success.

Part 2 is where Mark provides the lowdown on performing live on the decks as part of MYNC with Nick Corelli; the future of DJ-ing and what this means for CR2; mastering; and advice for budding producers who want to be heard. Essential viewing!

The Face Vs Mark Brown & Adam Shaw – ‘Needin U’

Danny Tenaglia – The WMC Dance

Suneel — Wed, 24 Mar 2010 13:35:14 +0000

When you think WMC, there are few names that come to mind more quickly than Danny Tenaglia. He’s attended the annual event every year except one, and has produced some of its most indelible moments. Now in its 25th year, WMC wouldn’t be the same without him. It wasn’t until the late ’90s, however, that this fact became clear. It was around this time that Tenaglia’s parties at Groovejet took on an iconic status, cementing his place as The DJ’s DJ—the guy that every jock wanted to see in their time away from work. The before and after of Tenaglia’s career have been well-documented elsewhere, which is why in advance of this year’s conference RA’s Todd L. Burns called up the Brooklyn-born DJ to find out what made—and still makes—Miami so special to him, with a few digressions along the way.

Danny Tenaglia – The WMC Dance

FHMDC Exclusive Interview: Jay-J

Suneel — Fri, 12 Mar 2010 14:00:20 +0000

Jay-J | Composer, Producer, DJ

Undoubtedly a legend in house music, his career spans with over 150 releases, he’s won a Grammy® nomination, had his own Coke® bottle for the 2008 Beijing Olympics, DJ’d the 2006 MTV® AVMAs and launched two comp series for Defected.

As a producer, you’ll see his name on the biggest releases from Ultra, Moulton Studios, OM, Naked Music and Defected. He’s remixed artists from Jill Scott to Joss Stone and has collaborated with producers from Kaskade to Miguel Migs. On his new label, Shifted Music, you’ll find releases by Jay-J as well as some of the best talent he’s discovered while sharing his passion for House Music around the globe.

FunkyHouseMusic.com had the pleasure to to connect with the one and only master of quality, vocal funky house to discuss a variety of past, present, and future topics revolving around the Funky House genre. We hope you enjoy this dialogue.

FHMDC: Please describe how it all began – your love for music, instruments, and performance. What was it about house music that originally drew you to it? If it’s possible, provide the readers of FunkyHouseMusic.com who aren’t as familiar with your history with a short synopsis of how you became the multi-talented and prolific artist you represent today.

Jay-J: Growing up I played a few instruments. The first one I picked up was the saxophone, then later the guitar. I stuck with the guitar for several years. I really don’t know what drew me to music; it’s just something I was interested in. I played guitar through high school and messed around with a few bands but I also started DJ-ing in high school. I was DJ-ing at our school’s radio station, which played rock and heavy metal. From there I got a job DJ-ing at a roller skating rink.

At the rink I started working the Saturday afternoon shift and over time moved into working evenings and nights and for those shifts the music could be at times a bit more cutting edge so I started playing some dance music that was made for the clubs. At that time the main music library was 45’s but there was a small stack of 12″s that the nighttime guys would play from for the more underground sound.

From there it just grew to playing parties and events and eventually playing in a little dive bar in SF during my college years and soon, in 1991, landed a spot opening at a real club. A few years later I started to get back into music production. I was doing a bunch of recording and song writing in my guitar days and after a few years focusing on the dj thing I headed back into the studio and released my first house music record in 1994. From there it has been a continual journey to become a better producer and more proficient in the studio and being a student of my craft as much as a professional.

FHMDC: San Francisco and sophisticated funky house seem to go together like peanut butter and jelly. Names that emerged from that scene include the likes of Mark Farina, Miguel Migs, Dubtribe Sound System, and many more. What was and still is so special about that environment that seemed to be a breeding ground for dance music magic?

Jay-J: I think the environment, climate, diversity, openness, and surroundings all contribute. This also is a testament to the DJs who came before us. The who’s who of San Francisco house grew up listening to these DJ’s in the clubs. We all learned to love this music listening to the likes of Jeno, Pete Avila, Aaron O, Doc Martin and others who championed the early incarnations of the funky SF sound. We then carried the torch. But ultimately it was a group of likeminded creative people who seemed to enjoy a similar style and or sound and who simply set out to make music they were proud of.

FHMDC: The Jay-J resume is an endless array of jaw-dropping accomplishments that most producers will never be lucky enough to garner. From our research, you’ve performed at the world’s premier club venues such as Pacha – Ibiza and Ministry of Sound, visited destinations such as Dubai, New Zealand, and Brasil, and even rocked the MTV Video Music Awards in Australia. Amazing as that list of accomplishments is, what was it like to work for the Coca Cola WE8 project for the Beijing 2008 Olympics?

Jay-J: That was a fun project for sure. In the early stages of involvement I was given some drawings and 3D renderings of the bottle and the story behind it and of course a theme to write a song around. Happiness is the theme I was given and I felt that was perfect for the style of music I love to make which is very uplifting. I really had a great time collaborating with Lucy Woodward an amazing songwriter and even better singer and we had fun putting the project together.

It was interesting in that we were asked to document the process so we were taking pictures and saving the scraps of paper used to write the song and what not. It wasn’t until after the song was completed when I actually saw the bottle and the presentation booklet and CD and the packaging that I really saw how cool this project was. Then I heard from Berger, my manager, that in the Athlete’s Village there were listening stations built around 6 foot tall renditions of each bottle featuring the music we all created. Overall it was a greet project.

FHMDC: The names Jay-J and Latrice Barnett are music bliss for the veteran dance music fan with an appreciation for finely served vocal house. Please describe to us how this partnership of performance began.

Jay-J: My first studio, Moulton Street Studios, located on Moulton Street in SF had some problems with the city and landlord so we had to move and Chris Lum and I decided to take over a very large space to build new studios and once everything was up and running, after a long 6 month renovation and building process, I was at a point in my production that I wanted to work with a better quality of singer and I approached one of the best musicians I knew who was a bass player named Andrew Higgins.

I asked him whom he would want to sing on his album, someone he thought was talented and easy to work with, he mentioned Latrice so I contacted her and set a meeting. She was familiar with house music and as I was describing my style to her she replied “like Mark Farina style house”. I knew then she understood what I was talking about. Then we set up a time to record. The result of that first session was “Without Love” written by Chris Lum and me. She blew us away and I then set out to work with her more and more. We toured the world together and became really good friends having the time of our life creating music.

FHMDC:We recall a few WMCs ago Latrice and yourself throwing down together at the Defected event at Nikki Beach. The moment we heard “Keep On Risin’” live – we knew the production would have to return to the public re-interpreted through remix. The energy the track creates every time it is played is undeniable. 10 years later, and it has finally happened. What was it about 2010 and the current state of the dance music scene that motivated you to choose this time period to bring the classic back?

Jay-J: Actually it was started by a guy who did a re-edit/remix of the track and sent it to me on MySpace. I then thought it would be a good idea to update the song and see what happens so I enlisted a few friends Stacy Burket and Random Soul to help me create the updated versions. They all remembered the track and were more than willing to work on it with me. I am really happy with the result. I really enjoyed using my version as a more dance floor filling prime time remix, although it took me a while to get there. I had played around with several ideas over the course of a couple months revisiting the project and constantly changing things until I finally got it to the point I wanted.

2010 Jay-J’s Shifted Up Mix:

The Classic Original Version:

FHMDC: What is your collective opinion on the current state of the electronic dance music, its associated scene, and fans? Now that we are past the days of vinyl and CDs, has the digitalization age impacted how you view people digest and enjoy EDM?

Jay-J: This is an interesting point in time for electronic music. Never has there been more access to underground music and range of people who seek it out is ever increasing and broadening the listener base. Additionally, there has never been so much of this music around. There are so many labels and releases that at times the volume seems unbearable to those of us in the industry, but for the consumer the range is incredible.

The fan base is growing but the economics of the industry seems to be in a decline with music sales being in the low hundreds and gigs for soulful music being few and far between for many of us. People have also gotten used to getting the music for free and less likely to spend whatever money they have in this economy, either for the music itself or for the clubs where this music is prominent.

There are many DJ’s and producers who used to be able to make a decent living in this niche industry and now find it hard to survive. I can’t tell the future but I it seems that soon the music will be relegated to hobby status for many of us as we ponder what’s next in our careers. Fortunately, for those who enjoy the music there are plenty of new producers who are not yet disillusioned with the state of the industry replacing the seasoned veterans.

FHMDC: Can you give our readers some insight on the major hardware and software components of your studio?

Jay-J: My main production tool is Pro Tools software and hardware with many high end plug ins like Sonnox, McDSP, Massey and others. I work out of Flux studios in NY for mixing and recording and the high-end outboard gear available to me is pretty incredible from vintage, classic pultec Eq’s and compressors to mastering grade components.

Working in an acoustically sound room with great Focal monitors helps me reach the sound quality I expect to support my creative vision. Even though I get an incredible amount of work done at my home studio with a modest set up (Digi 003 rack, M Audio DMS2 speakers, Axiom Pro 49 controller) and some headphones (Sennheiser HD600). So the technology has gotten to the point where really good quality record can be made with small and relatively inexpensive set ups. I also use a Studio Electronics SE1X for a lot of sounds, mainly basses and leads as it’s a monophonic analog synth based on a moog and boy does it sound fat!

FHMDC: Considering your musical career, we assume you have had very “interesting” experiences along the way. Would you be willing to share an unforgettable story that you fondly recall?

Jay-J: I do remember that first session with Latrice and after recording the main parts of the song we had her do some ad lib takes. I just kept having her do more and more, not because we didn’t have enough but simply because I was in love with her voice and wanted to keep hearing her. Finally I had to stop and admit to her that we kept going just cause I was enjoying listening to her sing.

I have had many firsts along the way with my DJ gigs as well. Playing legendary venues like Ministry of Sound (London), Pacha (Ibiza), Zouk (Singapore), Southport Weekender (UK) have all been amazing and quite daunting those first times.

I also spent a lot of time working with a full band and recreating many of my records in a live setting with Latrice and some other incredible musicians and toured with them as well. In fact on the Keep On Rising 2010 package there is a Live mix that we recorded with a new arrangement using all live players. Touring with the band and recording with them was a great experience.

Hearing my music played by other DJs in clubs is also a very positive and uplifting experience, but being on the dance floor at the WMC for the Magic sessions and having both Louie Vega and Tony Humphries play my Jill Scott remix to thousands of house music lovers and watching the place erupt was an experience that will last a lifetime.

FHMDC: If you could only name one artist (musical or non-musical) who “inspired” you in 2009, who would that be?

Jay-J: There are a few for sure but the first two that come to mind are Jimpster (would love to work with him someday) and Dennis Ferrer. I think both of these guys have proven to be incredibly talented but also visionary in creating styles that others inspire to emulate and that’s a hard thing to do.

FHMDC: We noticed on iTunes that you offer a very rich Podcast series entitled Jay-J’s “Live From…” documenting your DJ sets while on tour. This is a gold mine of DJ mix sets, and we highly recommend the readers of this interview to check it out. With that said, your love for DJ-ing seems to be as strong as ever. What is your opinion on performance today as compared to earlier in your career? Do you find it equally satisfying? Has technology impacted your performance style? Do you find yourself wondering if dubstep is the next chapter for Jay-J? (We hope you take that last one amusingly)

Jay-J: I really enjoy capturing my live sets and I think the Live From concept is great way to present these mixes. I have the honor of visiting these great cities and great clubs all over the world and get to document these nights and present them to others who enjoy the same style of music I love. I still love DJ-ing and having a packed gig with a great sound system is the highlight of my career each and every time it occurs.

The technological advance have made the traveling much easier with CD’s and digital promos. I have yet to switch to a software based DJ solution but I feel it’s coming soon. I am preparing for tractor and now as I get promos and what not I make sure they are labeled properly and categorized and in my library then I burn a CD for my current gig but when I make the switch to Tracktor, if I do, I will at least have a solid group of recent tracks available.

FHMDC: When it comes to producing house music, do you have any recommendations on which we should be checking out in 2010?

Jay-J: The Australian guys Random Soul (Yogi and Husky) are making some great music and we have been working together for a couple years now. They recently started a label and are releasing some great work.

FHMDC: What’s in store for the future? Any details you can share about upcoming releases, tours, partnerships, artist/mix CD releases, and/or videos…

Jay-J: I am currently working on an all-electronic album. My last album “Love Alive” is filled with songs and vocals and live instruments and has a very warm and soulful sound. This new project is all about a more groove based production style with me doing all the music and many of the tracks have a more techie direction.

I am also about to release a Love Alive Remix Album with many of the remixes taken from the songs off “Love Alive” and the Remixers for that project are a stellar line up of great producers including DJ Meme, Ethan White (Tortured Soul), Random Soul guys, Soulmagic, Jon Cutler, Giom, Chuck Love, Harley & Muscle, Joshua Heath, Pete Moss, Jevne, Christian Alvarez, Emil Lane (up and coming producer with incredible style) and more…

We are also in the initial planning stages of a ReSouled Vol 3, Potentially mixed by Mark Farina so that will be exciting.

FHMDC: Thank you for taking the time to accept our interview, and for supporting the Funkyhousemusic.com mission. We truly appreciate your effort, and wish you the best of luck with your future endeavors. To learn more about Jay-J, please visit www.shiftedmusic.com

Interview by: Suneel

Inside The Mind Of Wolfgang Gartner

Suneel — Wed, 10 Mar 2010 14:30:51 +0000

Is there any producer with a keener eye for detail than Wolfgang Gartner? The meticulousness of the electro house producer from Austin, Texas, has made him a huge star within the genre, and helped him net eight Beatport No.1 records. Whilst most electro house producers opt for simplicity – a big bassline and a simple house loop will do, won’t it? Wolfgang Gartner throws layers of synths and FX into the mix, resulting in tracks that offer a multitude of build ups, bass holes, and hand-raising moments.

Inside The Mind Of Wolfgang Gartner

DJ Harvey – Interview

Suneel — Tue, 09 Mar 2010 12:30:48 +0000

Why has DJ Harvey been hot property for the best part of two decades? Is it his effusive and laid back manner, his eclectic sets, his decision to leave the UK for pastures new? Having just released the much-hyped Locussolus EP on International Feel, and a remix of the Dirty Jesus classic “Don’t Fuck With My Shit” on Juno Records, Harvey’s showing no signs of slowing down (or speeding up, for that matter). Oh, and he’s got a brand new Green Card. Juno Plus spoke to him from his Los Angeles home about his return to Blighty, working with Rwandan refugees and remixing indie bands.

DJ Harvey – Interview

DJ Harvey: Disco Punk

Interview: Bob Sinclar @ Ambassadeur – Stockholm, Sweden

Suneel — Mon, 08 Mar 2010 04:39:39 +0000

Before Bob Sinclar’s recent DJ gig in Stockholm, Sweden, Cuepoint.tv met up with him for a very open interview. He tells us more about how he got into producing, how he ended up in a more commercial route, his relation to Axwell and more…

Interview: Bob Sinclar @ Ambassadeur, Stockholm Sweden. from CUEPOINT.TV on Vimeo.

Laidback Luke Interviews John Dahlback

Suneel — Tue, 02 Mar 2010 20:44:24 +0000

In a rare observation, we see two superstar funky house music producers interview each other on what is fresh in their present-day lifestyles. Enjoy this candid dialogue brought to you by the kind folks behind the Super You & Me portal. Laidback Luke Interviews John Dahlback Related Posts Beatportal – Laidback Luke Interview John Dahlback – June 2008 Top

Exclusive Interview: Dubtribe Sound System

Suneel — Tue, 23 Feb 2010 07:07:03 +0000

Dubtribe Sound System is a San Francisco based electronic musical group who produced and performed live world wide between 1991 and 2005. Dubtribe consisted of singers Sunshine Jones and Moonbeam Jones, but also included many sit in and “on tour” musicians over the years.

Originally born in a rent party, Dubtribe Sound System distinguished themselves as performers by performing live for many hours, rather than replaying their recordings from dat tapes or portable computers, and touring without stopping, often bringing their own sound, lights, and traveling family with them. But unlike their few counterparts in North America, Dubtribe would depart from the warehouse movement and establish themselves in the mid 1990’s as a grass roots tour de force, refusing help, press, or money from any outside interests.

They arrived at a time when the world was in turmoil, the rave was a new idea which empowered people to gather and dance. Few followed the example set by Dubtribe, but many people were inspired to find their own road.

Dubtribe Sound System performed their supposed final live concert at Cielo, in New York City on December 1st 2005. Many friends and family were in attendance, it was the perfect ending to a wonderfully indepenent, situationist, and punk rock road far too few people choose to travel with the passion and love that Sunshine and Moonbeam have. However, they reunited on September 5, 2009 to play at the “Buzz Reunion 101″ event at Ibiza Nightclub in Washington, D.C. and have since announced their comeback…

When we discovered that Dubtribe was back, FunkyHouseMusic.com had to immediately leap to the opportunity to share some dialogue with the duo, and learn more. After witnessing a fantastic live performance at Cielo – NYC in January, we finally got their attention and we hope you enjoy this rare interview with Sunshine & Moonbeam.

FHMDC: As respective followers of your timeless sound since the 90’s, it is with great pleasure that you both have accepted our invitation for an interview. We clearly recall our first experiences witnessing your live performance style from legendary events such as Buzz @ The Capital Ballroom/Nation and M3’s Music Makes Magic @ The Edge in Washington DC and have continued to appreciate your sound ever since. We know the readers of FunkyHouseMusic.com will truly enjoy this shared dialogue. So without further delay, let’s get started!

Please describe how it all began – your love for music, instruments, and performance. What was it about house music that originally drew you to it? If it’s possible, provide the readers of FunkyHouseMusic.com who aren’t as familiar with your history with a short synopsis of how you became the multi-talented artists you represent today.

Sunshine: We began by playing in our living room. We were going out to a lot of parties and really digging the music. We made a lot of tapes and handed them out to people – promoters, dj’s and dancers. People loved the tapes – which were really just stream of consciousness performances – but there was absolutely no interest in bands or live performances. So we started something we just called “The Dubtribe Party.”

We handed out a little 2” x 2” card with our logo on it, and a phone number to call for an info line. 415 764-2903. The party was at our flat, and people started to come. It was a lot of fun, but quickly got out of hand. So we tried to move it to a club, or some other place, but people didn’t want to come to a club back then, they wanted to come to our flat where they were free to do whatever they wanted. We did play a few times in various places, but it was the Dubtribe Party which really went off.

Henrik and Geive from Spundae were just beginning and were also having trouble getting people to come to their party in the basement of DV8, and they asked us to help them. So we started having the Dubtribe Party in the basement of their event. The basement was packed, and we played for hours. That was where we were really born. Soon we were playing at all kinds of events, parties and clubs. Urb magazine wrote about us about the same time Onionz had gotten his hands on one of our tapes. Between Urb’s article and Onionz telling everyone on the east coast about us, we booked a little tour of the east coast. We quit our jobs, Moonbeam bought a van, and we were off. We never really looked back from there.

For a few years we were just a live band. We didn’t record, or really know how to record. ‘Sound System’ and ‘Selene Songs’ – actually recorded the same year – were really just live to tape albums. We had no idea what we were doing. It was Jonah Sharp from Spacetime Continuum who parked me one day and said that if I spent half the time in the studio that I spent touring we would actually make really good recordings. I really took that to heart, and we got a computer, and a dat machine and started learning to produce in the studio.

Moonbeam: It all began in a closet on Bryant Street with a Korg M1 and an EMAX II sampler. There was a bunch of us rehearsing every week hoping to get some gigs. House parties had taken a strong hold on the clubs in San Francisco. We went out a lot!! We abandoned the band we had begun and formed something totally different. We got MMT-8 sequencers and Dubtribe was born. The whole thing came as a complete surprise to me. I didn’t know much about house music and club culture and much less about the former underground rave movement. But once I “got it” it was infectious. Nowhere in popular music culture was anything so unique and creative happening. I would say that is true even today. To have been a part of the explosion of rave and house culture was a gift. I loved it. Never felt so much community before nor since. So to get in a van and play our version of house music to people in every little dive and dirty warehouse across North America was a mind-expanding experience. I miss it and love it still.

FHMDC: Dubtribe Sound System ended a 14-year run in performance in 2005. For 4 years we thought we would never enjoy the Dubtribe experience ever again. Then in 2009, the duo reunited on September 5, 2009 to play at the “Buzz Reunion 101″ event at Ibiza Nightclub in Washington, D.C. Furthermore, Dubtribe has a very busy schedule emerging for 2010 and beyond. What was the motivation to return to performance as a group?

Sunshine: I never stopped making music or performing live. After Dubtribe ended, I undertook DJ-ing seriously, and began to produce on my own. Most of the work was an obvious counterpoint to what DSS had done. I sang, and I spoke, and I re edited on the fly, but the sound was decidedly less percussive, and less “inspirational.” I wanted to express something else, and find my own way.

Booking Sunshine as a solo artist was not the same as booking Dubtribe. I did play some of the most amazing shows of my life in that time – Deep Space with FK was hands down my ultimate DJ gig. I could have retired forever after that show, I knew at the time, and have continued to believe that it just doesn’t get any better than that.

During that time I did a one-year residency at Love in New York City. I brought my weekly show Sunday Soul to love once a month. Sunday Soul is a themed Internet transmission where I pick a theme each week, and apply myself to it. One week at Love the theme was VOICE. I invited Jenifa Mayanja, Monique Bingham and Moonbeam to please come and talk at the forum – a session before the party – and to sing with me while I played. To my surprise Moonbeam agreed. Unfortunately she couldn’t make it in the end, but it opened a dialog between us about the possibility of working together. Since we work so well together, the rest just kind of came from there.

Moonbeam: The re-emergence of Dubtribe was inevitable, in my mind. Sunshine and I lost our way for a while and had to part. Dubtribe was always bigger than the two of us, but, personally, I had nothing left to give. I needed to find my reason again. A lot of time has passed and a lot of healing has gone on for me spiritually, emotionally, mentally….you name it. And I think Sunshine and mine relationship as friends have come full circle. That was critical. In addition, I think performing together again solidifies and crystallizes the fact that Sunshine and I will always be united through our music and our history. We are family. So, Sunshine and I were talking last August and I was like “Do you want play a Dubtribe show again?” And he was like “Sure. Do you think anyone will book us?” And I said, I would ask a few people and let’s see what happens. We truly were not sure if anyone really cared anymore. It is wonderful to see that they really do. ☺

FHMDC: There is a very distinct element to most of your original productions, which is the unbelievable energy that blooms and romances dance floors. It is an undeniable injection of positive vibes when Dubtribe performs live that we believe is a timeless quality rarely seen in the ever-trendy electronic dance music world. Is it possible to describe what artistic influences have impacted you both to write music the way you do?

Sunshine: Thank you. That’s truly a compliment. My influences are pretty broad, and don’t have a lot to do with house or techno. What influenced us from the start was really the party. San Francisco in the late 80’s and early 90’s was not known for it’s production, or it’s DJ’s. We were a city and a community who really knew how to throw a party. We were dancing on beaches, in filthy little warehouses, and literally anywhere and everywhere you could fit a sound system. Those parties were so inspirational, and so amazing that what I wanted to do was bring that feeling everywhere we went. It sprang more from wanting to celebrate how wonderful it made me feel, and my desire to participate in it beyond just being a dancer. I never really keyed into the egoism of the DJ as a superstar thing, I’ve always thought that was lacking. What I really loved was the ‘feeling’ in the room, that sense of unity, and the experience of being completely anonymous and totally connected at the same time. Nothing else really creates that feeling like being in a crowd of people dancing to house music at 4 am. So perhaps my biggest personal influence was just the blur of music being mixed, and the smudge of myself that we left behind on those beaches and warehouses.

Moonbeam: Artistic influences? Everything from the music in my formative years like the Bee Gees, Carly Simon, Carole King, Tina Turner, Everything Disco!!, to New Wave, Soul, Brian Eno, Sade, Miles Davis, Nina Simone…..all that and more. And life – life experience weighs heavily into what I write and what I say. Now I just hear music in my head. Words I want to say….melodies I want to hear — and the vehicle for that is house music.

FHMDC: We noticed at your January 2010 performance at Cielo (New York City) that your live stage set-up has altered as compared to the past. As innovative technology continues to evolve, how do you see your performance style being impacted? Do you plan to embrace the innovation?

Sunshine: It’s true. I’m using a Mac. It’s a whole lot better than an MMT-8. We used a pair of the Alesis MMT-8’s as our primary sequencers for many years. They crash, the buttons stick, and cause endless trouble. Switching to a mac has been both liberating, and challenging. I’ve got a copy of Ableton Live, and a copy of Traktor Pro as well. I really don’t use Live that much because it’s more of a tool, which locks me into a tempo, and asks me to figure things out ahead of time. Traktor is more like mixing, and allows me to do whatever I want.

The difference is really that regardless of what we’re playing it needs to already be recorded, and available on the fly. To that end, I really preferred the MMT-8 experience. Using the endless pile of virtual instruments, effects, and sequencers available now I suppose I could re create that experience using Live, and perhaps I will, but these are really interesting times in terms of technology. I wrote our only new song “Who’s the bad ass?” on my iPhone using TechnoBox – a silly 303/909 app – and we played it for the fist time in DC. So anything can happen, and anything is possible.

In terms of impact on style and performance, I think that what we are doing right now is reviewing. We’re looking at the music we’ve written and performing it again. We are testing the waters to see if we want to do this again, and if anyone wants to come see it. So we’re not worried about being purists right now, we’re mostly interested in dancers, and our own hearts. Is this inspirational? Are we taking something positive and productive away from the experience? If we decided to continue, and write a new album, we’ll absolutely find the best way to produce the new and old music on the fly in our performances.

Moonbeam: Gotta move with the times I guess. There’s SO much innovation and technology to create music today. It’s mind blowing. There are limitations as well as incredible leaps of progress you make with it. So, yeah, evolution is necessary. Also, the complications of modern transportation is challenging for all of us. Being compact makes it easier to get from point a to point b.

FHMDC: There is a rumor that Dubtribe is beginning to work on new production material. Is this true? If it is, is it possible to describe your production workflow and what your methodologies are to approaching a new original song?

Sunshine: That’s something we’re talking about, yes. How we’ll do it – being bi-coastal – is still to be determined. For the time being, this year, we’re just seeing if there’s really any interest in us doing a new album. Times have changed, and there are no major labels beating down our door with recording budgets for us. So whatever we do it will probably be something we have to work out on our own.

Moonbeam: Yes. I believe new music is on our horizons. Methodologies are sure to be challenging as they have always been. The creative process is a mysterious one. The joining of two creative streams from two different people is usually a very intense experience. I am not really sure how we’ll do it. But I believe we will.

FHMDC: Considering your musical careers, we assume you both have had very interesting experiences along the way. Would you be willing to share an unforgettable story that you fondly recall that has made performance such an important piece of the Dubtribe experience?

Sunshine: The best moments really just kind of happened magically. It’s really much too easy to remember the absurd, and the supremely difficult things that happen. For me the most memorable moments are ones like the Starscape Festival in Baltimore where everyone just gathered and drummed, and danced and really celebrated the moment. I wish I could explain it better than that…

There was this huge Drum and Bass area, and a pretty small House area. Drum and Bass had been talking a lot about replacing house, and the kids were really into it. It felt bad. Like bad neighbors moving in to try and take your back yard away. I was personally really threatened at the time. But when we started to play, literally everyone gathered into the little house area and picked up a drum. The sun was rising, and everyone was smiling, and dancing and really giving him or herself to the moment. It was a life changing moment in time.

Another similar event was the Alachua County Music Harvest. Our friend Simon Semrani set up this festival in the Florida forest, under a full moon. We played and something mystical happened. We just totally broke free, and the whole festival came unhinged. There was this police officer sitting on the edge of the stage with her arms folded and a scowl on her face. I focused on her, and aimed my words at her stonewall energy. A couple of times she turned around and looked at me like “What?” but by the end of the 3-4 hour set, she was dancing on the stage. Literally everyone in that forest was wide-awake and present. It was one of the most beautiful things I have ever experienced in my life.

It’s a lot like our music. You really had to be there to really understand what I’m saying. Thee are dozens of those amazing moments in my heart from over the years. The tent at the World Electronic Music Festival was incredible; those Detroit and Toronto boys in baseball hats with their arms folded in defiance were hatless and screaming at the end of our set. A corn field in Kansas, an illegal beach party in Florida, a tiny warehouse in Manhattan, places which you might never even expect to go which were just packed with people who were ready to open their hearts, and dance, and join us in the moment. Unforgettable, and truly life-changing moments for me not only as an artist, or a performer, but also as a human being.

Moonbeam: Performance has always been critical to me in terms of the Dubtribe experience. In the early days, I would scribble down some lyrics to music we worked on in the studio for our “new live set” that we would take on the road and check it out. So much of my inspiration for where a song would go came from the live experience. What worked in the room. Songs were always evolving….growing….changing.

In the beginning, I hid behind the equipment and people really didn’t even know I was singing. They thought it was a sample. I have to say that I can’t really recall one specific moment – it was for me an ongoing evolution of finding my place and my voice in what we were doing. The experience of being on the spot in live performance shaped me profoundly and directed my voice and style to where it is today.

Sunshine: Personally I really love that we have exhaled as a movement. These are deeply inspirational times. I love what’s happening in Europe right now, slower tempos, and real challenges to the dance floor. Artists like LSB, Prins Thomas, Lindstrom, Low Motion Disco, Aeroplane, and the like have knocked my socks off as a DJ and as a dancer. I also really admire what Spun has been doing with Rong.

I’m even proud of Daft Punk, LCD Soundsystem, and other large-scale artists who have really just been taking things over the top, but not losing the essence of what’s important about getting together. Daft Punk because they are so beautifully forward and out front for a pair of French guys who won’t show their faces, and LCD Soundsystem because they’ve paired the obvious punk rock ethics of house and techno with really groovy music and the truth about how we talk to each other. Their cynicism is actually really refreshing to me. I think it’s really healthy that the “club” idea is just about extinct. I’m ready to be inspired by something a lot more creative than background music.

Moonbeam: I don’t’ know. I don’t really know what’s going on anymore. : ) It feels like it did when we first began. I club culture with lots of people getting dressed up and going out for a night of partying and dancing. There’s nothing wrong with that. I think that electronic music has a more mainstream crowd than ever, which is a good thing. I don’t believe there is any kind of “movement” like we grew up in. There is no focus. I’m not sure there should be, but I know I’m always looking for more in terms of content. And so if I can’t find it, I would like to create it.

FHMDC: What are Dubtribe’s goals for the future?

Sunshine: I’m really just taking it a day at a time. What’s next is next, and that’s where I’ll be. I’d love to make more music, and reach more people, but I think that if I’m looking for a community to express that in then I’m probably making the same old mistakes I have already learned from. I’m looking to take inspiration from the things that actually inspire me, and let the rest go. I’ve spent much too much time in the past in opposition to things, which simply don’t inspire me. Seems like a colossal waste of my time to me. So in terms of goals, I think I’d just like to carry on.

Moonbeam: We’re going to play some more shows. Then we’ll see what happens next.

FHMDC: When it comes to producing house music, do you have any recommendations on who we should be checking out in 2010?

Sunshine: Right now anything goes. I’m really inspired by DJ’s who are roaring off into their own spaces and challenging people. Jenö is a hero, as are Doc Martin, and Spun. But look to Woolfy. Look toward David Bumpstead and the Disco Not Disco crew in London. Look to Chateau Flight, Shit Robot, Padded Cell, Mud, The Revenge, Jim Rivers, Crazy P, Ytre Rymden Dansskola, Phonique, Bogdan Irkük, Lindstrom, Lake Heartbeat, and everyone who is defying boundaries and breaking all the rules for inspiration right now. Look there because they are amazing. Look there because they are blowing my mind.

Moonbeam: I love Woolfy! I still listen to a lot of ambient – Loscil is a current favorite of mine.

FHMDC: Thank you for taking the time to accept our interview, and for supporting the Funkyhousemusic.com mission. We truly appreciate your effort, and wish you the best of luck with your future endeavors.

Interview By: Suneel

Classixx: Starting Something New

Suneel — Thu, 11 Feb 2010 18:26:48 +0000

Classixx have been a high note for the Nu Disco/Indie/Electro scene over the past couple of years. Making waves on labels such as Kitsuné Music & In Stereo, check out this insightful interview conducted by ITM discussing the current state of dance music, remixing, and new original material.

Super smooth Los Angeles synthesizer champs Classixx are about to hit the country for a run of tasty club dates. ITM’s Dave Ruby Howe caught up with the duo of Tyler Blake and Michael David to talk shop, how they’ve tweaked and twisted their sound over the years and the changing attitudes towards dance music in America.

Classixx: Starting Something New

Audio Interview: Armand Van Helden – Here For The Party

Suneel — Thu, 11 Feb 2010 15:55:33 +0000

The kind folks down under at ITM conducted an audio interview with NYC house music legend Armand Van Helden to discuss 2010, touring, Ducksauce, and other interesting tidbits on Armand’s plate these days…

After twenty years in the game, one of house music’s true champions, Armand Van Helden is showing no signs of slowing down. On the studio front, 2009 saw Armand keep busy, hooking up with Fool’s Gold head honcho A-Trak to create the inescapable disco-revival project Duck Sauce.

Audio Interview: Armand Van Helden – Here For The Party

Interview: Philippe Zdar (Cassius)

Suneel — Thu, 11 Feb 2010 04:02:07 +0000

Right now, Philippe Zdar is a happy man – even a hefty bout of bronchitis can’t disguise that. Zdar (real name Philippe Cerboneschi) says the seven year wait to finish his studio, situated in the elegant Parisian district of Montmartre, has been worth every minute. Already the likes of The Rapture, Chromeo and Bloc Party’s Kele Okereke are taking advantage of the Frenchman’s production and mixing nous. Having made his name as one half of Cassius, Zdar made a stunning return to form last year with his production work on Phoenix’s Grammy winning Wolfgang Amadeus Phoenix, as well as his own double-sided EP as Cassius (with Hubert “Boom Bass” Blanc-Francard), which was fronted by “Youth, Speed Trouble Cigarettes,” a guitar-driven, fist-pumping electronica anthem. In a revealing interview, Philippe tells Juno Plus about his current slew of production work and admits his frustration at Cassius’ small back catalogue. Oh, and there’s even a baby Zdar on the way…

Interview: Philippe Zdar (Cassius)

Dennis Ferrer: Machine Love

Suneel — Wed, 10 Feb 2010 19:07:07 +0000

Resident Advisor has just posted an in-depth exclusive interview with NYC-based Dennis Ferrer. For those of you unfamiliar with the name, Dennis Ferrer is a serious force in the house music scene. Its time to get educated!

As paths into the world of production go, it doesn’t get much more humble than salivating over a TR-909 through a shop window. He may only have been a penniless, gear-less teenager at the time, but even at this embryonic stage of his career, the adolescent Dennis Ferrer knew exactly what he wanted to do.

Dennis Ferrer: Machine Love

Juno Interview: Lindstrøm

Implicit — Wed, 10 Feb 2010 02:41:31 +0000

Juno drops an interview with Lindstrøm — the Balearic goovemaster who has been leading the disco renaissance…

It seems Hans-Peter Lindstrøm can do no wrong. His latest album, Real Life Is No Cool, has been rapturously received by every publication from Pitchfork to the Irish Times, and the praise is wholly justified. Whether he’s knocking out a 40-minute cover of Little Drummer Boy, or crafting a superb full-length album, the man has a svelte touch that appeals to pop fans and disco beards alike. We spoke to Lindstrøm about quitting the DJ circuit, his next productions and how he almost covered Boney M.

Full Interview: Juno Plus – Lindstrøm

No related posts.

Interview: Le Castle Vania

Suneel — Tue, 05 Jan 2010 08:00:00 +0000

Atlanta based and internationally known, Le Castle Vania, commonly known as Dylan Eiland, quickly escaped the local trappings of his hometown in Georgia to play music around the world. Atlanta’s burgeoning music scene allowed him to develop his passion for music and nightlife, and he soon gained notoriety with his riotous DJ sets and penchant for production, which made him a household name in the dirty and distorted, indie-electro scene.

Since the summer of 2006, Le Castle Vania has toured nonstop, taking his catchy electro dance beats on the road. He blurs the lines between cultures and cliques, from Mexico City to London Town, with his own signatory sound. He has DJed along side some of today’s hottest acts, such as Justice, MSTRKRFT, Simian Mobile Disco, Busy P, Uffie & Feadz, Kavinsky, Soulwax, Surkin, Para One, The Presets, Steve Aoki and Crystal Castles. However, Dylan prides himself on more than simply pushing vinyl for the masses. He’s also an avid producer and engineer; when not on the road he’s locked in the studio writing tracks from scratch and remixing his favorite bands. The attention he received from his remix of ‘Black Eyes’ by Indie darlings Snowden (Jade Tree Records), quickly put Dylan on the map, the track continues to rock dance floors worldwide.

His signature sound blends grinding disco punk with strong electronic beats and catchy synth leads, resulting in banging electro music that is dark and dirty but somehow equally uplifting and dancey. URB Magazine included Le Castle Vania in their Next 100 for 2008, NYLON and Jane Magazine absolutely demand he play at their events. Fader, Flavorpill and BigStereo have all ‘raved’ about his remixes. It’s clear this is a talent not to be dismissed, for Le Castle Vania is sure to be on the tip of everyone’s tongue and his sounds to be banging in everyone’s heads heading into the new decade!

FunkyHouseMusic.com welcomes Justin Nizer & Eyewax TV for this special video interview:

For more information about Eyewax TV:

http://www.facebook.com/eyewaxtv

http://www.myspace.com/eyewaxtv

Exclusive Interview: Onionz

Suneel — Tue, 10 Nov 2009 08:00:00 +0000

It’s 1982 the school park is rocking and the early sounds of a young DJ are pumping through the streets. Meet DJ ONIONZ, coming straight out of Queens, NY with a couple of turntables and setting the party off right. Now with over 30 years of music under his belt, a heavy travel itinerary, and multiple production and remix projects taking place, he has definitely kept the dance floor moving.

Q. Who do you have to thank for teaching you in the early days of your career or were you self taught?

Onionz: Latin Rascals in the 80s on WKTU Radio in NYC . Their mega mixes taught me crucial editing for djing is. How much excitement it can bring to a crowd and how u can draw more attention from listeners. They were THE REAL MASTERS in my book. They were amazing!

http://www.youtube.com/watch?v=0aGRKTo4lcg&feature=related

Q. Any production news on the horizon or upcoming gigs?

Onionz: Tons as always! 7 originals on the relaunch of Electrik Soul with remixes by some of the greatest talent around the world. Tedd Patterson, Bryan Zentz, Yousef, Slok, Magik Johnson, Bastards of Funk & Sonic Union, Timo Garcia, Josh Collins, Matt Playford, Jamie Andreson, Kid Massive, Deemah, Nic & Danny Chatellain, Alland Bayallo, Worthy and possibly Derrick Carter.

I also have remixes coming out for Kid Massive of Blaze -My Beat and a remix for Honey Dijon feat Celeda, which was put together by Shane Carson up in Montreal. My Timo Garia remix was out last month.

As far as production we are also throwing events in NY and bringing our remixers who have been so kind to work with us.

Q. Can you see future djs evolving into other fields, like mixing entire soundtracks for video games or doing a set filmed in IMAX and it shown around the world while your playing on the other side of the planet?

Onionz: I think that people need to get a stronger foundation and stick to the future in the music not around it. I think that technology has surpassed people’s skill which has been my biggest upset as I’m a super controversial guy, so I will stop there, hehe.

Q. My dream set would be playing @ the Matchu Pitchu Inca ruins in Peru, where is your dream location?

Onionz: I think Time Square NYE with the sound being designed by Ruanne Emmenes who is one of my best mates and the best sound engineer on this planet. We are currently going to be using Ruanne Emmenes and Jacob Cox’s speakers at some of our ElectriK Soul events. ITS GONNA BE HOT!

Q. What venue that you have played at has impressed you the most on your travels and what makes that location special?

Onionz:I have never been too bothered with location; it’s about sound and the people. If the venue is nice and sound stinks it does not matter. I actually like really run down places where we can bring the perfect sound for the room and give the space life.

Q. I’ve had a definite million seller idea for a single for years, how does a punter/non dj get you to take them seriously?

Onionz: I think if people communicate well to me it helps allot! Not just “here listen to my Myspace page”.

Maybe a really well thought out simple message. I love talking to people about ideas about music.

Q. Isn’t it time djs are doing TV commercials for big dollars fragrances and fashion labels when they have the anywhere from thousands to millions of impressionable fans?

Onionz: I don’t have an answer for that.

Q. The most moving comment you have ever received about your work?

Onionz: It was when my mom and aunt were in front of the speaker in NYC and I was djing for about 3000 people during the day at PS 1 and my aunt n mom said it was amazing. That was a moment for me.

Also, in 1992 when the Music Conference used to be in NYC i was djing at Mancuso’s loft and Sven Vath was dancing with Lisa Loud and Pete Tong. Sven said to me while i was playing “Ron Trent Altered States”. he said he loved my music. Was a big compliment!

Q. What track from your youth do you always want to rip out to shake up the room and what memories does it bring back for you?

Onionz: Oh jeez, I do allot of edits and take old tunes and add drums for today that people are familiar with I would have to say. My versions of THE CURE and Chicago – Street Player are good examples.

Q. Share with us a dj that really impresses you with their technical skills that you have worked with in last 12 months?

Onionz: Alland Bayallo. He’s from San Francisco and he has an amazing feel for djing. He’s got a great swing to his music and excellent energy.

Q. Who is your favourite female vocalist in the dance music industry that you consider has the voice of an angel?

Onionz: Sandee who sang Notice Me, her voice on that tune was inspirational.

http://www.youtube.com/watch?v=ltMTwRPPJSs&feature=related

Q. You biggest achievements this far has been?

Onionz: Djing for 27 years with only one full time day job.

Q. The wave of the future aka 2010 is rushing towards you, any hints on your 2010 plans?

Onionz: ELECTRIK SOUL; we are doing our thing, we are a movement, we are our own genre.
We will try so hard in a day where people are so afraid to take risks to take risks.

An Electrik Soul compilation and tour for 2010 is a must!

Q. Can you reveal where your @ for New Years Eve or would you like to pass on this one?

Onionz: Hoping to do Electrik Soul NYE in NYC. Our space is not confirmed yet but we are excited.

Q. With the state of the current technology can you see dj equipment improving much further?

Onionz: I was taught early on by one of the most influential people for me as a dj. Her name is Alice and she owned one of the largest distributors in America. She always explained to me how having the newest or most of anything is not crucial. its always about my expression. My dedication and delivery is what people will always accept before technology. We as dj’s have to embrace what we have first before gathering more and more.

Thanks to Adam R for taking the time to conduct this interview, and sharing it with us.

http://www.globaldancesession.com