Invisible City

The ICE Men cometh…

10-02-2016 10-37-34

The Pool welcome our newest addition: Invisible City aka Gary Abugan and Brandon Hocura….

Amidst the seemingly endless flow of reissued and re-edited music that moves at the core of the great vinyl resurgence it is all too easy to become disillusioned. A piece that has sat patiently on your wantslist for years can suddenly become very available via a fortuitous re-issue. In your hands, at last, you pop it on your platter and all your initial joy is flattened; rather than being the faithful sonic reproduction you had hoped for in reality you have your beloved track recorded on to what sounds like a stale quiche. Yet amongst the vulture capitalists brutalising your beloved music there is a healthy flock of labels doing it right and Toronto based Invisible City Editions can be considered to be at the forefront of this honorable breed.

Operated by Brandon Hocura and Gary Abugan ICE have, over it’s three year history, reissued some of the key pieces that have come to feature in the bags of what RA’s Matt McDermott has christened the new “breed” of “digger dj”.

Perhaps dissatisfied with the beige palette of synth dribble that often constitutes the beatfart top 20, DJs have started to look backwards for dancefloor fodder. Thus when rare Trinidadian disco from Stephen Encinas and Haitian electro boogie from Jeancy emerged from the ICE stable it was unsurprising that the singles were quickly consumed by the likes of Hunee, Antal, Four Tet and Caribou amongst many others.

On reading the outstanding interview with team IC courtesy of Juno Plus and Brendon Arnott you learn a lot about the dedication and passion for music that undergirds the ceaseless worldwide quest for these rare records. What you also learn is that a love of film bonds Gary and Brandon, a fact reflected most vividly in the cinematic trajectory that each of the ICE releases seem to have. Encinas’s Disco Illusion was discovered by Gary and Brandon at a record warehouse in Trinidad and to accompany its release a heartfelt exposition from Encinas himself on the substance of the record was posted on the ICE website. Plucked from obscurity after languishing in a damp box and given a new lease of life, Disco Illusion and it’s timeless call to dance can be enjoyed and understood by a new generation.

In the hands of a more fiscally motivated label the message of Disco Illusion may not have been transmitted or at least not with the clarity that ICE achieved. Like the best directors Gary and Brandon are masterful in what Arnott describes as “redefining how we interact with the past”.

This communication extends beyond label ownership as team IC have got pedigree as a DJ duo. Whether it be slaying a festival crowd with a robust set of soundsystem primed island reggae and disco or playing to the more intimate crowd at their second home London’s Brilliant Corners,  team IC take dancefloor communication very seriously.

As witnessed on their recent Dekmantel podcast offering they are not averse to letting the well aged fruits of their digging labours rest up alongside newer tackle, so we see 90s zouk from Erick Cosaque in the same mix as a brand new tribal zinger from Randomer.

High demand has seen them play across the world and 2016 is set to be a globe trotting year for the duo with a performances confirmed at the Selectors Festival in Croatia and European tours lined up.

To welcome the guys on to the roster we thought it would be good to pick their brains via an interview which you can read below. They have also recorded us a gorgeous poolside mix which you can find on our soundcloud…

 

Gary and Brandon welcome to the Pool, it’s great to have you working with us. Brendan Arnott gave a really comprehensive profile of you guys for Juno Plus last year so I’m going to skirt around a lot of the biographical stuff. Can we start on a discussion of the name Invisible City? Is it taken from the Calvino novel?

It is, we are both big Italo Calvino fans. Invisible City started almost ten years ago as a Monday night ‘listening session’ at a local bar. It was totally free format, sometimes it would evolve into a dance party, other times people just sat around listening to weird records. It was basically just an excuse to hang out and share music.

We thought the name was appropriate since we’ve always thought about music as geography, and the idea that mixing records transports you between all these strange places and times periods is something we think about a lot.

The act of reissuing music has morphed from being salvage anthropology to become a many headed beast, some seeking profit and others seeking something else. It feels like you guys fall very much in to the latter category. Can you give us your view of how Invisible City Editions works as a reissue label?

Well it definitely is something other than simply profit for us, but it’s our livelihood now, so we hope our records sell haha. I mean it really isn’t an easy thing to do, and we could be making a living doing some stable clock-in clock-out type thing, but we’re kind of obsessed and love most of what we do. We’re crazy enough to take all of our savings and travel to a country we’ve never been to because we have a lead on some interesting music or artist. I mean it really doesn’t seem like the most rational decision, but we’ve been lucky so far.

We do strike out a lot though when we find artists and they don’t want anything to do with the music they made years ago. Other times we can’t even find artists and so we have to abandon dream releases. Really for each release, so many factors need to come together; obsession, timing, luck, perseverance and just a good vibe about the whole project

In the age of discogs naysayers and other vociferous online critics running a reissue label can be a tricky thing to get right. In my eyes the label seems to get it very right, can you tell us about some of the most positive experiences and feedback you’ve had since starting the label? And how do you respond to any critics?

The best responses for us always come from the artists, when they are excited about their music having another life. Also, it’s always an amazing feeling seeing a crowd of people dancing and singing along to a song that we helped revive. In that moment you think about the artist, all the stories we heard about their lives and music, and the crazy journey the song took to get played in a club in 2015.

Do we have any critics? haha! Honestly I think we’re our worst critics, we’re kind of obsessive perfectionists, which is why our releases sometimes take ages to come out.

Let’s talk about your dj work. Like all good shaolin masters you guys are skilled with and have widespread knowledge on lots of different music. Can you tell us about the different sets that we could hear from Invisible City?

We both grew up listening to all kinds of music; punk, disco, house, hip hop, no wave, industrial, heavy metal, krautrock, shoegaze, all kinds of stuff. And I think we’re both really impressed when a DJ plays something unexpected, like when Richie Hawtin played a Wackies record in the middle of a minimal techno set. So that’s definitely something we’ve taken to heart and try and incorporate in our sets, an element of surprise, surprises that draw unexpected parallels between different types of music.

Since we’ve been DJing a lot more over the last couple years we have kind of developed sets based on rooms and crowds. In a big room with a “doof-doof” vibe we can have fun playing house and techno and sneaking in some Gwada track that sounds like latin house or something.

It’s always fun to play smaller rooms too with more adventurous crowds, so we can stretch out more, play slower, wider and weirder stuff and not stick strictly to the 4-on-the-floor thing. We’ve been lucky enough to play on some really killer klipsch systems recently and that was really fun because we brought records that we thought reflected our IC version of the Loft; african, caribbean, disco and electronic stuff that we knew would sound ace on such a high end system. In any given night we love the last hour the most, once a crowd is really feeling it, then we can slow things down and play melters (modern soul, lovers, weird electronic and even new age) and float people home.

Who do you see as like minded within the world of djing?

We have become super close friends with the Red Light/Rush Hour crew (Tako, Jamie Tiller, Abel, James, Marco, Orpheu, Hunee & Antal) and definitely share a sensibility for music and DJing with those guys. And we like to party too, but those RLR guys are next level. A friend of ours in London JM Gomez is also super fun to play with, a great collector and super nice guy. Aussi DJs too Steele Bonus, Mike NIMH, and Jamie Bennett. Dan Snaith is a friend of ours from childhood and we all grew up on the same music together, he’s a great DJ and is great at stitching together all kinds of music in his sets.

You’ll be coming over to Europe in the spring of 2016. How have you found your tours in Europe so far and is there any places that you really want to visit?

We’ve loved Europe so far, really great scenes and really eye-opening to play all these cities and meet all these like-minded heads who like weird records and good food. It’s pretty amazing to hear the DJ playing before us in Moscow playing a record we discovered in a warehouse in Trinidad!

We’ll go anywhere haha, but I think we’re both pretty stoked at the possibility of playing Kazakhstan.

As well as being music aficionados you are both authorities on cinema. What film would you say the Invisible City nightclub experience is equivocal to? (not sure if we should use this)

B and me are huge movies nerds. before there was internet and bit torrents there was a crazy underground movie scene.You could only see stuff in the theatres or some 4th generation VHS tape. For some reason movies have lost their edge but we still like weird stuff like Kenneth Anger, Peckinpah, Cassavettes, Fassbinder, Charles Atlas, Jodorowsky, Daren, Iranian films, Ackerman, Shaw Brothers, Skate videos . . Joshua Oppenheimer is a new director to watch.

Going back to the label you guys have some interesting releases in the pipeline. The Pool have clocked some proto Hindustani electronics and cosmic funk from a Bryan Adams affiliate waiting in the wings. Let us know more…..

Yep, those two are coming up soon. We’re going to put out or first artist comps next year, Ahmed Fakroun and Shadow are the 2 big ones. We’ve also got a New Age artist from Mexico we’re doing a comp with and another Boothman 12”. We’ve been working hard, but we’ll see how much we can do in a year.

And finally the question we ask every one. Can you tell us your dream pool party?

Infinity pool party on a beach in Tobago. Amsterdam crew, Aussie crew. Klipsch system. Live performance from Shadow. BBQ, roti, bake and shark. Aged rum, nice wine and Johnny Walker Black (for Shadow).

 

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Invisible City, Music, Press

Africaine 808

EIGHT O EIGHT

We caught up with the mysterious Africaine 808, to understand a little more about who they are, where they’re coming from and where they’re at..

808 sticker

Hello Gentlemen how’s it going?

Both : Good. We´re in the studio and almost done for today. Another track ready to be mastered.

What are your musical backgrounds?

Dirk: I started playing instruments at an early age (guitar and piano) Big thanks to my parents who spent there money on the lessons I could take.

When I was 14 I played electric guitar in local rock&funk bands, got writing and composing lessons and got more and more interested in Jazz music.

Being 18 years old I moved to cologne and got deeply interested in electronic music. I was working for Groove Attack distribution back than and would spend more money on records than actually earning money at the end of the month. Returning some records filled up the fridge.

A few years later I met Matias Aguayo with whom I formed the group Closer Musik.

We released 2 12″‘s and an Album on Kompakt. After our time in South America we closed the chapter Closer Musik and I moved to Berlin where I did lots of collaborations with Nerk, Khan, Justus Kohncke, Eric D. Clark, Satch Hoyt and many more. Nowadays my main focus is on Africaine 808 alongside Nomad.

There are other more techno and house oriented projects alongside Mirko Hecktor under the moniker Project01 and Markus Wegner as STNH. I am also working for the public radio since 15 years, being in involved in radio features and radio play productions.

Nomad : I started collecting dance music very early on, taping top of the pops together with my Sister every Friday.  Got my first vinyl LP (Blondie -Parallel lines) at my tenth Birthday and fell in love with collecting records. Making music started in my parents Basement  in the mid 80’s with glueing Tape loops and doing Industrial, Avantgarde stuff. In that phase i discovered Brian Eno and David Byrne’s work when they where messing with African music, which was the first memory i have on getting into polyrhythms and african percussion .

Also  Skateboarding influenced my musical taste through my entire youth because i got to hang out with a lot of other subcultures like punk , Hip Hop ,Rave and Psychedelic Rock stuff and didn’t have to stick to only one scene.  This also got me into the Cosmic music and Breakbeat scene of the early nineties- late eighties. I got to see Beppe (Loda) , Mozart and Baldelli play at some Afro/Cosmic Parties in the Alpes which really inspired me to become a DJ.Later when i got into Jungle and Drum* Bass i would still be mainly dig/ produce more Percussive/ African grooves.

After that came a phase where i produced more abstract electronic beat stuff as a part of ” White Dolemite” (Bpitch Control) and started mixing West London Broken Beat Styles with classic Blockparty and Afro Sounds with Hunee as Triple A Soundsystem. After some years it was evident that i would go more into the Afro Direction and i started VULKANDANCE as a partyseries for Afro and Tropical music.

Could you tell us about Africaine 808, how and why it came into being?

Dirk: Because of me getting on Nomads nerves to start making music together.

Nomad: True. We knew each other since the time we worked for competing labels – Dirk for Kompakt and me for BPitch Control , and we had a lot of mutual respect for our Sound design , i guess. Dirk always asked me when we would start something together – and after ten years i finally gave in and we started working on some remixes of Afro and Islands tunes. It was really just more of an Experiment. And it still is.

What is message of the band?

Dirk : “broken glass everywhere…”

Nomad : If there is any message than its ” Freedom ” . A Freedom you can reach , by breaking barriers, combining different cultural backgrounds , musical inspirations, production methods and relying on willpower, hard work and the laws of harmony and rhythm. We are a Transcultural listening music project that likes to make people dance.
What music is really doing it for you at the moment, old or new?

Dirk: It doesn´t matter. It´s got to be good music.

Nomad: Same here. I am a mean music collector when it comes to African and Tropical music. The stuff i spend most time looking for comes from the 70’s and 80’s … but that is mainly because that stuff is disappearing right now and i need to spend a lot of time digging for those records. The modern stuff is much easier to get by via download or record stores or mail order. I don’t dig as much Disco and Modern Soul as i used to , but that’s ok , because i am still not done with digitizing what i have at home.

So you have a new EP coming up on Golf Channel, then an album next year. What was your process for recording this new work?

Africaine 808 – Everybody Wants to (Golf Channel US)

Dirk: Recording Arranging EQing Mixing!

Nomad : Most of the stuff you are going to hear is all music we, or some friends played

(Dodo NKishi plays Drums on some tracks, Eric Owusu plays Percussion, Ofrin, Nova Campanelli and Alex Voices added vocals)  and that we recorded, engineered and arranged.

The use of Samples is reduced to a minimum on the Album and is mostly just novelty samples, pet sounds, ambiance, field recordings or spoken words. How we start the process is different each time. Sometimes I come to the studio and Dirk has already laid down some harmonies and I start putting a beat over it. Sometimes we find an idea for a drum pattern or a certain instrumentation together and we start with that. It’s always a growing experiment.

We never know where the journey will take us until we have almost arrived.

Current EP on Golf Channel

New LP coming early 2016 – get in touch for bookings….

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Music, Press

Discodromo get in a Pickle

NEW BUSINESS

The Italians from Berlin – Discodromo:  hit East London this weekend, holding court for new business at hot E2 spot The Pickle Factory.

 

The Crucial & Fresh boys have kindly dug into their not insubstantial boxes and come up with 5 tracks that are doing the business for them this winter..

1. Instant House – Awade (Joe’s Jungle Sounds Dub)

Joaquin “Joe” Claussell was a totally new one for us this year. This record is a great way to open a set. Who doesn’t love the sound of a rain stick? It possesses that tribal / shamanistic aesthetic we’ve been hunting for in our tracks this year. Couple that with the sound of a sax solo and some wooshing sounds and you might as well not play anything else ever again. More of the same over on Joe Claussell’s ‘Sacred Rhythms Music’. Shouts to DJ Dreamcatcher, on what ever spiritual plane he currently resides on .

2. Michal Turtle – Astral Decoy

This brilliant record fulfills all those cosmic cravings. Its part of a wonderful series of 12’s released on the fantastic, Music from Memory label, which releases records from way back when. This was originally recorded in 1980’s by a young Michal Turtle in his parents living room, but still sounds so relevant today. Fumix played this on our radio show a while back and we’ve been hooked ever since.

3. Pan Solo – Jungle Falls

Our close friend Ben Mansfield runs the fantastic Cosmic Pint Glass record label, and this little beauty is out very soon on the new ep. Hot Tropics. We have been lucky enough to have access to this track for a few months now, and it never disappoints. It’s maybe a bit weird, which is probably why we like it. The pan pipes stay strong throughout and hold it all together very nicely, and the results are always the same, a general chorus of heads asking “who on earth is this?”, fantastic stuff.

4. José Roboter – Amazonia

This is a weird one. We have a penchant for anything rain forest related at the moment so we searched ‘Amazonian house’ on google. This wee number popped up and that was it, love at first sight / listen. It sounds wet, like a rainforest. I cant seem to find out much about Jose Roboter other than he hasn’t got many soundcloud followers and that he was “born in the 70s from the unexpected love between a famous spanish flamenco dancer and a tattooed Berliner w*nker.” His output is high and if you like raw gear driven house then check him out.

5. Jack Pattern – Blackout

This is a winner every time. 100% builder and gets the floor lit! This one never leaves the bag and it’s usually a race between the two of us as to who plays it first. We also love any record that has dolphins on it. The ‘Another Language’ ep it features on has a nice Ruf Dug rework on it as well. Keep your eye out for the Swiss based Jack Pattern boys, we love their work and are expecting great things from them in the future.

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Discodromo, Events, Flyers

Todd Terje – London Live Show

Its Album Time

Todd Terje does his solo live show in London before Christmas, it will be great!

Tickets on sale right now, go get

Todd Terje Christmas-poster

 

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Events, Flyers, Todd Terje

Greg Wilson – Weird Substance

In the beginning there was the weird

As an addendum to last years Q&A with Greg Wilson on his new ventures with Blind Arcade, we’ll now cast our gaze on something only briefly discussed last time around: namely Mr Wilson’s new label Super Weird Substance.

Before we delve in to the substance of the label it will come of no surprise to keen Wilson fans that the label name owes part of its conception to Greg’s voracious appetite for culture. We thought it apt to include the quotation from sci-fi graphic novelist Alan Moore that served as the source of inspiration to Greg….

“Science started out as an offshoot of magic. The two became completely divorced from each other and bitter enemies. Although I tend to think that at the present moment the two are growing back together again. I was reading recently that people at the cutting edge of quantum physics believe that information is a “super weird substance” to quote the actual phraseology, which underlies everything in the universe, which is more fundamental than gravity or electromagnetism or the two nuclear forces.

This would tend to suggest that our entire physical universe is the secondary by-product of a primal information. Or to put it in more magical acceptable terms: “In the beginning, there was the word.”

Source: (The Mindscape of Alan Moore 2003)

A multi-media label in the truest sense of the word, Super Weird Substance deals primarily with music that, to borrow Greg’s own descriptive umbrella, can be termed “balearicpsychedelicdubdisco”. In a live setting the label has and will continue to host sixties styled ‘Happenings’ that include talks, art, bands and DJs.

Having amassed a posse of crack musicians and singers, SWS now boasts the sassy swagger of Sweet Tooth T, the gruff gravitas of The Reverend Cleve Freckleton & The Sinners and the manic magic of Kermit Leveridge & The Super Weird Society, not to mention the vocal force of nature that is The Reynolds.

Eight singles in all will be released during the summer, the label setting out its stall ahead of albums in late 2015 and 2016. Feedback has been universally positive with an eclectic range of DJs including Ralph Lawson, Fatboy Slim and Balearic Mike all praising the first four singles.

In September a showcase all-day Happening at Festival No.6 in Portmeirion takes SWS’s live ambitions to a new level with similar festival Happenings throughout the UK and eventually Europe and beyond the objective.

 

“The substance that has the most effect upon our culture and upon our lives is completely invisible. We can only see its effects. This substance is information.”

 

Here are some links to what the label is up to.

Blind Arcade Meets Super Weird Substance In The Morphogenetic Field:

SWS YouTube:

https://www.youtube.com/channel/UCcCzWOPsggoEFsqotXPv45w

SWS Website:

http://www.superweirdsubstance.com/

 

Plus a couple of press pieces that’ll give you an idea of the philosophy behind the label:

 

http://www.theransomnote.co.uk/music/articles/greg-wilsons-inspirations/

 

http://www.oxjamliverpool.org/features/super-weird-substance-greg-wilson-interview/

 

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Greg Wilson

The Pool Podcast #002

Back & Forth in the Pool you glide..

We’re back with the second installment of our Pool Podcast.

Again hosted by Matty & Ben, this outing features an exclusive guest Selection from Nenad Markovic, a chat with Faze Action’s Simon Lee, and new music from Todd Terje, Richard Sen, MMT, Faze Action & more..

Have a listen, and let us know what you think via twitter…  https://twitter.com/thepool_london

 


The Pool Podcast – TP001

summery turquoise water

We’re kicking off a new series of recordings featuring chat, tracks from the roster and selected guest mixes.

The first installment is now live, and features an excellent guest mix courtesy of Michael from Noise in My Head

Hope you enjoy…


Andras Fox & Oscar: Live

European Tour 2015

 The Pool is very pleased to announce we are now taking booking requests for the debut UK & European tour of the Andras Fox & Oscar Key Sung Live show.

So far the acclaimed duo have released two well received LP’s : 2013’s ‘Embassy Cafe’ on Dopeness Galore and the most recent outing ‘Cafe Romantica’.

If you aren’t familiar with the duo or would like to see them in action please follow the links below.

We have dates available on request between July 1st and September 28.

For any more information please contact : rob@thepool-london.com


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Events, Music, Press

This Weekend in London

RINSE

Couple of big shows this weekend…

Greg Wilson appears at Howard Marks & Friends, tonight at Kentish Town Forum:

Howard Marks – Guardian Piece Jan 2015

While tomorrow Todd Terje drops his all conquering live show on Elephant & Castle, for Rinse FM at Ministry of Sound


New Roster Addition: Bjørn Torske

The Norwegian Maestro Join The Pool

Hot of the heels of re-issues of 2 of his classic albums Trøbbel and Nedi Myra on Smalltown Supersound, we caught up with the man himself who has given us an illuminating insight into his world. He has also given us a a series of live mixes, you can catch part 3 below, in his own words “old school pirate radio-ish”. Keep your ears to the ground for parts 1 + 2 coming soon on Pool Podcast!

Hey Bjørn! How’s it going, what have you been up to?

It’s going pretty well. My main projects as of late have been remixing a variety of artists, both Norwegian and international. Norwegian singer Susanne Sundfør, who is an acclaimed solo artist as well as a collaborator with Röyksopp. I also did a remix for DFA, their recent release with Museum of love. I have also travelled as a dj, being in various countries likeGermany, Poland and Japan. And Turkey.

The reissues of Nedj Myra and Trøbbel Smalltown Supersound have been getting a great reception, are you enjoying seeing some of your past work re-mastered and reaching some new listeners?

In this regard I’m happy with the releases getting a re-release for new listeners as well as anybody who might have missed out initially. For my own personal satisfaction there is also the remastered vinyl versions. “Trøbbel” has especially had a quite appropriate “face-lift” in that respect.

What first made you to turn your hand to music?

My personal interest in the matter, first of all, but also my aversion to joining a conventional lifestyle. Just finishing 12 years of school and suddenly being what I then perceived as being a free man helped push the decision. Of course, now after 25 years I’m stuck with music and don’t really have any healthy alternatives. But please don’t misunderstand me – I’m as fond as ever of doing what I do! Do you have a process for creating music?Yes, but it kind of changes all the time. With age I am however getting more and more accustomed to applying “method” to my creative impulses. In short, I’ll apply experience to ideas. It works for my conscience regarding obligations, but it doesn’t always pan out as expected. Which again, is in itself a motivator for going on.

You are part of several live projects, could you tell me about these?

Well, I have been working so much on my own through the years, so the “band” thing came along as a sort of relief from musical solitude. My band partners are also coming from slightly different traditions, and have worked as benefactors to my music as well as my attitude. The band situation is completely different from my experience as a solo artist.

You are often cited as an influence for many of the Norwegian acts that have risen to prominence in recent years. Who was your mentor?

In general, good music I’ve heard. In particular, apart from good music, it has to be people like the innovators of the Detroit techno scene, like Derrick May and Carl Craig, all the way to more local talents like Strangefruit from Mungolian Jetset, Prins Thomas, Erot, the Röyksopp guys. Hearing brilliant music is valuable enough in itself, but getting to see and hear a musically creative process is priceless education for anyone who are interested.

You have an extensive body of work that spans many ideas and styles, do you feel that there is a common feeling that runs through your music? If so, what is it?

The way I understand music in particular (and art in general), is that it is a mix of so-called “tradition”, and technique, mixed with personal impression and input. This is a simple explanation though. But I’m usually sensitive to musical input, and try not to be prejudiced about what I hear. This attitude I also employ in my production. I rarely feel comfortable on safe ground. I want to explore. That is my main motive, I think. Some people want music to recall a past memory, a familiar feeling. I primarily want music to get me out of that, to explore new territory. Anti-nostalgia, so to speak.

What do you feel is the relationship between your productions and DJ’ing?

The dance floor as a common fixture, at least in my own ideal setting. Not everything I make is necessarily considered “dance floor friendly” – neither is everything I might play as a dj. Yet I have an impression that you can play very much what you like if the situation is spot on, and then it’s up to you (or me) to have the right “weapon” for the job. Or rather the right spice for the pot.

You have spoken in the past about your DJ influences, from Ron to Harvey, and creating a ‘rich tapestry of music’ over a long and eclectic DJ set. How do you go about selecting music for DJ’ing?

I tend to put the label “house music” on about everything I choose to play. I guess it is the vibe I’m after, where it is possible to introduce unknown but working elements into a house vibe. As disco and house are two sides of the same coin, so is funk and jazz, soul and reggae, elements of the same heritage. Within each style, there are elements of house music.

I have a small selection that keeps staying in the bag. Classics, in the sense of stayers, and not necessarily “hits” bound to a specific time period. Then I’ll have a round the night before prior to each gig or round of gigs, just popping through various parts of my collection, more or less at random.

For you, what is an ideal DJ gig?

The ideal DJ gig is a good sound system, a crowd of perhaps 300 willing people that stays for the whole night, and preferably refuse to leave. Playing together with another dj can also be very rewarding, if the social and musical chemistry is right.

Do you remember the first time being booked outside of Norway? How was the experience?

As a DJ I think this was either Copenhagen or Berlin, in 1995. Both very rewarding experiences. In Copenhagen I played from seven o’clock in the morning, maybe for 3 or 4 hours. I had gone to bed at eleven the previous night, woke up at six, had breakfast and went to work. It was a huge techno festival, and the venue I played could probably keep 1500 people at least. I guess there were 150 dancing when I got on after a London dj playing the most intense gabber for one hour. I remember I started with the remix of Psyche’s “Crackdown”, the remix with the percussion from Soft Cell and Sarah Gregory on vocals. Still comes out from time to time.

Is there one track or release of yours you can say is your favourite?

It could be my first album release, under the Ismistik moniker, which came out on Djax-up-beats in 1995. Probably because I have distance to it in terms of time, but also because the process and means of producing were very simple, and I think I managed to exploit the limitations.

Can you tell us 5 records out of your current DJ bag?

Idjut Boys – “World 1st Day” (Altzmusica 7″)

Dj Sotofett & Karolin Tampere feat. Maimouna Haugen – Nondo (Honest Jon’s 2×12″)

Velferd – Awake (CDR demo)

Young & Vincenzini – Outrageous Beat (Pro Sniff 12″)

No Smoke – Koro Koro (Warriors Dance 12″)

What do you have lined up for 2015?

Plenty of work. More remixes. Dj gigs. Maybe some composition of music for a theatrical group.

And I’ve vowed to complete some new solo material for a release. At least one twelve-inch.

 

 

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Bjørn Torske

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