Darshan and Dennis will be playing wildly discerning party rockers all night long and we’ll be going from 10pm until sunrise!

RSVP to strobelodgeny@gmail.com

ADDRESS ANNOUNCEMENT:

24th 1st Avenue

New York

10009

MAP

Listen To Mix Here:

Download Here

INTERVIEW

Hey Jon. Big time thanks for doing the feature with Cool In The Pool! Where are you living at the moment?

Cheers Len! thanks for inviting me over for a swim =) I’ve actually been a fan of Cool In The Pool for some time now.

I currently live in Denver Colorado or better known as the Mile High City but im actually in Sayulita Mexico as we speak.

Denver is practically in the middle of America, how do you think living there has influenced your music taste?

Ya know, I think living in Colorado has really validated my love and appreciation for live music. And while I love electronic music, I love live music even more. My best records are live, my favorite songs are live and nothing beats a ripping horn solo, blazing percussion, wailing guitars or a fat keyboard solo. This used to be essential dance music, nowadays it’s a lost art.

When my wife and I moved to Colorado back in 1999 we ended up living in Boulder which at that time was such a hotbed for bands and underground dance music. It was pretty intense. I’ve seen my fair share of live music before moving to Colorado but nothing compared to what I’ve experienced over the last decade. If you want to go hear a small jazz band it’s here. If you want to go out and hear a jam band its here. Indy, reggae, funk bands…it’s all here.

Red Rocks is one of the most amazing places to see a concert as are a dozen other places around Colorado.

There’s a shit ton of live music going on every single night. For my last birthday (39th) my wife and I went to see one of my favorite bands WAR at the Ogden theatre. It was beyond cool to see them droppin their original latin funk jams.

I was so floored by that show I wanted to go home and throw away all the music I had worked on in the last 6 months and start over.

I have always been a big fan of the percussion on your records and know that you are a percussionist – when did you start playing and then later get into production?

Thanks man. I appreciate that! Well my biological father is actually latin american with heavy roots in Puerto Rico and while I’ve never met him I’ve got that latin blood in my veins. I also grew up in and around the NYC dance scene which we all know has latin music embedded to it’s core due to the heavy migration of Latin Americans in the 1950′s. Latin music obviously had a monumental contribution to the jazz scene, then later the disco and house scene. I LOVED latin and tribal house in the 90′s. There was just so much of it coming out. Man I miss those days!! I had started djing in 1991 and around the mid 90′s my dj sets were pretty eclectic with the peak time always focused around huge vocal or percussion tracks, always!

This was my bread and butter go to sound for a long time, until at least 2003. I played with percussion instruments in the past but late in 1998 I wanted to play for real. One day I found a set of congas at a garage sale. Shortly after I bought a set of timbales (my neighbors loved those!) and a cowbell. A few months later I bought an 8-track recorder and a little synthesizer.

Shazam!! We’re making music, not great music but music.

Your first release was on the influential Imperial Dub Recordings label more than 10 years ago, how did that happen?

The year after I started recording I ended up moving from the east coast (NJ//PHILLY) to Colorado, late in 1999.

My wife and I moved to a little town about 15 mins from Boulder. By that time I had a pretty good arsenal of percussion instruments and was managing to record some half ass sessions but nothing had really clicked yet. Then one day mid 2000 I had set up my drums and mics in the bathroom to get some better acoustics and while standing in the tub I recorded a series of drum sessions which included a pretty wicked 5 minute bongo solo. Those sessions would later become known as

“The Magic Circle EP”.

It was the first real piece of music that I felt was worth submitting as a demo. So I picked a dozen labels and sent in 12 cassette tapes. I got calls back from Nuphonic, Glasgow Underground, Crispin Glover, Wave Music, and a few others. Imperial Dub was among the first to reply so I went with them and signed my first record, thus giving birth to Community Recordings the artist.

Most people don’t know this but right around the same time I started submitting demos to labels, I started making disco edits as well. Some of those early edits are still floating around on vinyl under the moniker Gazeebo.

You went on to have releases on some of the best deep house labels at the time from the US west coast such as Garth’s Greyhound, Totem and Jah Love. Would you say you have always been attracted to deeper, dubbier music?

Ya know, I’ve always been into it but as a dj I was not really known for playing that deep dubby sound, I certainly played some of it but I was way more into screaming vocals and over the top percussion tracks. I was and still am a big fan of Masters At Work.

I was also playing a lot of funk and disco as well. One thing that probably played a role in shaping my studio productions was the fact that I was a diehard fan of The Orb. So when it came time to record I always shot for big fat basslines, trippy atmospherics and I always made heavy use of delay and reverb.  I remember turning on the delay for the percussion channels and leaving them on for the whole session while I played, which really brings out that dubby experience. Most people would prefer to record them “dry” but recording “wet” is like playing drums in space, it’s a tripped out experience in the headphones. I think its time to revisit that, I miss those days.

“Lifted Soul” on Greyhound is a huge record (still have the signed promo you sent me!), licensed to a few compilations and I know a lot of guys that will still play it! Were you surprised at the underground success of it?

I think Garth and I were both quite surprised. That was such a different vibe than what he was currently releasing but for whatever reason it just worked. Sonically, it was a better sound than the previous releases I put out on Imperial DUB and it was much more focused on that dubby vibe. I am very proud of that release and till this day, people still ask about it.

What’s funny is that the “Mountain Nights” release which came out on Totem Music was actually the leftovers from the “Lifted Soul” record. I had shopped all 5 or 6 tracks to Garth but he only wanted 3 of them. So I took the rest and sent them to Leaf Recordings (parent label of Totem) and they grabbed them to release on Totem which at the time was partially controlled by DJ Buck.

Mountain Nights became a really big release too almost overnight. Garth would later admit that he regretted not taking all the tracks for Grayhound when he had the chance.

What do you think happened to labels like Jah Love and Imperial Dub?

It’s hard to say…. but like many vinyl labels during that time, they were probably struggling to keep their heads above water. Financially the scene was going thru a real crisis. Vinyl sales were constantly dropping, record stores were closing left and right and distributors were going out of business faster then you can say “white label”. It was a scary time for dance music. I think Jah Love is still around though, I remember seeing someone’s facebook post mentioning them. Imperial Dub…? i’m not sure, probably somewhere selling some kind of new and improved bullshit rhetoric to a fresh batch of Dubtribe followers [chuckles].

Did you then take a sort of break around mid-2000′s?

Unfortunately I did Len, right around 2004 I stopped making music. I was still doing my disco edits but I lost all my studio production momentum. This was mostly due to the fact that around 2003 I decided to make the switch from 8-track recording to using a computer.

It shouldn’t have been a big deal but I just couldn’t make it work. I was completely computer illiterate and furthermore I couldn’t figure out how to replicate the sound that I just spent 4 years dialing in. It was a total disaster and a huge kick in the balls. Computer music was still evolving then, all software and hardware didn’t work together smoothly, editing was easier but midi became my worst nightmare.

My small yet important music career was slipping away and no matter what I did or who I asked it didn’t help. I was beyond devastated. Fortunately I still had a healthy dj career and the dance scene here was in rare form. So with the collective efforts of some close friends we launched a series of events called Community, and over span of 3 years we played host to some really amazing parties which included guest appearances from: Metro Area, Peter Kruder, Hybrid, King Britt, Garth, Harvey, Trentemoller, JT Donaldson, Mark Grant, Halo and Luke Solomon to name a few. I think those Community parties saved my soul from serious depression at the time, but after 3 years of playing host I was wanting more then ever to get back to music production. Which I did in 2008.

Around 2005 I had a friend in the mountains who had just opened up a nightclub called Samana Lounge at the base of the ski slopes in Vail Village.

This was a touristy hotspot, people came to ski and party!! What else is there to do? So after playing a couple times that first season I was asked to come on board full-time and play my taste of retro classics. It was actually the perfect gig for me as I had no problem whatsoever playing eclectic music all night long and the crowd usually ate it up. So I spent the next 4 winters in that booth every weekend.

It got pretty nuts at times. I even brought Garth & Harvey up there for a go at it one weekend. They were some good times!

When did you decide to start your own label?

I took a crack at turning Community Recordings into a vinyl label around the end of 2005 but I only released 1 ep and then threw in the towel. At the same time I set up a digital imprint for Community Recordings when Beatport launched it’s site here in Denver but I didnt put much on it except for some back catalog stuff that I had regained the rights to over the years. In particular the Imperial Dub and Totem Music stuff along with some random unreleased stuff. In 2009 I decided to revisit Community Recordings and started releasing music consistently under the alias, Zoe’s Raygun. I have not taken a musical break since then.

Do you have your own studio?

Sure do, a couple years ago I converted my brick garage into a great little cottage house style studio. This was the kind of garage that you wouldn’t even want to park your car in, never mind putting thousands of dollars worth of sensitive electronics in it. It was in very bad shape and totally spider infested but it had potential so I completely remodeled the whole structure from the ground up. It’s turned out to be a really creative space. The studio is based around Pro Tools and a 32 channel Soundcraft Ghost which is currently out for repairs. Right now everything is really sounding great and the spiders have since moved on I’m also building a small mixdown/mastering room within the existing structure so I can really focus on mixing and mastering the releases for the labels. The design is finished so the room should be built & functional by the spring/summer and really dialed in with some proper gear by next winter.

You seemed to be going full speed at the moment – a ton of releases coming out the Community and sister label Gazeebo International over the last few years! Have you hit your stride you think?

Full steam ahead matey!!! I think I’ve got a good rhythm going but I know I’ve only just begun to tap into my creative juices. Everything feels so natural and loose these days, the studio is dialed in, the ideas are flowing and it definitely feels good to have that momentum. I really love what’s going on right now and I love the group of artists I’ve been collaborating with, really top notch class acts.

Unfortunately Community Recs has been overshadowed by Gazeebo Int’l lately but that is all about to change over the next few months. I owe CR much better than what I’ve given it in the past and it’s extremely important to me that I find a way to keep the label growing with new artists and releases. Believe it or not I’ve actually considered possibly trying to turn Community Recordings into a non-profit organization that gives underprivileged kids who play instruments and are interested in music production, a chance to learn about recording music and have their music featured on releases that we put out. But this would be a SERIOUS shift in focus and a massive undertaking. Not sure how much of a reality it is right now or even in the next couple of years but it’s on the table and ideas are being thrown around so we’ll see what happens. In the meantime, I have some nice releases scheduled on CR over the next few months.

Your new Gazeebo outfit and your label Gazeebo International are definitely making some big waves … quality fat mid tempo stuff with always some zonked out twist. Tell us a bit about the label – like is there a vibe you are going for and do you have some releases lined up for this year already?

Haha I’m actually looking at some big waves breaking on the beach right now 8-10 footers at least.

I launched Gazeebo Int’l in early 2010 just as an outlet to release all the edits I had done over the years. Gazeebo the artist is about 12 years old, but like Community Recs there was a 3 or 4 year gap where there were no releases coming out, but even though I wasn’t producing much original music or releasing anything publicly I was still djing a lot and editing quite a bit of music, all styles of music.

In 2007 I bought the domain name www.discoedits.com and in 2008 I launched the website as an outlet to let people download all the edits I had done over the years. I used a different alias and started uploading a bunch of tunes. After about 18 months and 1 million downloads I decided to pull the plug on it and try starting up a digital label. I took DiscoEdits.com offline and Gazeebo International was born. It started with edits but I’m much more excited about making original music now and hearing original music from other producers. Not to mention copyright legislation is taking the main stage this year and you are going to see a lot more content control from the online stores. Over the last year I have been converting Gazeebo Int’l into a fully publishable imprint and I’ve just relaunched DiscoEdits.com as a free site for the edits and unpublishables. And as of next month all of the edits and bootlegs will be off of Gazeebo International permanently.

Right now Gazeebo Int’l is becoming my favorite kind of label…. eclectic, unpredictable and all original. And I really hope it stays like this for a very long time.

I’ve also been fortunate to have such a great roster of artists by my side. In addition to collaborating with seasoned talent I love working with up and coming artists. i’m completely focused on artist development. It definitely takes a lot more time but without them Gazeebo Int’l doesn’t exist and I enjoy sharing that knowledge. It’s a big part of why I run the labels. So many producers try and ride the coat tails of more successful producers but around here we put in the long studio hours, work from the ground up and earn our keep. I guess you could say I’m trying to preserve that “blue collar” mentality.

I have some incredible projects in the oven that I don’t want to mention just yet but some new releases that i’m very excited about include a brand new single from This Is A Recording, a new EP from Avanti Music and a full length from my mate Hotbox here in Denver. The 3rd installment of the Adults Only series is wrapped up too. That one features remixes from Rayko & Sleazy McQueen.

What do you think is it that attracts you to lower bpm music? Do you think it is the same thing that attracted you to the the dub/deeper side of house?

No I wouldn’t say there was a connection there. Truth be told, I am not a very good beat matcher….never was. Playing deep house requires some pretty tight beat matching skills which I don’t have so I naturally gravitated toward music that allowed me to drop beats a little harder and groovier rather than always focusing on smooth blends and perfect mixes. Mid-Tempo music whether it be electronic or live funk and disco was just a much better fit for my djing style, still is. The same goes for playing vocals and instrumental house as well, especially the old stuff because you really needed to taper your mixes down to avoid conflicts. Plus alot of records in the late 90′s had a mid-tempo mix on them and it used to be referred to as the “4 On The Floor Mix”, man…. those where the jams!!! I really need to start diggin those back up.

I remember playing house and techno events here 10 years ago and thinking “fuck! I don’t have one record in my box that even comes close to the speed of the record that is playing”. My mates here in Colorado used to laugh at me for playing that slower stuff at their parties but that was my thing and I just never believed that music had to be fast and hard to rock a crowd. It’s quite funny to see some of those same people now playing and producing these slower, more beat match friendly mid-tempo & nu-disco tunes. I guess slow is the new “cool”…. Look who’s laughing now

But 105-113 is my ideal tempo to work with in the studio. 90% of the samples I’m cutting always seem to fall within those bpms so I just roll with them. Even within these tempos there’s still a lot of eclectic range to explore, you’ve got loads of great mid-tempo flavours to choose from nowadays!

Under what other pseudonyms do you release music as?

Some older collaborations I’ve worked on can be found under the aliases Bassline Road & Mammoth Studios. Some recent aliases include Zoe’s Raygun which you’ll be hearing much more of this year and of course Gazeebo.

Do you have a wishlist for remixers for the label?

The Revenge, Idjut Boys, Ray Mang, Quiet Village, Faze Action, Mudd, LTJ Experience, Drop Out Orchestra, Hot Toddy, In Flagranti, Wolf + Lamb and Alex Paterson to name a few.

What are 5 records/songs did you listen to today?

Montell Jordan “This Is How We Do It”

Ben Harper “Use Me” (live at Abbey Road Studios)

Faze Action “I Wanna Dancer”

Donald Fagen “New Frontier”

Preface – Palace Hotel

Can you recommend a favorite restaurant if we hit Denver?

Here’s a few:

Jax for oysters and seafood

Linger for the best view of the city

Arada is the best Ethiopian food in town

Vine Street Pub for burgers and microbrews

India’s Pearl for Indian food

J’s Noodles serves up the bomb thai food

and theres about 10 places to get slammin Mexican food

What’s your favorite not music related past times?

I try and spend as much time as I can with my wife Irene and 3 year old daughter Zoe. These days it seems like i’m always working on something music related whether it be studio productions, mastering, graphics, writing or just trying to keep up with emails. But I also love to build shit. It would not be uncommon to catch me in the backyard building something or remodeling some part of my house. I like read alot, lately it’s been exclusive to researching high end gear manufacturers and I just picked up the Steve Jobs biography too, he was one intense dude. Oh and I also love drinking beer, it’s kind of a hobby at this point

Would you like to give a shout out to anyone?

Just want to send a big shout to all the artists i’m working with right now and all the amazing folks who continue to support what we do. We’re just getting started people, get ready!!

Thanks again Len for inviting me to take a the dip in the POOL, that was quite refreshing!!

Enjoy the mix, cheers and beers!  -GZ

Links:

http://soundcloud.com/gazeebo-international

http://www.facebook.com/gazeebointernational

http://www.communityrecordings.com

http://www.discoedits.com

Tracklisting:

1. Chet Atkins “Sunrise”

2. The Eagles “Hotel California” – (instrumental)

3. Bob Marley “Rebel Music”

4. Steely Dan “Gaslighting Abbie”

5. Chocolate Milk “Action Speaks Louder Than Words”

6. War “Get Down”

7. Alena “Changes” – (Ron Basejam Remix)

8. “I Got Your Number” – (Rayko Dragon Soul edit)

9. Avanti “Nuclear Baby”

10. Midnight Magic “Drop Me A Line”

11. Diana Ross “Upside Down”

12. Frankie Vall “Grease” (12″ Mix)

13. LTJ Experience “I Don’t Want This Groove To Never Ends”

14.  Steve Miller “Macho City” (full LP version)

15. Bruce Springsteen “State Trooper”

16. Bruce Springsteen “State Trooper” – (Trentemoller Remix)

Danny Wang, outspoken champion of all quality things in life,  from melodies to Tannoy speakers and bonzai trees, jumps on board to tell us what he is up to in Berlin. Danny raise to fame with his Balihu record label in the mid-nineties, home to most of his own exquisite productions and other leftfield underground game changers like Brennan Green. Always learning and keeping things real, here’s Danny Wang …

INTERVIEW

Hey Danny!! What’s up and where are you living these days – still in Berlin?

Yes, still in Berlin, and grateful every day that I somehow escaped from media-blitzkrieged and consumerism-obsessed NYC to the Germanic capital.  The rents have gone up for sure but they are still affordable, the gays here don’t care if you wear Calvin Klein underwear but they do support our openly homo mayor, I can take a bus to the airport within 40 minutes from the street where I live for 2 Euros, organic food is in every supermarket…There is so much here which makes daily life a bit more pleasant.

Do you think you have completely settled down there and what is the scene like now?

I can’t imagine finding a more pleasant apartment for the same price, and it seems that my german boyfriend and I will probably stay together until we’re both wrinkly, grey, and hard of hearing!  So I’m resigned to my fate for the next 20 years: a chinese guy from the states who ended up happily in Germany!

There are enough Americans here, but surprisingly, I’ve found quite a network of “oriental” friends too, Japanese and Koreans mostly, so it feels like home in that sense too.  The gay scene is still lively – and although some clubs have been closing due to changes in real estate (Bar25 and ChezJacki are two recent victims), I feel that the music scene shows no signs of fatigue.  It’s kind of amazing taking the U-Bahn on weekends here, because the trains are full of young people at 3 or 4am, everyone is going out to clubs+ concerts.  The train ride itself is part of the fun.  If anything, clubs like SojuBar and About Blank and Flamingo show a trend toward intimate clubs where the sound is better, unlike the raw warehouses 10 years ago, so I think that’s a positive development.

I heard you are redoing your apartment with color therapy – would love to know more about what that means and what colors you are you going for!

Well, I moved into this old 60s flat some time ago, and there was so much ugly old wallpaper, I decided to strip it all off and redo all the walls.  As of December 2011, I finally scraped off every last inch.  In the meantime I’d been amassing a small pile of Architectural Digest and World of Interiors.. I’m an artsy gay male afterall.  Most people in Berlin like minimal white. And then there are the ugly plum purple/ lime green/ sunset orange palettes  for the trendy set.  I wanted to avoid just white but I still wanted simplicity and clarity, but also fantasy.  So the living room will be a very pale shade of blue – imitating the morning sky – but with my green plants and dark wood speaker cabinets, it should kind of evoke Brazil… Or a bit of Scandinavia.  Bedroom is dove grey, and I bought pale grey floor boards for the entire flat, with lots of natural wood tones for furniture.

Grey is a magical background colour, it makes the foreground light up.  The killer touch for the walls is various fluorescent tubes with interchangeable colour filters which I found on ebay.  They’re no longer manufactured since LEDs came along.  These colours are not hazy like LED tubes, but strong+vivid.  Intense red or violet lights in small amounts against a pale blue or grey wall, I cant wait to install these in the next few weeks!

You are also into bonsai trees. That’s a pretty cool hobby, how many trees have you got and how did you get into it?

Well, I really cant claim to be an expert!  I killed a small maple, but have otherwise kept alive a cute “Citrus mitis”, and have half-sculpted a good-looking asymmetrical Juniper which sits on my balcony.  Plus I keep a dozen Aglaonemas, Aloes and palms alive in my living room.  It would be more fair to say that I really got into studying the principles.  To be a real bonsai artist, you need an outdoor garden, patience to water them 2 or 3 times a day, and 15-20 years to get a shape right.  Real bonsais should sit in elegant, shallow pots, so sometimes they have such reduced roots, they’re like crippled invalids needing life support, which is the task of the bonsai master.
I’m into a more natural approach, my Juniper sits in a big round pot with plenty of soil, and I did not wire it to death.  It’s like not every one who enjoys classical music has to play the piano or compose symphonies.. For me it is about understanding the aesthetic, the categories, the principles of proportion and balance, and understanding techniques which help to keep any plant alive in a pot.  I also traveled to Omiya in Japan, which is half an hour from Tokyo, and saw hundreds of real bonsais.  Some were mindblowing, but others were simple and feasible, like Jade Plants (Crassulae) which are easy to find anywhere.  So it’s not all about 800 year old masterpieces of pine or cypress, it’s more about bringing nature into daily life.  For me the biggest lesson of bonsai is Empathy.  Because a juniper, a maple, a succulent plant (like Aloe) or a tropical plant (like Dieffenbachia) all come from different places and have different needs for light, water, etc.  How to make them feel at home? You do have to understand their natural environment and put yourself in their place, in order to help them thrive.  And if you have to use very expensive soil or massive artificial lighting, then maybe the plant doesnt belong here.  There are probably lessons in it for all human endeavours too, without trying to sound too serious…!

It’s inspiring to hear about all these things you take on and learn about, what else are you into? I seem to remember you were also collecting vintage synths for while …

I certainly would not be alone in my synthesizer fascination, I know many people collect them… but I just have enough to make music with = two ARPs, a Roland SH101, some rack mounts and theremins.  Truly nothing special!  If anything, it seems to me that thinking too much about acquiring gear contradicts the creative impulse to use these things to make new music.  I like the weird ones, like Yamaha FS1R, an FM digital formant filter module.  People who buy so many analog monosynths (MiniMoog, Sequential ProOne etc) are basically buying the same machine over+over again.
Besides plants and interior decor, I am kind of crazy about cooking lately and collected a small supply of japanese ceramics to serve food on.  Again, there is a Japanese science to contrasting colors+ textures: coarse pottery for smooth tofu, wooden bowls for comfort while holding hot soup, dark glazes to highlight the pure white color of rice, for example.  It sounds crazy but i realized that there are principles for all these things, just like for music+ acoustics in club spaces, which intensify and distill the aesthetic experience.  Oh all the things i’ve learned in Japan! LOL.

Many folks describe the golden age of Tannoy speakers as before 1974. Do you have any ones that old and would you describe yourself as an audiophile?

This is another mania which grabbed me in the past few months, but only because I started hunting for new monitor speakers with a bigger woofer than what I had before.  I saw+heard some huge wooden-cabinet Tannoys at a friend’s house in London about 12 years ago… I never forgot this feeling of warmth they had, a lot of power+clarity without having to turn them up too loud, and above all the concentric tweeter-woofer design, which means that you don’t have to bob your head up+down because the highs+ lows have a single central focus.  This is a uniquely British invention with a good dose of eccentric genius.  I never thought I’d be able to afford real Tannoys.  But a friend of mine in Berlin was selling his 15-inchers, which were too big, and apparently the 12-inchers have a more neutral EQ response. I googled and found a german engineer audiophile guy who was selling his.  This isnt even Ebay, this is a random local advert in Cologne!  We talked and he was super honest and down-to-earth.  I sent the money without hesitation. When the speakers arrived, perfectly packaged and all, it was a dream come true.
I feel obligated to clarify that I do NOT own pre-1974 Tannoys like the Gold Monitors or Red Monitors series!  I bought the DMTs, which have a synthetic cabinet and were manufactured in the mid 90s.  But again, i’m after good sound here, not the glamour of vintage gear.  The old Tannoys are a mixed bag when it comes to accuracy, and it’s hard to find them in good condition.  From reading online, it seems JBLs played a big role in studios in the 70s and 80s too, and nowadays Abbey Road Studios uses Dynaudio monitors from Denmark.  So go for the sound, not the name!

Please tell us a bit about your history, where did you grow up, what influenced you and did you always have such an inquisitive mind … I mean digging really deep into things like?

I think everybody has their strengths and their quirks.  I was always chosen last for sports in school, I couldnt skateboard or ride a surfboard to save my life, and my handwriting is very poor, so my motor coordination is way below average.  But I always had good ears..  Culture is expressed through language and music, and I learned a lot of languages early on, so traveling through Europe or Japan and talking to strangers has been easy for me.  I’ definitely C3PO from StarTrek: gay multilingual disco robot!

And I thinking “being oriental” is actually a big part of it.  In Chinese you grow up with all these proverbs like “An education is incomplete without reading ten thousand books and traveling ten thousand miles” or “Behind every master is another master, beyond every sky is another sky.”  These are like mantras.  You know Paul Tee of Sarcastic Disco from LA, DJ Harvey, and Eric Duncan from RubNTug are always joking about being “study masters”.  The Japanese simply say “Jinsei wa Benkyo” : Life is Studying.  So it sounds really corny, but this “inquisitive minds” thing is part of our upbringing probably.
That said, isnt “digging deeply” a key aspect of DJ culture as a whole?  it’s an international super-nerd hobby now, the prices on Discogs are proof of this fact.  But I think there are many ways to approach being a DJ, part of it is having obscure knowledge and physical technique, another part is being an entertainer and having an empathic connection with the audience.  You can study any topic to death, I suppose, but finding joy and personal meaning in it is something else.

What kind of music education did you have?

Not enough, I’m afraid! This sounds strange but I was sort of denied one.  We moved a lot and didnt have money for lessons.  My mom is a sort of devoted but liberal Catholic, a bit California free-thinker, who felt that forcing children to practice violin or piano as a “bourgeois aspiration” is a bad idea.  I still respect that for her.  But she also saw no value in music itself… She used to say “black people go to church and all they do is dance and sing, what does that have to do with spirituality?”  She only kept books around the house, no records at all.  My dad loved opera and symphonies but passed away after a long depression.  So I’ve had to slowly figure it out on my own without properly reading music, unfortunately.  I did harmony courses at university, but i wish i had started formally much much earlier.  Discovering the theremin was what actually opened up the world of classical music for me.

Do you still get time to make much music between all your other interests and will we be blessed with some new on releases on Balihu in the future?

I feel really ashamed in fact that i havent produced one song in the past 6 or 7 years now.  The reason is practical: DJing became my full time job.  Even if you only work on weekends, we all know that you need time to recover from all those flights and irregular sleep.  And you always have to find new music to play and new ways to approach your DJ set.  I discovered lots of euro+ italodisco, as well as soul music, since moving to Berlin which i never heard in the USA.  I’ve just been saving every penny for a more stable future here – I know other DJs prefer taxis, but as i mentioned, i take the bus.  My home studio needs some more work, but the hibernation is almost over.  I think i’ll be releasing vocal tracks with more universal appeal in 2012.  Like Change “Glow Of Love” or Madonna “Holiday”, I’d like to make something as happy and crystal-clear as those songs, not just strange obscure instrumental tracks any more.

What 5 songs or records did you listen to today?

Hmmmm!  I just listened to.. A compilation by Alexis LeTan from Paris, “Space Oddities”.  Nothing but obscure instrumental tracks!  I sorted out a playlist for myself: “Favourite Carpenters Tunes”, a lot of Karen Carpenter soul-jazz orchestral stuff recorded in the two years before her death, more mature, breezy, unlike the innocent songs which made her famous circa 1972.  Todd Terje “It’s the ARPs” EP by our fave Norwegian nu-disco genius.  “Victor/Victoria” film soundtrack composed by Henry Mancini, sung in part by Julie Andrews.  One of the best soundtracks of all time!  and “Best of S.O.S. Band”, just bought it.  Lots of 808 synth drums with funky basslines and pleading female vocals.

What’s your favorite club to play at?

In Berlin, it’s a three-way between SojuBar for its intimate space and crystal clear sound; TAPE Club for its loud but still great sound system, its generous dancefloor especially at the monthly Horse Meat Disco; and AboutBlank, which has a lovely summer garden and always a cheerful, pleasant crowd.  But there are a few clubs i really dread too.  The biggest best-known club in Berlin actually sounds awful.  Same with a massive popular club in east end of London even though they were always really nice to me.  If a space sounds good, you can have 10 people on the dancefloor and i’d be happy anyway.

Seen any good movies lately or read any good books?

I saw “Jane Eyre” while flying from London to SanFrancisco to visit my grandmother.  Sort of beautiful and uplifting in a proper cinematic sort of way, although I prefer the madness and irony of Bruce LaBruce or Luis Bunuel.  Michael Fassbender is total eye candy for a gay man and thoroughly unconvincing when his character says to Jane, “you and are I nothing worth looking at…”  Only a few hours later did i realize that he also plays Magneto in “X-Men”.  Hollywoo

Would you like to give a shout out to anyone?

For NYC:  I’d like to say hi to Brennan Green of Chinatown, to the Environ crew of course, to Carlos Hernandez, to Dei Lewison, the lovely voice of Miura, to DJ Spun, to Alex Lispen at Headgear Studios Brooklyn and to Nicky Siano, to Liv Spencer, to Dr. Dunks… oh gees there are too many good people in New York.

In London, the Voices Crew- Alex Win, Joel Martin, Gerry Rooney and Cedric Lassonde with his Klipsch speakers, and Ade of Plastic People, for upholding the ideals of really good sound and soulful eclectic music.  And Dave Redmond, Conor Lynch, and his friends in Dublin for keeping the same spirit alive there!

Thanks!!!

A new mix to ring in the new year and celebrate the relaunch of the site.  A sort of winter warm up selection for all the northern hemisphere folks, starting off with some slow burning psychedelic leftfield gear into some deep house and a classic or two. Tracks by Vakula, Zoo Look, Crazy P, Yacht, Leftminded, the excellent Ron Basejam ep on the always good Redux, Divas of Color and more …

Listen To Mix Here:

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Tracklisting:

1. Vakula – Intro – Leleka 2011

2. Locussolus – Throwdown (Harvey Dub) – International Feel 2011

3. Zoo Look – Early Doors – Friends of the Family

4. Om Unit – Lavender – All City Records 2010

5. Yacht – Utopia (White Rainbox mix) – DFA 2011

6. Crazy P – Lady T (Greg Wilson edit) – Tirk 2009

7. Ron Basejam – Looter – Redux 2011

8. The Project Club – El Mar Y La Luna (Shrinkwrap Acid Rerub) – Is It Balearic? Recordings 2011

9. Duff Disco – Dalston – Composite 2009

10. Paul Hardy – Swirl (Matthias Voght Remix) – Baker Street Records 2011

11. Norm Talley – Change (Mike Huckabey mix) – Third Ear 2010

12. Motorcitysoul – Carry On Cruising – Carry On 2011

13. Leftminded – Fly Away – Promo

14. Marius – Disco Drummer – Maxi Discs 2009

15. Divas of Color – One More Time (Sean Mcabe remix) – King Street 2009

16. Melos & Kyber – Late Tales – Promo

We’re throwing another party Friday July 8th at Cameo in Williamsburg!!!!  Join us for another night of mayhem …. Dennis and Dar behind the decks.

Here comes the sun …

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Tracklisting:

1) Hemingway & Junction Sound – O – Bear Funk 2011

2) Stay cool

3) Max Essa – Midnight and new Direction (Visti & Meyland mix) – Bear Funk 2011

4) Fever Ray – when I Grow Up (Lissvikk mix) – Rabid Records 2009

6) Flash Atkins – Make Your Move (Ashley Beedle mix) – Paper 2011

7) The Feathered Edge – I’m only slightly Drunk – Bear Funk 2011

8 ) Andy Ash – Hip Joint – Cosmic Boogie 2011

9) Neurotic Drum Band – Robotic Adventure Instrumental – Wurst 2010

10) Trujillo – Baby You’re Still The Same – Apersonal Music 2010

11) Groovman Spot – Ur Luv (Woo) – Jazzy Sport 2011

12) Tornado Wallace – Swimmin’ Delusions of Grandeur 2010

13) Capracara – King of Witches – (Rub N Tug mix) – DFA 2009

14) Fred cherry – Busride to the Zoo – Hole in the sky 2007

15) Kid Creole – Annie I’m not your daddy – Sire 1982

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PETER VISTI INTERVIEW:

Hey Peter! Totally great to have you back on Cool In The Pool! We haven’t had a chance to do an interview before, so looking forward to this. Please tell us where you are from and did you grow up there?

I’m from a very small city in Denmark called Engesvang about 3000 people only, grow up there and had a great time playing football and music every day.

How long have you been a DJ and making music?

I started djing in 1981 at the local bar in the small town where I was living,and I was at the same time playing in a band with some friends, we were writing songs and playin’ all day, but never recording anything, I didn’t really record any music before 2002/03.

How did you get into it?

I always loved playing music,and buying records,and still do. So in 1988 I quit my day job to dj full time, I was traveling for a couple years playing up till 5 days a week, until 1990 when I played a couple of years as a pro footballer in 1993. When I stopped playing football I opened a club with a

friend of mine, after having the club for 10 years, I was getting a little bored from just running the club and djing 3 nights a week, and found out it could be fun to try and do some music, and make my own records to play.

Living in Denmark how did you get into Balearic music … via Ibiza?

I’ve always been buying and playing these kind of balearic vibe records ,but I had no idea until very late, when I meet Phil Mison that the vibe was called balearic, and realized that I had so many balearic records and I didn’t really go to Ibiza before 2004.

You’ve had a great run this year with the very successful Visti & Meyland album on Bear Funk … please tell us a bit about making the record and the inspiration for it?

It’s been a record we were suppose to do since 2003, and we did the yes maam track back then. Everybody was telling us that it’s was a big hit ,and we were having meetings with big labels like Sony in London and some others who all loved the track, but all that music bs. about our tracks should be hits and only 3 minutes for the radio, was killing us an we stopped makin’ music together, but in 2008 we started making music again just for fun, like it was suppose to from the beginning, and we found out that we wanted to make a record that was inspired by all the music we love, and the hole idea was that there was no rules or form for our music, it shouldn’t fit in too the radio or anything, just being fun to make and something we loved.

Last year “Yes Maam”, which is also on the album, was released as a single on Eskimo with Trentemoller and Henrik Schwarz remixes. It turned into a club monster. Were you surprised at all about its success?

Don’t want to sound to evenglad, but no not really,  it’s a very good track and the remixes are fantastic,and Dirk from Eskimo had all the right connections to make it happen.

The latest two singles and the album were on all Bear Funk, have you guys moved “Visti & Meyland” over permanently to Steve Kotey’s label?

We are really happy to work with Stevie and the other guys at Bearfunk. When we did the album we didn’t sent any tracks to anybody before the hole album was done,and we wanted to sign it to somebody who could hear what is was all about,and Stevie and co. were spot on, they shared the same vision for the album as we did.

When did you meet your partner Jacob and how long have you been working together? I think the first time I saw one of your releases together was “Banjul” on Music for Dreams back in 2004 and then those cool Balearic Biscuits edits too …

We met through friends when I had the club, and we started to play together there with me on the vinyls and Meyland on percussion, we found out that we shared the same passion for music, and Meyland was and still is a wiz in the studio, so we started to make some tracks at his apartment, good fun. We did a couple of track,edits and remixes  for Music and Dreams and Warner  in Denmark before we stopped.

Your sound on the album is very original, unlike most other stuff out there. What’s the Visti & Meyland production process like … do you use a lot of live instruments and is it hard finding the right vocalists?

The process is very simple, one of us has an idea, and then we just start jamming on that idea, we are very open when we start making a new track , so it can always go in many directions, like the tracks Stars and Leave Your Worries on the album.

I think its hard to find the right vocals for a track, but Meyland has a great voice,and Ling Ly is amazing, so we very are lucky on the album everything is played with live instruments, we both play all the instruments but Meyland is such a talented musician so its mostly him playing, cause his way better than me.

You’ve also been massively successful with you solo releases on labels like Mindless Boogie and Eskimo. Do you have any new solo stuff in the pipeline?

Yes, I just finished and signed my solo album too,so looking out for that to be released next year.

Of the remixes you’ve done, which artists have you really enjoyed working with?

Don’t know, but I’m really proud of my remix of Jenny Wilson & the Visti &Meyland remix we did years ago for Cantoma.

Do you have any residencies where people could catch you djing?

Not really, but my wife Puk has a small cafe where I do a monthly night, where I invite a friend to come and play his favorite records along with me, really good fun, and really great and crazy records.

What are some of your favorite venues you like playing at?

A small club,a beach, a great bar with nice people who cares about great music.

Are there any djs or producers out there that you find inspirational?

Many, but really like David Mancuso, dj Harvey and love to play along with and listen to Phil Mison. I never met somebody who has a better taste for quality music.

What 5 records did you listen to today?

My own new album
2 new Visti & Meyland tracks from the forthcomming album
Steve Winwood – Hold On
Fleetwood mac – Rumours
Penguin Cafe Orchestra

Would you like to give a shout out to anyone?

My loving wife Puk and my one and only superstar son Lukas.

New artists on the Maxi Discs label, but definitely not new to the scene, Discomendments, with a fantastic selection of tropical house – you know, those records that sound equally as good on the beach as in the club! Lee & Paul hail from Birmingham in the UK and bet you didn’t know that one of them was responsible for the opening track on the first ever Ministry of Sound compilation mixed by Tony Humphries! We managed to ask them a few questions, so check out the interview out below as well.

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DISCOMENDMENTS INTERVIEW

Hey guys. Thanks for great mix! Please tell us where you are from and who makes up the Discomendments team?

Discomendments consists of Paul Kaminski, Lee Fisher and various musicians. We hail from the city of Birmingham, UK.

I believe one of you was responsible for a classic house track from the nineties that appeared on many compilations including Tony Humpries’s Ministry mix from way back!?

Lee: Yes, the track was by Mother – All Funked Up and hit loads of Compilations in 1993. Tony has always support projects that I’ve been involved in, but looking back, it’s hard to believe that this track was the first ever opener on the first ever Ministry of Sound Album. My daughter came home with the latest one recently – 17 years later!

Have both of you been making music for such a long time and how did you guys connect?

Paul: I’ve been working with Lee on various projects for about 6 years now, we used to share a residency together in a sweaty basement at a club night called Further in the Hockley district of Birmingham.

Lee: It’s been a 30-year journey for me from playing in bands, DJ’ing and then finally getting to production around 1990.

You originally started a label together in 2000, is that right?

Lee: No not exactly. I worked with the guys from Leftfoot/Different Drummer on an edits label call Discamendments back in 2000. And then 6 years later we dropped the A for an O, at which point Paul got on board.

Love the new “Sleeping Giant” track on Maxi Discs. How did it come about and end up on Maxi Discs?

Paul: Thanks. We were touting some tracks about in the summer and passed some productions to Pete Herbert, who got back in touch to see what we were doing with “Sleeping Giant”. Working with Pete and Dicky has been a pleasure, they really communicate well and know what they want to achieve.

Have you released music under any other pseudonyms?

Lee: Obviously Mother as mentioned earlier, but I’ve been involved other projects such as Nowheremen, Hockley Hustlers and Slykschott.

How would you describe the Discomendments sound and what are your inspirations?

Paul: Its hard to pin point our sound as we draw influences from so many different types of music, but if we were pushed I’d say we have a heavy retro influence. I guess our inspirations come from the parties we have attended or played at.

What’s you favorite piece of studio kit at the moment – virtual or hardware?

Lee: My favourite piece of Hardware is an Ensonique DP4, but it’s broken right now. However, I’ve just found a place that can fix it. Virtual kit is all much of a muchness, but still incredible at the same time – who knows where it’s gonna end? The TLA Fat Track is high on my shopping list at the moment so that the Music can get released from the 0’s & 1’s!

Where can people catch you dj’ing and do you ever play together?

Paul: We play together often mainly in and around Birmingham, we have also been regulars at The Garden Festival in Croatia for the last couple of years, which is an amazing party.

Have you got any other releases in the pipeline yet?

Lee: We are working up for inclusion on One Records on a various artists sampler in Spring 2011 with a Discomendments track called “Tales from the Bunka”.

Who do you rate as some of the best house or just dance music in general producers ever?

Lee & Paul: We have thought long and hard about this and the list is just far too long..

Top 5 records today?

Lee & Paul;    Sandee – Notice me Arnold Jarvis – Take some time out ESP Institute Beach Boys – God only knows Thompson Twins – Love on your side

What’ll make the world a better place?

Lee: Economic Stability

Paul: Just smile!!

Would you like to give a shout out to anyone?

Big Love to our Families & Friends Lee Fisher

Further Music

Tel : 07595 040014

furthermusic@me.com

Trackinglisting:

1) Discomendments -sleeping giant (maxi discs)

2) Popular peoples front-Ron & on & on -PPF

3) Nick chacona-slice of life (The wurst music co)

4) Tornado Wallace paddling (delusions of grandeur)

5) Ichisan-Magnetic Fields (Walter jones mix) under the shade

6) Marius -disco drummer (Maxi Discs)

7) Bonar Bradberry-siula grande (Pete Herbert mix) Needwant

Discomendments-Adriatic awakening CDR

9) Ajello-come back (The Heels of love mix) – Mad on the moon

10) Marius-jetset(ray mang mix)-maxi discs

11) Mark seven-swept away – Endless flight japan

Superb mix alert, Tiago of Portugal drops in with some seriously good selections. CITP is back in gear again after an extended summer and this is a great way to start. Tiago has some impressive record releases under his belt on labels likes Rong, Italians Do It Better and the huge “Motorcycles” on Hands of Time. He also djs at one of the top clubs in Portugal and plays in a couple of bands, so we had plenty to ask him questions about …

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INTERVIEW

Hey Tiago, thanks for the dope mix! Please tell us where you from and how long you’ve been living there?

Hey man, thanks to YOU.
Born up north Portugal and raised there till 16 years of age, living in Lisbon (and around) ever since.

Can you remember how you got into music and the first album you bought?

Listening to my parents records got me into the mood and learning how to play drums by watching my big brother do it got me into the scene. After that and later on I and my friends got to play live shows in our parents empty garages outside the buildings for all the neighbours every now and then. Also gathering for listening sessions when someone had a new record is on the best memories. Was a fun period, all about the music, missing school and acting punk. Have no real memory of 1st record though.

What other music have you been into over the years?

Always been a clash of many styles, first was alternative and goth stuff, then rock and world stuff, then punk and hip hop, and for last the dance music with all the other stuff. But were confusing times when really discovering it all, I remember breakdancing in school to the sounds of Bruce Springsteen and DJing in the hip hop style scratching on crass records and the Ramones lp’s… I guess I was trying to do whatever I could to be more hip than anyone else (laughs)

You’ve been in a few bands too, right?

Yes I did

Are you still making music with any of them?

Yes, more regular now with my band gala drop

How did you get into electronic music and production?

When I moved to the city I started DJing more seriously (out of necessity of paying a rent for the 1st time) so i got more focused in electronic and all  types of dance music, but again, when i got my first residency at a club I was playing in metal bands and free experimental combos so electronic and solo production came really late in the journey.

What was your first record you released and when did it come out?

As a solo act the 1st came out on Bingo (Kaos edit label) and was the year of 2007, as a band the 1st release came in 94.

Love your recent track “Motorcycles” on Hands of Time. How did you meet Humberto that runs the label?

Thanks again! Met Humberto few time before he had the label, we crossed somewhere in the way and found some common interests in music and when I knew he had the label just thought would be a good idea to present something to someone I could actually talk on the phone or in person rather then trading thousand emails to do a 12″. The result was great and I thank HIM much for that!

Have you got any new tracks or projects in the pipeline for us to look forward to?

Yeah man, check:

Mendes & Alçada 12″ on Internasjonal, “Rider” w/ COS/MES remix on Ene records from Tokyo and Gala Drop’s “Overcoat Heat” on Golf Channel just came out.

Coming soon, The Sea Power and Change on ESP Institute, Tiago on Leng and DFA, and few remixes too …

If you could put an imaginary band together who would you have play?

Oh, that’s an easy one, Funkadelic, Jesus Christ, and Beethoven (laughs)

What 5 records did you listen to today?

Peter Tosh LIVE! – Rastafari Is (nyabinghi drum session),
and the 2 new ESP INSTITUTE rockets (thanks Andrew). That’s it honestly.

Would you like to give a shout out to anyone?

Sure! Len the man for the opPortunity, family and friends, and everyone who reads and understands, make two o’ clock with one clock.

Big fans of Garth over here, head honcho of Grayhound Recordings and partner in the edit label Golden Goose, so it’s a pleasure to bring you this special mix of “moody album cuts”  from the man. Also had chance to ask him about how all his projects are coming along  after  taking a studio break for a while and his recent trip to Asia where he was billed to DJ with Harvey on the last part of his Japan tour ….

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GARTH INTERVIEW

Hey Garth. Thanks again for the amazing mix … great to hear a mix like this from you. What was the inspiration?

I made it last year for a radio show I was doing at the time. I pulled the show after 6 months so the mix was just lying around gathering dust. It’s heady, melancholy music. All the songs were taken from vinyl LP’s. No beat matching. Sometimes it’s just good to keep a mood going for an hour without an album’s meandering directions.  Could be a good suicide mix, an ode to love, come down session, whatever. It’s out of my hands now!

Really been enjoying the Golden Goose records – very different I think from a lot of stuff out there at the moment. How’s the label doing?

That’s nice to hear. We try and push the envelope a bit with obscure or under-appreciated rock/disco bits. We just signed a p&d deal with Groove Distribution so that will take the pressure off a bit. It’s certainly not a money making venture. I am happy just to break even and do my part to help keep vinyl alive. I have yet to buy or play a cd in a club and hope I never have to.

You run the label with James Glass, you are both responsible for the edits too?

Yeah it’s a joint project. I ran Grayhound for 10 years on my own back when a vinyl label could actually turn a profit. So this one’s just for kicks.

Are you in the studio a lot and what projects are you working on?

After a few years off from the studio I decided to dip my toe in the water again.

First I was asked to remix Halo Varga’s ‘Future’ for Siesta. So I went over to Anthony Mansfield’s studio and we completely reinvented it. Also Andy Butler from Hercules & Love Affair had expressed an interest in working with me last year so he had me remix a new track called ‘Creature’. Again Anthony was my co-producer. We also have an original piece coming in the fall on his Hector Works label… ‘Pancho’s Revenge’. I had Ilya Santana (Eskimo) do a remix and we got San Francisco ‘s Beat Broker on board too so that will be a strong package.

And Italian label Opilec Music has undertaken a huge remix project of 70′s SF cult synth punk band ‘The Units’. Two songs get the King & Hound re-edit treatment and there are mixes from Danielle Baldelli, Alexander Robotnick and a slew of others. We’re excited about that one.  James Glass and I had edited ‘High Pressure Days’ for Golden Goose a couple years back and it came to the attention of The Units’ lead singer Scott Ryser. Fortunately he loved the edit and got in touch.  I guess it was the spark that got this whole project started

Lastly Adam Freeland tells me I’m his #1 DJ. So the latest to get the Garth & Mansfield remix treatment is a track of his called ‘Silent Speaking’ which should appear on his Marine Parade label soon.

I heard this story about your studio being in the same building as Anthony Mansfield and some other well known artists from San Francisco . Is that true and how’s the vibe?

It’s actually Anthony’s studio that he time shares with 40 thieves. I just come in as his guest. Moulton studios has been a hub in San Francisco for years. It’s Chris Lum’s baby. Miguel Migs has  always had a room there. Dirty Bird, Fred Everything, Charles Webster, Jay J, Mustafa, Ben Cook – they’ve all been there at one point. It’s a revolving door! Everyone goes into their room and works but it’s friendly like the city in general. There’s no fronting or back stabbing in this town thank god.

You joined Harvey recently for some gigs in Japan . What was that like?

Well I hooked him up with my manager there, Seiji Hitomi who I knew would do his Japan come back tour justice. By all accounts it exceeded expectations. 13 gigs in 15 days. There was some serious Harvey mania going down. I had my tour going on simultaneously so only coincided for a few dates at the end before I headed off to Indonesia on my own. But it was an honor and a bloody good crack to be a part of it all. The last date in Japan I played 4 hours at Eleven warming up for Harvey where he took over for another 6 before crowd surfing to an insatiable crowd at 8am! For those that don’t know Eleven is the latest incarnation of Japan ’s favorite club Yellow that had closed it’s doors a couple of years back much to everyone’s dismay. So… shit eating grins all around that night as you can imagine.

Do you guys still see each other often?

Usually under the proverbial disco ball but with time for a meal and a laugh before hand.

What 5 records did you listen too today?

‘Magick’, ‘Runaway Love’, ‘Just as long as I got you’, ‘I’m in love with a German film star’ and ‘I want candy’ with my 7 year old daughter.

What was the first thing you thought of when you climbed out of bed today?

Christ… is it 7 o’clock already?

Would like to give a shout out to anyone?

Sure. James Glass and Anthony Mansfield (without whom…)

Thanks Garth!!

http://www.facebook.com/garth.grayhound

www.myspace.com/garthgrayhound.

www.grayhound.net

http://www.soundcloud.com/grayhound