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With a new LP,partly conceived at Jaeger and an upcoming show for Musikkfest, it was about time we talk to synth wizard True Cuckoo.

It’s early in Jaeger’s basement and it sounds like I’m trapped in an augmented reality version of Tron. Laser-like sounds cut through the air in syncopated “pews” and “glitches” while a drum machine stutters through its arrangement. Broken beats unfold like whirling dervishes, while rhythm patterns take on unexpected shapes. This is the sound of synth wizard True Cuckoo.

It’s March 2023 and I’m hearing the conception of a new LP; I just don’t know it yet. It’s coming into focus around the bleeps and squeaks dissipating around me, but it’s still in its nascent form, a mere seed of what it would become. Beyond the rumbling drum machines shaking the infrastructure of the Funktion One sound system, there is something familiar about this sound, but I can’t quite put my finger on it…

It’s 2025 and I’m listening to Non-Binary Code by True Cuckoo. I’m on the track “Bitcore,” and it’s stirring some core memory. It’s more than just the memory of the artist playing the song a couple of years before. No, it’s more wistful and nostalgic than that. There’s a bouncing melodic theme that resolves into a long sweep and I’m transported back to my youth.

It’s the early nineties and I’m sitting on the floor, with a game console at my feet, and this is the sound of True Cuckoo’s new LP. Andreas Paleologos (True Cuckoo) also “grew up in the era of (Super Nintendo) and Sega Megadrive.” Whereas it’s a faint memory for most of a generation, I’m not surprised that it “inspired” Andreas and even “to this day,” still inspires.

Andreas has a sonorous accent; it’s a blend between his Swedish sing-songy inflections and delicate English pronunciations. He’s just moved out of Oslo city centre, and when I phone him up he’s enjoying a slice of suburban sunshine on an early spring day. His voice lilts like a low frequency oscillator in one of his songs, mimicking a looping crescendo as a game waits for the player to hit start.

“It’s that melodic landscape that I reach into when I create music,” he continues as we get stuck into his latest LP, Non Binary Code. Before the album, Andreas had this sonic image of “a soundtrack to a fictional game that doesn’t exist.”

Originally commissioned as a live performance at the Fredrikstad animation festival – as accompaniment to his animation – the show, and eventually the album, found its shape as it was later re-created at Jaeger. At the behest of Kaman Leung, True Cuckoo’s performance at Jaeger in 2023 was the push the show needed to go from vague idea to full-fledged concept.

Faced with the sound system in the basement he thought; “If I’m playing here on this system I need to know what works for this system, because it’s kind of amazing.” He “tried the embryo of this LP,” and was immediately struck by the sound. “This sounds incredible down here,” he exclaimed. The idea for an album then took shape with Andreas realising: “This is what I have to finish.”

The result is Non Binary Code. Initially released in 2024 for digital platforms, it has recently been re-issued for the vinyl format. The vinyl version includes an immersive comic book gatefold; a two-month endeavour created by the artist as an extension of that conceptual theme behind the record.

Non Binary Code never lost sight of the immersive video game feel, even with certain tracks taking on a more “club-oriented” feel. At its most energetic through “Blitterate” – a brisstling drum and bass arrangement –  it stops and breathes at phrases, like a character crossing over the threshold of a new level, or waiting for the boss to arrive in the next frame.

At its most serene, tracks like “Tsuki Ga” or “Mem Leak” touch on esoteric melodic arrangements evoking sonic themes from the likes of Castlevania. It’s something exotic and lovely to break the harshness of the limitations of those early gaming console’s sounds, where Andreas’ own musical interests first took shape.

As a teen, he and a group of friends were early in exploring the new technology of consoles, “aiming to create games for the Commodore Amiga.” He claims he was never really a programmer and that his involvement in these games was more universal, “doing a little bit of everything,” including making the music.

He had always, however, held an interest in music, tinkering with the electric organ at home or playing his Grandma’s piano in rural Sweden. At school he had music classes, and while he would always be playing and writing music, including his early attempts on the Amiga’s tracker software, it never developed much beyond a hobby.

Instead, he took to the animation aspects of these games, eventually working in the video game industry as an animator and “making video games professionally.” Music remained an interest, however, and while he could indulge those interests in the odd compositional contribution to some of the games he worked on, Andreas has always felt it was something he did just “for fun.”

By the mid-2000s, that all changed when he met a young Jenny Hval. “She was called Rockettothesky,” at that point and together with her producer, they put together a “little band,” “travelling Norway, and playing all the festivals,” off the back of her debut LP. Andreas “got so hyped by that,” and decided “this is really what I want to do.” Cuckoo was born, and then later matured to True Cuckoo – “because there turned out to be several bands on Spotify called Cuckoo.” He released his first LP in 2009, but “nothing happened and I got no traction.”

Where most would resign their efforts to the waste bin and go back to their day job, Andreas had something else in mind. He had been an early adopter of YouTube, uploading his animations to the site in the hope that those would “gain some popularity.” As his urge to make and share music grew stronger, however, he thought: “Why don’t I just do this?” and True Cuckoo took to the web.

Today, it’s a channel for people interested in the tools for creating electronic music, but with its esoteric feel dictated by Andreas’ own interests, it’s for those that want to delve deeper. It goes beyond the standard review and the obvious, to instead focus on “a musical goal when explaining how things work.”

Today, the channel has over 200,000 subscribers, but he’s not just another man with beard twiddling knobs on a screen. His slow, patient voice seems to explain with ease even the most exhausting menu dives.

Andreas had always had a knack for these technologically demanding instruments. After learning how to make music on the Amiga’s tracker, he bought his first synthesiser as a teenager. He had clearly found some instinctive knack for the machine, based on his early Amiga experiences and organ tinkering, but watching him perform today either live or on YouTube, it’s clear that Andreas’ knowledge extends to some of the more intimate features of some of the world’s most exotic and peculiar machines.

Today, his YouTube channel is dominated by quirky synthesisers and tools that flip traditional musical creation on its head. Tools like the logic-defying OP-1 or the challenging, manual-craving Elektron Octatrack, and it appears that it’s always these unusual, often scary machines that attract him.

By way of explanation he tells me about a recent visit to the German electronic music instrument messe , Superbooth, where he gravitated towards the Korg Berlin acoustic synthesizer Phase 8. “It’s a supercharged kalimba,” he explains with some delight, “a cool little thing that’s outside of a typical electronic instrument now.”

It’s these kinds of things that will usually show up on his channel and eventually his own music. “It’s always about what I’m finding interesting,” he insists. “I only show stuff that I’m interested in using myself.” He says he is inundated with requests from big manufacturers to feature instruments on his channel, but finds that he has to turn almost all of it down. “It sounds like I’m on my high horse, but for the whole time running my channel, I’ve never considered myself a reviewer.”

The channel has a tendency to “gravitate towards stuff that I find inspiring.” This is hardly an exaggeration, and in Non Binary Code, he turned exclusively to a machine he’s featured on the channel more than once, the Elektron Digitone. A frequency modulation synthesizer and groovebox, it has the ability to create those exotic organic tones that pluck at the central melodies of themes like “Mem Leak,” or make those erratic bit-crushing sounds of “Bitcore.” “I made everything on this one machine,” he says.

He was particularly drawn to the “algorithms that are extremely close to the Sega Megadrive,” as the video game concept manifested in his mind. Even though these thematic ideas are very strong on Non Binary Code, there is still something of a sound to True Cuckoo’s music. This album is very much a continuation in sonic aesthetic from his last two albums, I’m Not a DJ and Not Pop, and the glitchy, erratic expressions are central to his appeal.

As True Cuckoo, Andreas avoids any dogmatic or stylistic traits in what is a truly preternatural sound. There is no preset or obvious generic cue, and everything he does sounds experimental; not in some naïve and puerile sense of exploration, but in a knowledgeable and considered approach.

“I enjoy taking other adventures and arriving at new sounds,” says Andreas of his approach. He doesn’t always have to be making music either. He’s quite happy just exploring the limits of his equipment in search of new sounds. “I really like to create my own sounds from scratch,” and although he makes those sounds available to anybody through his sample packs, you won’t find many taking those machines in these directions.

It’s easy to get stuck into the finer details of synthesizers and music machines with Andreas. He engages with his topics like a teacher to young children, and can make sense of even the most obscure machines. Our conversation starts to sound like one of his YouTube videos as we turn to his current love affair with UDO Audio synths.

While he won’t be bringing that particular slab of synthesizer out to his next appearance at Jaeger’s for Musikkfest, he is threatening to bring “two devices.” He’ll expand on the album and “play some of the new stuff.” In a way it’s kind of a homecoming for Non Binary Code as an LP partly conceived at Jaeger, as it comes full circle, but it’s also an opportunity to take a new adventure into other sounds.

“That’ll bring closure for sure…” he says about performing Non Binary Code pieces at Jaeger, but you get the sense he’s already looking towards the next album. Who knows, maybe we’ll hear the first echoes of something new.

Phil Passera unboxes everything in this extensive interview with the songwriter behind Payfone before they arrive at Jaeger this week. 

Payfone is a great example of the idea that if you stick with it and believe in it, people will flock to it. Phil Passera and Jimmy Day’s disco-leaning project has been around for just over a decade and although they have never had that “hit,”, they have garnered a dedicated and large audience. Tracks like “International Smark” and “Paradise” have stood the test of time, and Payfone’s appeal has only grown as their music has matured.  

They’ve never capitulated to trends – in fact, Phil and Jimmy are more likely to avoid temporal shifts in taste – and the duo seems to have maintained their unique take on Disco from that first record to the last. It’s hardly rudimentary or formulaic, and yet Payfone’s cohesive sonic approach has only solidified around their releases. 

Their next release reiterates the sentiment in what would essentially be their debut LP, “Lunch.“ At a glance, it’s a chuggy, downtempo affair with all those idiosyncrasies that make Payfone unique. Analogue and warm, with the bass guitar’s mass anchoring everything around it, Lunch’s seductive charm bounces between body-shaking grooves, delicate melodies, and soulful vocals.

The album follows a compilation celebrating ten years of the group and a couple of singles from Phil’s label, Otis, in an output that has remained consistent yet reserved over their tenure. Upon arriving on streaming services, the largely physical format project has amassed millions of streams, with their music hitting an evocative and instinctive nerve for many.

Between Jimmy Day and Phil Passera, Phil is the writing force behind the project, with an extensive career in music going back to the nineties. A multi-instrumentalist, DJ, and songwriter, he’s been through it all, and when he’s not playing live as Payfone or recording new music with Jimmy, he’s DJing or collecting music.

With an upcoming live performance from Payfone at Jaeger, I call him up in his home in Barcelona and find an excited Phil eager to share his thoughts on everything from politics to club culture.

From his views on Palestine – “I have to say I’m absolutely disgusted by Tom York, playing in Israel now. Talk about reading the room” – to his bugbears like Discogs DJs – “You’re gonna play a whole set from your Discogs wanted list to prove to other DJs how on the money you are. None of the crowd gives a fuck about your high-brow Discogs selection” – Phil is honest and open about his thoughts.

I find a person as passionate about his beliefs and music as any. He comes to Jaeger this week with April Pittmann and Joseph Gabriel Harris as the live band, and in the context of a club setting, my first question takes me back to a recent interview with Phil.

I was reading a piece on Test Pressing, where you said you’ve come to the realisation that Payfone’s music is not really for the club. What brought you to that conclusion?

When I do go and listen to Disco DJs or go to clubs, what I tend to hear is way more formulaic. The standard thing will be a faster tempo than Payfone. We’ve never gone above 120, and our average BPM is about 114. If you go to a club, it’s going to be around 126, even if it’s Disco.

A lot of DJs are under this idea that to get people dancing, you need to play dance music, which is not true at all.

If we made simple, clubby, instrumental disco, people would play us a lot more in the club. That’s not what we do. We are making music to listen to before and after you go to the club.

The most club track we’ve got is “Catholic Central” (we’ll be doing it in Oslo).

Is it more about the context of the club today, or has it been the case all along, even when a track like “Catholic Central” was new?

This was never going to be a House music thing; I’m not a fan of House music. Jimmy is more so. What we aimed to do with Payfone is something original in the Disco genre. We were going to have to take risks. Our first release, “International Smark,” that’s a bizarre, risky song.

Initially, nobody noticed that song, but over time it picked up a fan base. The second track was “Paradise” (Golf Channel). It was a big leap and a different style to “Smark,” and again, it didn’t reach an immediate audience, and the audience grew.

I knew at the time that they were great tracks and really fresh, but I also didn’t know how it would be received. If you want to release something that was going to be played by all the DJs around, you just have to make something that’s exactly like what’s out there at the moment.

What’s happened over the last decade is that these records have found their audience. We’ll do an upbeat record, and then a downtempo record, and then we’ll do a record with a full song with good lyrics, not just makeshift words. I don’t see many people doing that.

What were the defining factors in getting to Payfone as a fully formed project, and had Jimmy always been a part of it?

Yes, I started it with Jimmy, and I went alone for a few years, and then I let him back in. We’ve been working together again since Sofian. Payfone is better with Jimmy on board.

Did you have the songs ready ahead of actually starting the project?

I had been asked to do a remix of Black Devil Disco Club, under my previous alias, Leon Lace. It’s a masterpiece record, like an abstract Kraftwerk. We put it out on the b-side of “International Smark”; it’s called “Subconscious Lamentation.” It’s the first thing me and Jimmy did together. We did it as a remix, but it’s like 95% original. We both were very excited about what we did, and I said, “Let’s do a double act, something new, together.”

“Smark” was actually the second thing we did, and the Scandinavian, Swiss-Finnish vocals came about by a beautiful accident. I brought in a session singer in Brighton called Katerina Holmenberg, and I had written something, but while she was in the studio, she started warming up by talking in Swedish/Finnish.

I scrapped everything I had planned, and I wrote something for her to do in this voice. I came up with this quirky line that I love the synthesiser and that I love Roxy Music. It was a spur-of-the-moment thing. It doesn’t make much sense, but it’s unique.

That’s the character of that track, that vocal. For non-Swedish speakers, it’s exotic, and even if you do understand the lyrics, the way Katerina expresses them is quite unusual.

A key ingredient in music is mystery. There’s music you would’ve been listening to since you were a teenager, and there are going to be certain parts in the song that you are going to be uncertain about what the lyrics actually are. Instead of taking away from the song, it adds to your intrigue.

Besides vocals, the bass plays a distinct role in the creation of your music. Is that you playing the bass on the tracks?

Yes, I’m originally a bass player, and Jimmy is a keys player. Whether it’s key bass or live bass, one of us will come up with a footprint.

Do you do it as a jam session, playing together in a room?

We have done that, but because I’m in Barcelona and Jimmy is in Brighton, it’s not always practical. Jimmy is very much the studio head; he’s got a fantastic studio. We record in a completely analogue fashion: live and on tape.

Listening to your newest track and the first single off the new LP, “Wild Butterfly,” what struck me was the saxophone. I believe that’s the first instrument you learned to play, is that correct?

I did. I was ten years old. I just bought my first cassette; it was Brothers in Arms, Dire Straits.

That record just turned 40 this month.

Track 2 is “Your Latest Trick,” and it starts with this cheesy Kenny G sax solo, and I thought, “I’m gonna learn the saxophone.” You could apply to schools in England at the time, and they would supply the instrument and the teacher. (It doesn’t happen anymore, sadly. I’ve been watching the demise of England over the last 20 years, and it’s shocking.)

I played the saxophone for six years, sold the saxophone and then bought a bass and started a band immediately.

What kind of band was that?

It was an indie punk band called MEAT, and our influences were My Bloody Valentine, the Pixies, and the Wedding Present.

You were also DJing early too, thanks to your older brother, I understand.

My parents were not musical; the only thing they listened to was talk radio, but my mother’s father was very musical. I was the youngest of four, and I grew up in a house that had a drum kit, a piano, and my older brother (who was ten years older) had a pair of Technics 1210s, a mixer, and records. To his credit, he said I could use this, play these records, and practice.

I spent years of my teenage life messing around on records, drum kits, and pianos. Still to this day, I can’t play the piano, but I can play the drums and I can DJ, so I am happy.

This was the early nineties, right… the golden age of UK clubbing.

My brother was opening up for Fat Tony at WAG. – Fat Tony is still a DJ, and he plays at the opening of Kate Moss’ vagina. – I was 18 when I put on my first DJ night in Harrow in a venue called Trinity Bar, which is still there. It was a night of DJing music to raise money for Tibet. My first adventure into DJing was a charity fundraiser.

Talk about being political at an early age. Am I right in thinking that you often have some kind of political slant in your lyrics, or if not political, at least some kind of social commentary aspect to it?

Yes. The song, “We Are Chains,” despite having quite a following in the LGBTQ community, is about Hillary Clinton. This is the magic of music; this is how it should be. When I’m listening to Bob Dylan, I’m listening to songs that I have been listening to for twenty years, and every time I hear them, I hear something new.

For example, I spent some time with the great American folk singer Terry Callier right before his death and asked him if his song “Dancing Girl” was about the Vietnam War, and he said no, it’s about race.

That’s what songwriting is all about. When you write a song about being hungry, you don’t start off with “I’m hungry, is there any food in the house.” Then you just give it all away. You have to get people into your mindset.

It took me twenty years to learn how to write songs, and I’m very glad that I didn’t release any of those songs. I was working on it all in the background.

When you are talking about politics, does it come from some kind of personal experience, and is it ever literal?

From the first release of my label Otis, our tagline has always been “Fight for a Free Palestine,” and that was… I’ve been shouting since 2018. If anybody wants to talk about this beginning on October 7th, please let’s not have that conversation. So when you ask if I’m political, yeah, I am very political. Everything you do is political; you don’t get to opt out.

I’ve always thought the dance floor is the great political stage and something of an equaliser in terms of social schisms.

Absolutely. Look at Disco; the Disco scene was born out of a political movement.

Are you still DJing?

I’ve been DJing for 30 years, and you really only learn from DJing live. DJing is not when you can mix a few records and have a set idea. It’s when you go to a venue at 3 AM and nothing is working, and there’s no technical staff. There are punters shouting in your ear and people spilling drinks on your equipment. If you can still do it then, then you’re good.

Do you ever play Payfone when you’re DJing?

No, I feel cheesy doing it. That’s why I like doing the live shows, because the live shows are a real indulgence.

I never have a pre-planned set. I might have the first 3 songs, because it’s all about feeling the room and reacting to the crowd. It’s not about you; it’s about them. 20 years ago, I played weddings, and they are the best way to learn your craft. You’ve got a hundred people in the best mood; they want to dance. If they are not dancing, then you have failed. You don’t have to play wedding hits, but you have to get everybody on the dance floor.

I’m not claiming to be Harvey; if I feel it’s time to drop a piece of classical music, I’ll do it. People’s reactions are usually positive, because people are stunned. And now they are interested. I want people to just stop copying everybody else.

Recently, I was at this event called Cloud 9 in Barcelona, and people had flown in from all over the world to attend, and every song was a disappointment. Every song was a change in genre, a change in tempo; it was a complete mess.

So you still go out regularly and listen to other DJs?

Not as much as I used to, because I’m getting older.

Do you ever take anything from these nights (obviously not this last example) and does it feed into your own music or DJ sets?

The truth is, no. I’m constantly listening to music, but not a lot of modern music. I’m a big vinyl collector and vintage Jazz collector. I don’t often hear things that inspire me, but when I’m out looking for new disco records for DJing, I’ll listen to a lot of stuff and take four crates of vinyl with me. I resent the USB DJs because your convenience is everybody else’s loss. You should be suffering, and it’s got to be exciting for you as well, as a DJ.

Can I ask about the live band, who is in the band coming to Oslo?

Because Jimmy is a studio buff, he usually does the front of house, but sadly he can’t make the Oslo trip. For a year now, I’ve been working with two very talented American musicians: a singer from Brooklyn called April Pittmann and a talented bass player from North Carolina called Joseph Gabriel Harris. We play as a trio, and it’s very good. We’ve done 3 shows in the last month, and we’ve got a load after that.

And will you be performing songs from the new LP?

No, we are doing any of the new songs yet, because no one knows them. We’ve got a decade of material, so we’ll start with that, and then our next tour at the end of the year will start to incorporate some of the new ones.

All the shows so far have been a big success, so I’m really looking forward to Oslo.

Head to our stage in the backyard with some of our favourite live acts taking part at Musikkfest 2025

Musikkfest is one of the most anticipated events on the calendar at Jaeger. It’s a day all about the music, and more importantly, homegrown music. Oslo becomes a city of stages for one day, where both established and new acts get a platform to express their art. 

Every year, we rig the backyard to take part in the melee to celebrate electronic- and club music. Our lineups run the gamut from Drum and Bass to Techno, with Live- and DJ sets starting from 14:00. 

This year our live artists take precedence in what is possibly our busiest live schedule for Musikkfest in recent memory. From Why Kai to Charlotte Bendiks the majority of the day is taken up by live acts. It might get a bit difficult to navigate, so we’ve compiled a quick guide to the artists coming to our stage.   

* Find out more about the event here.

Why Kai and Dunk

Fresh off a south-east Asian tour, master musicians and dance floor loving duo Why Kai are back on home soil, and reprise their role as the de-facto openers of Musikkfest at Jaeger. Kai Von Der Lippe and Elias Tafjord create a distinctive fusion of sound between Jazz, club-focussed rhythms and bubblegum melodies. 

Last year’s Tourist LP, was a roaming success, with the pair travelling from Norway all over  the world off the back of the release. The title track from the LP has already been instated as a Jaeger hit and we’ve witnessed the duo go from strength to strength ever since their first performance at Jaeger, oh so many Musikkfest days ago. 

Bubbly synths and grooves you could step on, define their sound while latent earworms continuously dot their work. As a duo their live show is captivating with Kai on the keys and Elias’ energetic drumming bringing that definitive live dimension to their work, and it’s not merely contained to Why Kai. 

The duo transform into a quartet at night, adding Markus Anskau and Thomas Antonio De Almeida Debelian as they become Dunk for the second session of the day. Why Kai’s effervescent earworms, make way for a more stripped down sound. This is the 3rd appearance of Dunk in a couple of years, and their club-focussed is one were very excited about this year.

Read our interview with Why Kai from last year for more on the band.

True Cuckoo (live) 

Man with a beard turning knobs… you couldn’t find one better than True Cuckoo. The synth maestro is a powerhouse of synth and groovebox knowledge. Avoiding the usual introverted navel gazing of the synthesiser community, True Cuckoo’s exploits go from Drum and Bass to Pop, with his acute knowledge of these machines, often bringing an experimental flourish to his music.

As a YouTube creator, he is quick to feature new technology and delves deep beyond the obvious parameters of his machines in his exhaustive features and tutorials on his channel. Unlike most of his peers on YouTube, however, he is able to apply his menu-diving knowledge to the real world as a live performer and recording artist. 

He’s just come back from uber synth messe, Superbooth, where as well as testing and presenting new equipment, he’s also played some live sets. His latest LP Non-Binary Code just hit shelves in its physical format and we’ve been informed that a lot of the source material from that record was taken during a live session at Jaeger. We haven’t been able to verify that yet, but hope to do so soon with an upcoming interview with the artist.

Ost & Kjex (live) 

Truly a Norwegian treasure at this point, a Musikkfest at Jaeger just seems incomplete without a visit from the House duo, Ost & Kjex. Ost (Tore Jazztobakk), who has been appearing as Sex Judas more recently, is back in the company of Petter Haavik as Kjex and take to the stage as a duo. 

The pair have been one of Norway’s most successful House music exports with releases on the likes of Diynamic, Crosstown rebels and Planet Noise. Lately their efforts have been focussed on their own Snick Snack music label with their 2022 LP, Songs from the end of the World coming via the busy imprint. 

With Ost’s vocals often in the foreground and their musical programming always focussed on  the groove and the floor, Ost & Kjex‘s sound is immediately recognisable and as a live act there are few that compare to that dynamism. 

A while back we spoke to Ost & Kjex via this blog, and their rich history in music stretches all the way back to the nineties and incorporated everything from Death Metal to Rave, before they refined their sound in the House scene. 

Afterword: Make sure to check out the upcoming Sadomaoistan release from Snick Snack Music, coming soon.

Vegard “Lil-Wolf” Dyvik (Of Norway)

Of Norway has  just released another EP via Badabing.diskos, and on top of the 2 LPs they released in as many years, it has been a busy creative period for the duo. It seems Vegard “Lil Wolf” Dywik is not content however and with some spare time on hand, he will be going solo with an exclusive live show for this Musikkfest at Jaeger. 

While Vegard is best known for his work with Carl Christian Steenstrup in Of Norway, he’s been something of an icon or more accurately an iconoclast on the Oslo scene. His previous club-night Iconoclastic, introduced a whole generation to club music in the city. During a time when electro-clash was dominating the club-scene, and alongside Dead Swan as a resident DJ, Iconoclastic featured live and DJ acts with a diverse musical identity. 

Vegard might have dropped the Lil Wolf moniker post iconoclastic, but he has been as busy, if not busier, since. A day job working in the sound department of NRK doesn’t seem to fulfill all of his musical needs and he regularly plays live, records and DJs as Of Norway. Together with Carl, he’s played the likes of Berghain and E-werk and as one half Of Norway and regularly Djs in Jaeger’s sauna. 

You can read an in-depth interview with Of Norway here. 

Charlotte Bendiks

Charlotte Bendiks plays live! The DJ and artist has been a regular fixture in Jaeger’s booth as a resident, and this time she takes to the stage for a rare live performance. Having released records for the likes of Optimo, Hivern Discs, Love, Cómeme and more recently Multi Culti, the Tromsø-based artist has an extensive body of work to represent today.

Music tuned to the primordial impulses of the body, Charlotte Bendiks’ music thrives on the dance floor, but occupies that unique space, where it always welcomes close listening. 

Polyrhythmic rhythm tracks combined with tastes for non-western musical traditions has distinguished her records, often crossing over into uncharted realms. 

Her last two singles, Ima Flora and and Elektra have seen her interned in Thomas Von Party’s (Tiga’s lil brother) other label; Multii Culti. Inga Elektra finds her working with Plevna, an artist who much like Charlotte weaves in obscure musical traditions, both real and imaginary. With synthesizers and drum machines speaking in foreign musical languages, it blends science fiction with the obscure in something like one of Ursula K Le Guin’s literary musical creations.

When she’s not working on music she’s facilitating a scene, often helping her fellow DJs and artists to stages and DJ booths around Norway. You can read an interview with her and previous protege Rashidi (O.blom),  and an earlier interview with Charlotte here. 

Simon Field (live)

Basement records head honcho and uber-producer, Simon Field debuts a live show at Jaeger. A successful artist with millions of streams on Spotify both as a solo artist and producer for other artists, Simon Filed has had an extensive musical career, including one behind the scenes. 

He’s no stranger to Jaeger’s basement with a monthly label event, but this will be the first time he plays live at Jaeger. With a foundation in House,and  with a golden touch for production his music hits a singular nerve. 

An extensive background in music starting with the bass guitar back in the nineties, it took Simon Field some time before he found his groove in House music, and then he seemed to perfect it in his own way. His debut LP only came ten years in the genre, and while today House music is at the forefront of his creative endeavours, he’s created music for film, written pop-songs, played at esteemed venues like Ministry of Sound, and worked with some of the best in our scene. 

This will be a first at Jaeger and a much anticipated performance for Oslo. A while back we had the pleasure of sitting down with the man and getting to know him a bit better and you can read that piece over here.

Castro and Nemo from Sound Metaphors take our questions as they celebrate 10 years at Jaeger this week

In Berlin, a town dominated by the sound and culture of Techno, there’s a place that has carved out its own musical universe. For the last 10 years, this little enclave of sound has cultivated a unique sonic identity that stands out amongst the backdrop of the city and has become a haven for dedicated vinyl enthusiasts and DJs. It’s called Sound Metaphors and it’s a record store, label, club night and DJ duo. 

With neighbours like Hardwax and Oye, it distinguishes itself from the Techno-centric milieu with its focus on “organic and unorthodox” sounds. Often rare and always esoteric the records that make it into Sound Metaphors offer a glimpse into the eccentric musical personalities behind the store, and it feeds into everything they do from the club nights to the record label. 

DJs and music enthusiasts, Nemo and Castro are at the heart of Sound Metaphors, representing the marque wherever they go as a DJ duo and event series. They instil something of their own sonic identity in the store and label, while also spreading it out into the world from various DJ booths.

Their sets permeate with the kind of records you’ll find in the store, with Nemo and Castro’s indicative feel for the dance floor underpinning the varied programming of the night. Their sets often stretch into 5 hour territory, and can move from the obscure rarities to the unconventional repurposed as a DJ tool. 

This year they celebrate 10 years of Sound Metaphors and with a globe-trotting tour to mark the occasion including a stop at Jaeger. We caught up with Nemo and Castro ahead of the event while they were in south-east Asia to find out more about the Sound Metaphors and how they got to ten years.  

Hello Nemo and Castro. Thank you for taking the time to answer some questions. What are you listening to right at this moment?

An edit of Nightfever by the Fatback band, complete madness…if you listen carefully, wow

I believe you’re on tour in South East Asia. There are some great record stores on that side of the world. Are you able to do any digging while you’re on tour, and what exciting pieces have you found so far?

Sadly we spent most of that time in Shanghai, bridging two weekends, didn’t find too much interesting stuff in terms of records, but it was all made up for with the insane food! China has some of the heaviest food culture ever…it’s the music of the mouth, beautiful!

Congratulations on 10 years of Sound Metaphors! What does that milestone mean for you personally?

No idea…it’s just a number at first thought, but I guess if we’re still here after all that time it means we must be doing something right! So I guess it’s reassuring :) 

What are the origins of the Sound Metaphors record store and how do you both fit into the picture?

Just love for honest music, we’re just catalysts, enzymes, some kind of horse shit ground fertilizer, setting the pH levels right for good things to grow and be celebrated.  

It’s one of those stores that is a must-visit for any music- and record obsessive when in Berlin. It’s quite set apart from any of the other stores in the city, in terms of the kind of music you stock.  What were your thoughts initially when establishing the store in terms of sound? 

Definitely fending away from the classic “berlin techno” approach to selection, being neighbours to places like Hardware and Oye, we didn’t want to step on anyone’s toes, at the same time the more organic and unorthodox kinds of music have special places in our hearts, so we tried to focus a bit more on that with the selection. Now we also have a big 2nd hand selection from buying collections so there’s a bit of everything…

Today it’s a label, event series and of course a DJ duo. Do you feel there’s a sonic aesthetic to the store and is it something that you actively try to present through DJing and the events? 

We hope there is an identifiable signature to the DJ side of things, not sure if there’s always an overlap with the labels though, a lot of times we’ll ask ourselves if we would play out a track that we’re releasing on some of the sub labels, and the answer isn’t always a yeah. 

Some stuff we just release because we feel it’s good and will sell well, even if we won’t play it out on dancefloors, someone else will. There’s also a business aspect to the labels — we’re trying to sell records at the end of the day — DJing was never a business for us, more of a religious effort to proselytise our vision of relevant music. 

How has your own musical tastes been shaped by what you do in the store and the label since you’ve started? 

I think they haven’t changed much really, we’ve just gone deeper into what we were already interested in. We can shamelessly say that most records we would play 10 years ago would still proudly present them today, with a few exceptions of course…

Listening to your mixes, there’s always the oddity or rarity – records that often fetch a lot on discogs. It’s great to hear these records being played and not just gathering dust in a collection. How do you avoid getting too precious about these records and do you still find these rare things today? 

We re-issue them on our labels. 

What have you noticed in terms of trends in people’s buying habits of late and do you try to adapt to that in what you do both in the store and as DJs? 

Yeah, we have an electroclash bin in the shop now! 

There’s that balance between old and new, familiar and oddity in your sets. It’s a fragile balance to get right usually, but you seem to do it effortlessly even across 6 hours. What is key for you as DJs in maintaining that balance? 

We’re not really thinking about that too much, ultimately, too much of anything will always be too much, since there’s two of us, there’s always a 50/50 chance that the next track will either compliment the last one or juxtapose it, so sooner or later things end up getting a bit unexpected in some way or another. 

You obviously have the store at your disposal and I imagine it’s hard not just picking every new thing coming through the doors. Where do you have to draw the line when thinking about your own record bags? 

Sadly we don’t have so much time to go through the collections we get. The shop isn’t really a major source of music for us contrary to what people might think.  

Similarly, when the store gets some new used pieces, do you have to control yourself in not snatching everything up, and what is usually the major factor in letting it go into the shelves?

We have no time. The people grading the records usually get first dibs…

Jaeger regulars and Oslo mainstays Epiphany hit the Jaeger mix with their uniquely multi-cultural sound

Epiphany have long been staples on Oslo’s nightlife and regular visitors to Jaeger’s bakgården, where they bring their multi-cultural sonic aesthetic to the dance floor. Epiphany is a DJ collective with Epifanov (Alexandru), Mulo, Lorentz Bodega (Stian) and Ihle (Marius) and their diverse background is reflected in their sound which is reflected in the aesthetic they bring to their events and the audience they attract.

They distill this sonic identity down in the latest edition of the Jaeger Mix, playing an extensive 3-hour set for Ivaylo‘s monthly DJ mix concept. We took the opportunity to get to know them a little better. You can read the full interview here and catch Epiphany in the Bakgården this Saturday with Djuma Soundsystem.

Bigup talks to A-sides ahead of his appearance about his endless list of accomplishments and his preferred footwear for the dance floor amongst other things 

Drum and Bass stalwart, A-sides has been creating and playing dnb and Jungle since the inception of those genres and continues to be a force on the scene. His discography lies in the hundreds and is closing in on a thousand and he has contributed to some of the best labels around, including his own Eastside Records.

His artistic moniker carries weight all over the globe, with his uninhibited dedication to the sound, marking him as one of the true originals. From his early days, discovering the drum machine and then moving into Hardcore before finding his feet in dnb and Jungle, he has laid down deep roots in bass music with his influence still felt today. 

Keystones in his musical achievements are many and varied, but projects like the innovative Sci-Clone collaboration with Jazz artist Nathan Haines; the myriad of hits alongside MC Fats; and the travelling ambassador for Sun and Bass festival, stand out in an ever-evolving and extensive career. He continues to travel the world as a DJ and regularly puts out tracks on labels like Metalheadz, all the while cultivating a following as dedicated as he is to the music.

Oslo and Jaeger’s own Bigup count themselves amongst the dedicated. They are time-honoured fans of A-sides and have lured the UK DJ back to Oslo, where he coincidently played his first gig outside of his homeland. He plays the night to the 1st of May holiday next week, and without much encouragement needed, Bigup sent him some questions to find out more about that 1st time in Oslo, Sun and Bass, his thoughts on the genre and his favourite sneakers for dancing. 

Can you tell us how you got into DJ-ing, producing and your studio work?

Sure, I took drum lessons at school then my Uncle (Jah Free)  had a recording studio in the mid 80’s and he took me under his wing on a training scheme. I learned how to program his drum machine, got into electronic music and turntables and the rest is history.

You have been there from the early days of both jungle and Drum and Bass, do you remember the first time you ever heard those terms and what do you consider to be the first jungle and dnb tracks?

For me I come from a Hip Hop / Old School Electro background with songs like Rockit By Herbie Hancock and Buffalo Gals by Malcolm Mclaren which then led me onto Hip House, Tracks like Do It To The Crowd by Twin Hype and some of the Bones Breaks EP’s by Frankie Bones were my early exposures to breakbeats which then led me on to the Hardcore sounds of The Prodigy then onto Jungle sounds like We R I.E by Lennie De Ice which is what was the first Jungle track that I heard. I was actually on stage with DJ Randall when he first played that song to the public at a huge rave in London (The Living Dream).

As somebody that’s been there since the roots of Drum and Bass and jungle, what is your experience of the evolution of those genres?

For me it’s nice to see the evolution of the genres as long as things are handled with care. It’s great when there is a resurgence of some of the old styles and sounds as long as things are kept authentic. I love the versatility and sub genres of Drum & Bass there is something there for everyone. 

Musically, how do you keep yourself locked in and interested in that style of music?

I listen to music differently to a lot of people. I am always analysing what producers are doing and breaking it down. I take influence from them and they inspire me. Drum and Bass producers are always pushing boundaries. One thing I love about this is that we are constantly learning and evolving and this keeps us on our toes, it keeps us inspired and motivated.

 *A-sides joins Bigup next Wednesday

Your Sci-Clone project is still considered to be one of the most unique approaches to Drum and Bass involving live instrumentation on both recordings and in DJ sets, can you tell us how this project came to be?

I met Nathan Haines on a trip to New Zealand in the mid 90’s. My Brother moved to New Zealand in the early 80’s and occasionally I would visit and by chance I was listening to a student radio station and all of a sudden one of my songs is playing on the radio. 

At this point I had no idea there was a good electronic music scene in New Zealand so I called the radio station and spoke to the DJ saying mate you are playing my song on the air :) 

That DJ was Nathan Haines. We met that night as he was playing an acoustic show with his Dad who is a Bass Player and we exchanged details as Nathan was planning a trip to London and we agreed we would do some studio time together and not long after that studio session happened and we created O.D which was handed to DJ Randall who then passed it onto Goldie and that was the birth of Sci-Clone :)

When people like dBrige, Trevino and Boddika were exploring other genres, were you ever tempted to move into other genres, and what keeps bringing you back to Drum and Bass and Jungle?

I do explore other genres but mainly under other aliases. I have written a lot of tracks for music libraries covering many different genres. These songs have been featured on major TV shows such as Top Gear / Wheeler Dealers / Ross Kemp On Gangs etc. I need to break away from Drum & Bass as much as possible which also helps to keep my mind fresh. You will never hear me playing Drum & Bass outside of the studio as I am always listening to other styles of music for inspiration.

Oslo happens to be the city where you had your first ever international gig, can you tell us something about that?

I can indeed. This was in the early 90’s when I was part of the Strictly Underground crew. We were booked to come and DJ at The Oslo Rock Festival and I remember the airline lost my record box so I had to borrow some records to play. If I remember rightly DJ Swann-E came to the rescue. It was so long ago it’s hard to remember as so much has happened since then but I will never forget these moments.

Sun and Bass is the 8-day world-renowned Drum and Bass festival in Sardinia, where you happen to be a familiar face both behind the booth and in the organisation; how did you get involved with the festival?

In 2006 I was with ESP Agency who were handling my DJ Bookings. They got me booked to play on the festival and then like many others, once you go you never stop going :) I have been there every year since and have been considered a global ambassador :) I have curated many events there, I have managed international Sun And Bass tours and also played a part in bringing some big non Drum & Bass artists to the festival. Names such as Slum Village, Jeru The Damaja, Newcleus, The Beatnuts and Mad Professor. 

You and Bailey (of BBC Radio1 and Ministry of Sound fame) seem to have this long-lasting friendship and are often found playing back2back, can you tell us how this came to be?

I think this stems from the legendary La Posta sessions that we host at Sun And Bass. For those who do not know, we do a before and after party at Sun And Bass in a small bar in San Teodoro and we play everything but Drum And Bass. Myself and Bailey both have an in depth knowledge of music and we have fully loaded libraries of music from many genres. We never know what we will play next. The whole thing is improvisation but it works well and we have a lot of fun doing it. It’s always good for DJs to go out of their comfort zone; these are the things that keep us on our toes. 

And lastly, you being a sneaker-head; what’s the ultimate pair for the dance-floor ? ;-)

For me I’m always an Air Max 90 or an Air Max 1 fan. If I did dance it would probably be best to go for a darker colour in case my foot gets stomped on :) 

Thank you and we are looking forward to hosting you at Jaeger April 30th!

Questions by Bigup and introduction by Mischa Mathys

It’s fair to say Chaos in the CBD lived up to their name when they arrived in Oslo on the 10th of May 2022. By the time the brothers Helliker-Hales landed in the booth at Jaeger, a ceiling had caved in on another dance floor down the road and when they reached the middle of their set, there was a sense of reckless abandon on Jaeger’s dance floor. Images from the night show an audience reciprocating en masse for a night that is eared into our collective memory and brings back all kinds of feelings as we get chance to share a portion of the mix with you today.

Chaos in the CBD have become a touchstone for a new generation of fans and old heads alike. Their music and label, “In dust we trust” continues to honour the origins of House music with an affinity for the deeper end of the spectrum on the vinyl format while as DJs their enthusiasm for the energy and dynamic range of the dance floor is unparalleled. Their social media accounts, interviews and Boiler Room sets show a pair of DJs that get as much a thrill out of playing as their audience gets from dancing to it, with a pretext on the hedonistic value of this music. 

“We want to play the stuff we want to hear in a club,” says Ben Helliker-Hales, who introduces himself as Beans when we meet in Jaeger’s courtyard. ”We are very considerate of what we feel the crowd wants to hear as well,” chimes Louis as if taking a subliminal cue from the younger brother. The New Zealand brothers have been playing music together in one form or another since their teens and share what Beans refers to as a “telepathic” connection through music today. They’ve developed that instinct into a production force, a label and as one of the most exciting DJ duos around at the moment.

They have a sincere “passion for the stuff” as Beans tells it, going “deep into the sub-genres” where they draw from a diverse range of tastes and styles. “And keep the energy right,” interrupts Louis. Their set from Jaeger delves deep into an array of sounds, largely anchored to the roots of House music, casting a sprawling net from the deeper ends of the genre to the upper reaches of the dance floor, all for the sake of facilitating the dance. They would rather “play what we want to hear in the club at the point of time” according to Beans than try to force their own songs on a club full of eager punters. 

“If we played the music we produced… and the circumstances aren’t right, then it’s a bit boring,” Louis agrees. “At three in the morning we want high-energy, we don’t want Deep House,” insists Beans. It’s around that time when they kick into a stripped-down, functional House tool that’s little more than a drum machine and a vocal, giving no quarter to the dance floor even as their set winds down. 

We are figuratively and literally world away from where Chaos in the CBD started out when we sit down for our interview. It’s a fact that New Zealand is probably the closest landmass you’ll reach if you were to dig straight down from Norway and yet oddly the two countries share similarities in both landscape and music scene. Like Norway, “the scene was always very small in New Zealand” according to Beans and they had very little access to it growing up.

They “started getting into it, in 2006,” says Louis who instigated Beans to do the same. “We were in a band together and I went to Australia and heard a couple of records. It was around the time of Boys Noize records and The Klaxons were about to take off – I guess there was a lot of crossover appeal for bands.” “It was still ingrained in band culture, but with an electronic aspect,” relays Beans who shortly followed in his older brother’s footsteps: “We saw the Carl Cox and took ecstasy for the first time… and I was like fuck-it, I like dance music!” 

In what was to become a common theme for the time the band got rid of their instruments and picked up computers. Beans, who had been the drummer in the band, was bringing his “whole PC down to band practice and triggering samples on fruity loops and it came to a point where I realised, I don’t need to be in a band.” 

As Louis “was discovering new stuff” during a period of exploration, Beans “dropped out of high school and studied audio engineering.” They made a formidable duo through Louis’ guidance and Beans’ skills. They found a small but dedicated scene in Auckland, developing their skills as DJs while getting to grips with the production aspects of this music. “Back then you had to go and find it,” says Louis of his native scene. The “first couple of years we were the most excited ones, playing these tracks that no-one else knew.” They played mainly “bass” music according to Beans, informed by a sound of London at that time and associated with artists like Ramadanman and Peverelist. “A lot of people that ran Serrato (a NZ based company), they were into that kind of stuff and we would play parties with them” forming “a little community for it.” 

While Chaos in the CBD were cutting their teeth as DJs and producers in Auckland, the advancement of social media and the Internet started connecting them to an international scene including the record label that would facilitate their first release, Young Guns. “We met on Myspace.” recalls Beans “We used to speak to them over AIM and Skype and we became… almost like pen pals.” The French label which shared much of the roster to ClekClekBoom label, brought out “Never Ending” from Chaos in the CBD back in 2012. 

It’s no surprise that the record and its follow up on ClekClekBoom bears similarities to that UK bass sound from the time, but as you get into their third record, “816 to Nunhead” there is a distinct shift in their music. The cold ratcheting rhythms and stark metallic percussion liquifies into soulful melodies and syncopated rhythms as it submerges into the deep. The record coincides with a move to London around the same time for the brothers, but it was “never a conscious decision of what to make,” affirms Beans about the direction their music took. “At that time it was all about the trend,” according to Louis and they were still “trying to find our place” within it all. It was only natural for them to turn to the “deeper kind of stuff” as “that was the music that we liked,” declares Beans. Acts like St. Germain and a mix CD of Deep House that they inherited from a friend’s mum, were staples in their playlist since the start.

“I think” ponders Louis, “by 2015 when we did the Midnight in Peckham record, that came really naturally.” That record, facilitated by a chance encounter on a train with Rhythm Section boss Bradley Zero, helped cement Chaos in the CBD’s sound as artists. “People reacted really well to it,” remembers Louis “which just encouraged us to do more of the same.”

That sound also infiltrated their label when they eventually established it in 2017 with Jon Sable. The vinyl focussed label remains an exclusive vehicle for the founders’ output including Chaos in the CBD, with Beans taking immense satisfaction in the tactile form of their music. “We would always want the music we make to have a physical copy, it gets lost otherwise,” he explains. “It’s history, a timestamp. There’s a physical interaction with it, and it evokes a memory of where you bought it, who you were with; That’s important to us.” The colour coded records take pride in place in his collection, even if he rarely brings them out. 

While the music of the label doesn’t always resonate with what they play in their sets, that spirit does. “A lot of the music we buy now is older stuff,” says Beans and whether it’s a digital file or a record it retains a fervent connection to the past, especially in the booth. They continue to relate more to the past with Beans proclaiming that their sets are all rooted in “early House music” a form of music that “has never gotten better.”

And even with Louis’ “love” for the “convenience” and immediacy of the “digital side of things,” he can’t help but echo that sentiment. “It’s a preference thing,” he explains. “Especially since the pandemic, I’ve gone even deeper into the nineties.” It’s reached a point where he hardly considers new music or records for his sets. “I found that if I went back and found a label or an artist that I like, I just found hit after hit. There’s so much that I haven’t heard.” Djing to a younger generation, who will most likely share those experiences, he can relay music that sets him apart with a sound that is unique in a modern landscape.

It’s “the production quality, the swing, the rawness,” suggests Beans of its appeal. “If it still resonates with you now, it must mean it’s fucking amazing. It’s timeless music!”  

While their own records continue to bring new fans to their work as artists, as DJs they connect a modern dance floor with the roots of this music. They’ve re-affirmed the classics in the contemporary club setting while developing a unique voice. “As DJs, it’s our duty to showcase that music from the past for people that might not have heard it in that context… or at all,” interprets Louis. “If it excites us, you will be able to see it when we perform.” And that’s exactly what they did when Chaos in the CBD landed at Jaeger for a Frædag in May, 2022. 

Elli makes her debut with a new self-titled LP on Horisontal Mambo and brings a new live show at Jaeger during Bypåskefestivalen

If you were a boy or girl, growing up in the early nineties Elli’s video for “Race my Heartbeat” would evoke some nostalgia. It’s a seductive collage of exotic machines and sweltering bodies, playing against a dreamy wash of colours, mimicking the sounds pouring out of the speakers. It would be tantamount to contraband for any adolescent, especially if you were into synthesisers and electronic music.

Elli is the latest artist to join the Horisontal Mambo and extended Full Pupp family. Originally from Greece and residing in the UK, she‘s featured on several dance music records as a vocalist, and in 2024 she set off on her own with her first solo effort as Elli. 

“Race My Heartbeat” found its way to Prins Thomas’ ears through a chance encounter with the Norwegian artist or DJ, earmarking it for a future release on one of his more expansive label imprints. On the track Elli’s floaty vocals swim between rubbery bass lines and slow pounding drums swathed in eighties Disco aesthetic. 

“Just for me and You” followed “Race My Heartbeat” as an unreleased addition to Steven (Funkineven) Julien’s DJ Kicks compilation, establishing a sonic identity for the artist where gated drums and a glistening mystique prevails. 

That sonic aesthetic is only fortified on her self-titled debut LP, coming via Horisontal Mambo on the 30th of May where Elli impresses her unique artistic imprint on the label. “Mother of Pearl,” the second single of the LP, picks up the pace as sparkling arps and glimmering synths encourage more movement towards the top of the tempo range, while for the most part the album lives in the slower regions of electronic music in a kind of lucid dreamscape.

Elli maintains cohesive sound throughout, with songs almost tapering off into the next in some tempered expression of a passage. Eleven when her vocals are not at the centre of the track, the mood she cultivates remains intact, as the machines do her singing for her. 

The machines, it appears, are indicative of her expression and extend to other aspects of her life. During the day she works as an automotive engineer and at night she swaps one set of tools for another, playing her instruments either in the studio or on stage. As a live performer she made her debut last year at Kala festival as an extension of that sound she’s cultivated in the studio. 

She arrives at Jaeger during Bypåskefestivalen, which coincides with the launch of her album and as she prepares for her show, we caught up with her to talk more about going solo, juggling work with art and her origins in this interview. 

Hello Elli. You’ve worked as a studio vocalist for other dance acts before setting out on a solo career. What encouraged you to set out on your own? 

Hey Jaeger! Yes, that’s right! I absolutely loved collaborating with DJ/producers for House/ Techno – more club oriented tracks for about 10 years. It was such an exciting experience and I learned so much in the process. However, over time, I felt this strong desire to express myself in a more expansive way. I was already writing full songs and I knew there was so much more for me to explore and create. That drive to push my boundaries and try new things musically is what ultimately inspired me to step out on my own and pursue a solo career.

You’d obviously been working on your own music all that time. At what point do you start working towards the sound you established on the first album and how would you describe that sound?

I started working on demos back in 2017, mostly leaning towards downtempo and mellow sounds. But it wasn’t really until around 2020, after spending a lot of time experimenting in the studio, that the sound I have now began to come together. As for how to describe it… I’m not sure, to be honest! I guess I’d say it’s cosmic synth-pop, but ultimately, it’s just my music – a reflection of where I’ve been and what I’ve felt.

You grew up in Greece, I believe. What were your formative experiences with music before electronic music?

I grew up in a very musical family. My mom was a singer in the ’90s and I spent a lot of time backstage during her performances. The music I was surrounded by early on, was rooted in Greek folk traditions, but my mom introduced me to a wide range of genres through mixtapes – from Deep Purple, Rolling Stones and Phil Collins to Madonna, Vivaldi, and Beethoven. Ballet/ Contemporary dance, which I started when I was just four, had a huge impact on my musical sensibilities too. I was influenced by everything from classical/ modern composers like René Aubry and Yann Tiersen, to post-disco ’80s soundtracks, Enigma and of course, Vangelis. Hip hop came a bit later, but growing up, I never saw genres as separate – it was all part of the same musical world, and I listened to everything.

How much of a role did the dance floor play in your earliest musical creations?

As a vocalist, experiencing DJ sets and going to festivals back then played a big role in helping me understand what works on the dance floor. It gave me a sense of how to approach vocal arrangements, the tone of my voice and even the lyrical direction when recording. That awareness definitely influenced my process, but it wasn’t the main driving factor behind my decisions. Ultimately, I trust my instincts in the studio to guide the creative process.

Why did you go for the slower tempos and more pop music arrangements on your LP, rather than what you might have been used to in your vocal work?

At the time, a course on creativity with David Lynch really inspired me to choose a more cinematic approach and it allowed me to free myself in the studio and experiment more while creating. I approached all the ambient and soundscape elements as the foundation for what was to come next. It’s a big part of who I am and I didn’t want to only showcase one side of myself. I guess I had to slow down in order to pick up the tempo again. I’m really grateful to Prins Thomas for giving me the full creative freedom to present my art in all its range.

Had you been working towards an album before you met Thomas and Horisontal Mambo, and how did you two meet?

Well, let’s just say I have been producing a lot of music! Haha, my album still feels a bit surreal tbh. I met Thomas briefly back in 2018 at Kala festival in Albania and then, about two years later I finally found the courage to send to him some of my demos, hoping for some feedback…

Had you been familiar with his labels like Full Pupp, and how, if at all, did he or his labels influence the direction this album took?

‘’Fehrara’’ is one that comes to mind, oh ‘’Mammut’’ and ‘’Ambitions’’, I mean…The influence isn’t just from one specific release on Full Pupp. It’s like a wave, the entire catalog of that label and of course Thomas’s DJ sets (like 2007 Toronto Red Bull Music Academy). It’s not that my music directly mirrors it, but there is an undercurrent, a subtle thread woven through. It’s in the way I approach transitions, how pads flow into leads, how the drum fills breathe. I wouldn’t say it shaped my sound, but it was like a mirror that reflected a path I already wanted to walk. It gave me the courage to trust my instincts and move in a direction that resonates with me deeply, a direction I’ve always wanted to both listen to and dance to.

Elements of Disco and an eighties kind of electronic Disco (or Italo, if you like) sound prevails in your LP. What’s your relationship with that kind of music?

I love it, I can’t get enough of it.

What were some of the key components in terms of musical instruments that were central to the sound of the album?

Oberheim OB6, OBE, DX7, Linndrum, CS80, OB Matrix 12, DMX, D05 Roland Boutique, 808.

While your vocals are often at the center of the music on the album, there are a few tracks like “Sky Secrets” and “Lunar” where they are also absent. At what point do you turn to your voice when you are making music?

It’s really just a feeling, there’s no exact recipe for it. I let the music guide me. Sometimes the track speaks to me in a way that I feel my voice should be at the forefront and other times, it leads me to a space where my voice isn’t needed. It’s all about listening to the energy of the music and trusting the process.

It’s such a cohesive album, from start to finish. Conceptually, was there something you’d set out to achieve in terms of an underlying musical or abstract theme?

Thank you, that’s very kind! I really just wanted to create a nice flow throughout the album and at times, I wanted it to feel cinematic. Ultimately, I aimed to encapsulate a broad range of sounds and emotions, giving a sense of my whole world.

In your bio you say you balance a career as an auto engineer with your passion for music and in the video for the lead single Race The Heartbeat, cars feature quite heavily. Music and cars share a long history together. Do you find there’s some shared relationship between your music and cars on this LP?

Haha, yes, cars are a big part of my life! When I worked as an engineer in the WRC, a co-driver once said after a stage, ‘My heart was racing,’ and I thought, ‘That’s a great title.’ Later, when I had a crush, I experienced that feeling in a different way. How much I wanted to let go and trust someone so much that they would, in a way, race my heartbeat. 

That’s when I knew I had to make the video and connect my two worlds. My engineering background definitely helps when I’m setting up my studio or reconfiguring things. I feel right at home sorting out cables and learning about sound engineering, frequencies and all of that – it’s a familiar environment.

Taking the album to the stage for the first time in Oslo, what can we expect from the live show that might be different from the LP?

This is the first time I’ll be performing songs from my debut album, so I really want to stay true to the tracks as they are, but there will be some extra grooves and extended versions to make it even more special. I can’t wait to bring it to the stage!

I suspect this will be the first of many upcoming shows, and there is probably more music in the works. 

How do you think the experience of the first LP will shape the things to come?

I’m still processing the whole experience to be honest! The first LP has been such a journey! I feel like it’s opened up new ways for me to express myself. I’m definitely excited about the future and there’s more music in the works. I’m looking forward to seeing how everything unfolds and what new paths it will lead me down.

What else is on the horizon for you and is there anything else you would like to add?

I have a new project in the making which feels quite unique and different from anything I’ve done before – exciting collaborations too, which I’m really looking forward to sharing. There’s so much ahead and I’m curious about what the future will bring. On a deeper level, I’m hopeful for peace and healing in the world.

We go deeper into Henrik Schwarz’ history, his early infatuation with computer music and why he doesn’t DJ today in part 2 of our interview with the artist

When we left our conversation with Henrik Schwarz, we were deep into the future and the technological advancements influencing his own music career. This time, we’re turning back the clock to Henrik’s origins, driving over the Swiss/ German border to buy records and discovering the possibilities of the computer as an instrument. 

We discuss his eventual affiliations with Innervisions, and that first collaborative release with Dixon, and Âme that  turned out to be a milestone for everybody involved and started a life-long friendship and collaborative partnership between the artists.

That partnership played somewhat of a significant role in Hernik Schwarz’ decisions to  eventually abandon DJing to focus on his live performance, something that still sets him apart in his field. 

He’s maintained a steady and consistent discography, reinforcing his sound with each release. Between LPs and EPs, he continues to operate in sprawling musical aesthetics, but his continued involvement with labels like Innervisions and Sunday Music keeps his music grounded on the dance floor. 

It’s in that context we’ll meet him next at Jaeger this Friday, but before we get there, we have got part 2 of our interview with Henrik Schwarz. You can read part 1 here. 

Even though we are touching on Detroit and the future, I want to step back into your past. I know you were driving to Switzerland to buy records when you were young. Why Switzerland?

I was in the very south of Germany and there is no big city and no Autobahn. You are a little bit lost there if you want to connect to the world, at least at that time. I was interested in music and although we had a small record store, where I worked, and a club, when I wanted to buy records, I had to drive to the next big city, and that was Zurich at that time. Zurich had a few record stores that were importing from America and the UK; the newest, latest thing.

What was the newest, latest thing back then? I know you had grown up with Hip Hop, but were you buying Hip Hop records at that point?

When I started buying records it was already after my Hip Hop phase. I was very into the first wave of Hip Hop that hit Europe, and when I started buying records I was already looking for the originals of the samples. I was buying Funk, Jazz and Soul and then electronic music a little later. 

Were already making music at that point?

Yes, I started in 1992. This is when a friend of mine got a computer from his dad, and when I saw it, I thought; “can we make music with it?” I had a strong drive to make music, but I never learnt an instrument. 

How did the thought even occur to you back in ‘92? Even though computers had been around for some time, people weren’t really talking about making music on them yet, as we understand it today.

I never really thought about that. I had a few machines like an 808 (drum machine) and a small mixer at home, and I was experimenting, but that didn’t really work for me because the sequences (the amount of notes you can record in the machine) were too short. I wanted a little bit more, and at that time magazines were writing about a soundcard. The new thing, and this shocked me, was that this soundcard could sample. I put all my money into this soundcard and put it in my friend’s computer.

You had an 808 –  probably one of the most legendary, and today most expensive, drum machines – and opted to go with a computer.

I was always attracted to new technology. 

Going from those early experiments with making music, to actually putting something out in the early 2000’s, what was that progression like?

Well, it took ten years, and everybody around me told me what I was doing is shit. Maybe they were right, some of it was noise.

At what point do you find that there is something there that goes beyond the noise?

Never, actually. It was Sasse (Klaus Linblad) from Moodmusic (and Sunday Music) that did that. I played something from a CD that I had when I was warming up for him. After we finished the night, he came to me and asked about that track, and I said I made it. I gave him the CD and half a year later he called me and said, ‘let’s make a record.’ At that time it was my dream to make a record. I would have never done it myself. That was a dream come true

Those early records on Moodmusic were very sample based and later on your music takes a turn to more synthesiser focussed pieces. At what point do you leave the sampling behind for the sound that you are known for today?

It was a slow development. The sampled music came from Hip Hop. I had all those records that were used for Hip Hop and I thought I could use them for House music. DJ Sneak was doing that with great success; a simple Disco loop and a clever combination of sounds, and you had something really fresh. 

Theo Parrish and Kenny Dixon (Moodymann) were also super important to me. They came with a new sound from Detroit that really shocked me. They also had samples in their music and they were using them in a very inspiring way, it was very raw. 

I was into Detroit Techno, which was mostly short loops, but not many samples. Then those new guys came and I think they were coming from a Hip Hop background using MPC samplers instead of drum machines.

In the case of Theo Parrish it’s very much there in his DJing too in the way he almost cuts and pastes records together in an almost kind of psychedelic manner. There’s nothing rooted in strictly sequenced music. 

Yes, I was very influenced by him; in his music and his Djing and that showed me a new perspective. It was super slow compared to the Techno that came before and that was something I really liked. My first record was 99 BPM.

I was going to bring that up, because that must have been unusually slow for a dance floor record even back then. Was that something that you purposefully set out to do?

I didn’t have anything in mind. I was just doing it. This just felt right. I liked the fast Techno, but this had a new energy. 

Also the sound systems changed. For the first time, you had something that sounded better. Before you could play Techno on a shitty soundsystem, and it would sound great, because the kick drums weren’t so low, and the energy comes more from the whole spectrum. 

There was a change in the sound aesthetic, because people started spending money on sound systems. That’s when those super low kick drums came to full effect and those worked at slower tempos, because you wanted that (physical) Boom! 

By 2008, and your first record on Innervisions, your sound had moved towards faster tempos again and this more melodic focussed Techno sound you are known for today. Was there a shift in the way you made music and was there an outside influence like the clubs changing?

I don’t know why I got faster. I think everything was getting faster. I also started making remixes and the originals were often fast. I started playing keyboards and got more confident, and that’s why I started getting into theory. I had to get into theory with the remixes, because I found the remixes coming in from outside the dance music world, much more interesting. 

Very often you get music that follows more traditional musical structures and rules, and because I wanted to play my own chords over those structures I had to find out the theory. Slowly I learnt what a root note is, what a scale is, what a chord is and how they worked together, and I think this led to a change of sound as well. 

Your relationship with Innervisions is a long standing one, starting with that first track with you, Âme, Dixon and Derrick Carter. “Where we At” pretty much launched the label and an early marker for the success that label would enjoy. Was there some kind of synchronicity there that developed all of you at the same time to that point?

Yes totally. It was shocking in a way. I met Stefan (Berkhahn “Dixon”) on a bus to the airport in London, and we got to talking about going into the studio together. We started working on what would become “Where we At” and it was so easy. 

We agreed on so many things and at some point Stefan said there were these two other guys, who had just released the first record on his new label, Innervisions. He said, “let’s bring them in”. We had a very strong connection. You present something and people would say “this is good” or even, “this is not good,” and this even went as far as shoes or t-shirts to a ridiculous  extent. 

You clearly all had an influence on each other, and again if I can cite this interview with Frank Wiedemann (Âme), you were also part of the reason he stopped DJing and started playing live. Was this the same case for you?

Yes, for me it was very clear pretty early on. When Ableton arrived, I was immediately there. For a while a DJ’d and played live, but both are very time consuming. If you’re DJing you have to listen to a lot of stuff, and that takes time. I wasn’t able to do both. I thought let’s stop Djing. 

Being in the four-people group (with Âme and Dixon), you have these people that you just trust and this is a very important thing. When Stefan hears something, he can immediately tell you if this is the way or not. Kristian (Beyer, Âme) will often bring in a new idea that you wouldn’t have thought of and with Frank it’s been super close musically from day one. I am always a super fan, and when I need keyboards I always want him to play it, because it’s fantastic. 

There’s a very natural agreement there.

Do you ever think you’ll get back to DJing?

I get asked to do it, and there’s part of me that would love to do it, but it would be a lot of work. I can do it from a technical perspective, it’s like riding a bike, but the selection of music would take a lot of time. I have a lot of stuff, but I don’t spend a lot of time selecting music for the dance floor. 

So you’re still consuming a lot of music that’s not your own. Do you still find inspiration in other people’s music?

I was finding a lot of inspiration in new music for many years, but it kind of stopped five years ago. Before that, there would be some new music every year that blew me away. For example, there was a year when all those Arthur Russel records were re-released and I had never heard of him before. I was blown away and it inspired new things. I don’t know why it stopped, and I still buy new music, but I haven’t found a new artist, where I thought; “wow I hadn’t heard this before.” 

We talk to Henrik Schwarz about his live show, collaborations and technology in the 1st part of 2 interviews with the artist ahead of his visit at Jaeger.

“I’m happy you didn’t ask – like everybody else – about the (decline) of electronic music;” says Henrik Schwarz through a wry giggle at the end of our conversation. “It’s in decline?” I ask, thinking that if there was ever a case for the prevalence and continued significance of electronic music, Henrik Schwarz would embody that. 

We always make the case that electronic music, and specifically Techno, is the continued development of music technology with a view of the future of music and in his thirty year long career, Henrik Schwarz has been a fervent protractor of that original ethos. 

Since even before releasing his first records back in 2002 for Moodmusic, he’s always been on the cusp of new technology and developments in music. He’s been channeling those elements into a distinctive sound he’s cultivated on some classic records for the likes of Innervisions and !K7 and a live performance that stands out as one of the best in the scene.

An early adopter of computer technology in music, Henrik Schwarz uses the tool as an instrument like few others can; a true extension of the artistic persona behind the music. He’s constantly developing and pushing the boundaries of his instrument and whether he is playing at a club or occupied in his many other projects extending beyond electronic music, he has become a singular artist in his field. 

He’s worked with some of  the most hallowed music institutions in the world and in his efforts to continue learning, and has crossed over where few would attempt today. From his work with Amsterdam’s Concertgebouw orchestra to his frequent collaborations with Oslo’s virtuoso, Bugge Wesseltoft, there is no musical dimension left uncharted in his musical scope. 

Henrik Schwarz is one of electronic music’s most celebrated artists today, and whether solo or collaborating with others, he remains a constant intrigue in whatever he approaches. He comes to Jaeger this Friday for a live show in the basement and last week we called him up for a quick chat that stretched to an hour long conversation. 

Starting with his collaborations with Bugge to his history with music, there was just too much to leave out, so we decided to include it all and split it up across two parts. Here is part 1. 

You are coming to Oslo to play Jaeger, but I’ve heard you’re also taking the time to do something new with Bugge Wesseltoft while you are here.

Yes, it will be great to see Bugge again in his natural habitat. We’ve been working together for a really long time. 

It started in 2011 I believe, when Duo came out. Was that the first time you two worked together?

Yes, it must be. We just had our 15th anniversary. I remember when I came to his studio for the first time, I was super impressed. There has always been a very strong connection between the two of us, and I still have a feeling that we will come up with ideas for the next 20 years to come. It feels very natural.

When you and Bugge get together, do you have an improvised jam to see where it takes you or do you usually have a concrete plan before you start?

For a long time, we played shows and part of the programme was usually two or three songs that we completely improvised. Sometimes we found a loop, a sound or a melody that we really liked and sometimes we even took the recording from stage, and made a record out of it. Very often this improvisation was the start for us. Much of the early stuff was made like that. 

During the pandemic however, because we couldn’t do that, we were working with Zoom and that was very new to us. Duo II was made like that over video conference, and it worked because it was much more conceptual in a way. 

Were you playing things over Zoom in real time or sending each other things remotely?

The real-time thing didn’t work. It’s a physical thing, so you need to be in the same room to really play together. It’s not only the music you’re listening to, it’s also the physical presence of someone. You need to look into someone’s eyes to see if there’s an agreement or see where we are going; a non-verbal communication in a way. That didn’t work with Zoom. 

Is that the same process for working with other people too including your legendary collaborations with orchestras and institutions like Concertgebouw?

Not at all. It’s already difficult when it’s more than two people. The improvised thing only works with one, maybe two more partners and not more. The orchestra stuff, you really have to think about what you do, write it down and make it clear. The clearer you are, the better the results. 

What was it like for the trialogue record with Bugge Wesseltoft and Dan Berglund; did you have to have that clear idea first?

Well, Dan is a genius. That was also interesting for me, because you have the two geniuses of Bugge and Dan, and if you bring them together, you have a thunderstorm of music going on. It was a delicate situation to find a place between those two with a laptop. Very often we had a musical frame or concept, with parameters and that worked. 

I know you come from an informal musical education. How difficult, or easy, is it to convey what you have in mind in terms of music to these people who often have some kind of classical formal training?

With Bugge it’s simple because he is not trained. He’s a natural talent. That’s a very different experience from working with orchestras, which was very difficult. It was hard to communicate at first, because for me it was all by ear. For many years it sounded horrible and wrong. This was pre-internet, so it took me a long time to find out how all this stuff works. 

But in a way I feel this is what I’ve been doing all the time; I learn. Over all those years working with great people, I had to improve to communicate with them. The first album I did with an orchestra I had no clue about music theory. I had to learn, because if you want to make it properly then I need to know much more. I spent many years learning theory. 

What encouraged you to start working with orchestras and in that theoretical domain?

I thought this could be fun, but then I realised it’s also a lot of work. I think it’s this learning thing. That’s the appeal; it’s something I don’t know. This is why I did it.

Can you transcribe notation or sight read at this point? 

Writing and reading is very slow for me, but I can do it. It’s more about the harmonic concepts; harmony I find super interesting. 

Do you think it had an impact on the music you would make after that, specifically the things for the dance floor and your live sets?

Oh, absolutely. When I started learning theory, I felt my own music was getting worse, because it lost the complexity in a way. I just learnt minor and major chords and I started using them, but at some point I realised, it’s not enough. You need much more than that, to get back to that innocent perspective I had on music for many years. If you just follow your ear and not the theory you’re completely free. 

Did the music become more complicated as a result?

This is something I can’t say. When people tell me something about my music, I can’t see that, because I’m in the middle of it. I might be more aware of it. I guess it has changed my music. 

It’s funny you should use that phrase (in the middle of it), because when we talked to Frank Wiedemann (Âme), he used that exact same phrase to discuss his relationship to his own music. Another thing he said was that you are the person he still looks up to as a live performer. Why do you think your live show resonates with so many today?

Well, that’s super nice of Frank. It’s also the other way around. It’s interesting because we both do things differently, but it’s always nice to look over the other’s shoulder. 

I don’t know what it is, but I am trying to push the performance aspect of it. I really want to play as if the laptop is a piano or a guitar. It’s a musical expression, dynamic and dramatic. The machines develop, the software develops and I work on the system every day to make it more reactive. Sometimes it’s just a tiny detail, but when it works, I have so many possibilities to express something. 

It obviously works on the dance floor. Is it more limited than DJing, because it has to have more of a pre-ordained structure before you take it out?

No, actually not. The more possibilities I have in playing, the less pre-programmed something needs to be. Everything I have ever done is available in my live set at any time. I’m working hard to be able to call all those things in less than half a second. There are a lot of possibilities; I can switch from super soft to the hardest Techno. 

There’s communication between the dance floor and myself, and it can go very quickly, so this reactive thing, I’m obsessed with it.

Is it technology-driven or is it your process using the technology that is behind this evolution?

I would say it’s constantly changing. I started trying to play live with a laptop before Ableton. That was very difficult, because the software was crashing all the time. When this new software came out it was a revelation, but since then it has constantly developed. Whenever there was a new piece of software or hardware I would try it out, and see if I could use it in any good way. It’s like I’m enhancing my instrument all the time. 

For me, technology development has been a constant source of inspiration. I was raised with Detroit Techno, and for me electronic music has always been a music that dealt with an optimistic view of the future. This has always been my perspective; I’ve always been very positive about new technology. 

…to be continued 

Mike Shannon talks about a lifetime of DJing and producing experiences ahead of his next visit with Det Gode Selskab celebrating 10 years.

Mike Shannon has been DJing since he was 12 years old. Starting out in south west Ontario Canada, he had Chicago and Detroit on his doorstep and an influx of UK imports at his local record shop. It was still the early nineties and as Techno was beginning to evolve in its 2nd phase, Shannon came into his own as a DJ. 

Playing underage clubs and “pushing” cassette tapes of his mixes onto friends, he soon became a notable selector in the region before moving on to making music in his late teens. Following in the footsteps of compatriot Richie Hawtin, and alongside peers like Jason Hunsberger, Shannon fed on his expansive influences as part of the 3rd wave of Techno producers and DJs. 

By the early 2000’s he was releasing music for the likes of Force inc, Minus 8 and his own Cynosure imprint, in what was beginning to become known as Techno’s minimal epoch. Everything from Dub to Deep elements informed his sound with Shannon’s expansive approach often taking him into regions of Jazz and more experimental genres without losing that innate connection to the dance floor.

Over a few decades Shannon has cultivated a distinct sound, and while it is still sparse, his music remains firmly rooted in the enduring technological driven ideologies of Techno’s origins. From analogue machines to computers to modular systems, Shannon’s music has always remained on the cusp of technological advancements. At the core of his music, there is always a groove, possibly transplanted by those early Detroit and Chicago influences, and amongst his peers and fans it has become known as the Shannon shuffle.

He continues to release music on his Cynosure recordings when he is not being courted by the likes of Rekids or one of Hawtin’s labels and when he is not in the studio he is either Djing or playing live somewhere around the world. Making an early move to Berlin, he has always been at the core of the Techno scene and he is no stranger to Jaeger’s DJ booth either. 

With a return visit this Saturday for Det Gode Selskab and a track on their upcoming 10 years of DGS compilation looming, we got in touch with the DJ and producer to talk more about his early years, the minimal progression in Techno and the future of this music. 

I know your first clubbing experience was at an all-ages club in Ontario, but what was it about the music that got you into it and had you had any relationship to that kind of music before experiencing it in the club setting?

I was already listening to dance music before hearing it properly in clubs.. I was always into dancing since the first time I heard Michael Jackson’s thriller when I was a kid. There was such a huge wave of great dance records happening when I was 5 years old. 

Just to put time into perspective here. All my years, I’ve always had a thing for breakdancing and the electro dance floor in general. When the term techno came up it was just another word for what we were already dancing to. The house music dance moves were very much a thing at that time too. Rarely see those anymore! 

In an interview you mention early XL and Warp records making an impact on you. Do you remember specific records or artists that appealed to you?

One that really stuck out for me was this record from Lex Loofa called « Bounce to the ounce » for example and the obvious ones from LFO, Sweet Exorcist, Polygon Windows… Nightmares on Wax was in there too. XL was over the top things like T99, Praga Kahn and the Prodigy of course. 

Those being English labels, and you located so close to Detroit back then, must have made for an interesting confluence of influences. What was unique or special in the scene in that region for you?

The interesting part about the scene that I grew up in was that Toronto really had its British roots musically and Detroit was just a few hours away. So somehow I was getting the best from both worlds. The British Rave vibe and the Detroit warehouse scene colliding. 

How do you think it influenced your musical tastes that early on?

It really did! I think the soulful side of Detroit and Chicago sound very much has been the core of my sound and the British influence on some of the sound design and synth patches is really prominent. Chicago style swing and groove really shines through on so many of my productions. 

Did Djing come first for you and what was it that initially sparked an interest in becoming a DJ?

I was always interested in sharing the music that I was into with my friends and showing new people new music. My father bought me a mixer for my 12th bday and I started to create mix tapes with everything I had. I was making mix tapes for friends in High School. At the time it wasn’t so easy to find music like that and the mix tape thing was really alive and well. I used to sell mix tapes from the smoking area of my school like a drug dealer.

I had a few friends that were serious djs that were playing an all ages club called ‘Vinyl Messiah‘ and those djs (DJ Roo and D.Riehl) were the ones that showed me the way. D.Riehl sold much of his house collection to me as he became one of the premier Drum and Bass djs in Ontario.  

At what point and how does that morph into making and producing your own music?

I started getting into making music at around 16 when I got my first synth. It was a Roland Juno 106. I had a crappy sequencer and my friends had some other machines and we pooled our gear together and made a small studio. J.Hunsberger was the main guy that I was working with back then and we really were learning how it all worked on our own. 

I know it started with Techno, but by the time you release records like Spherian your sound solidifies around what we categorise as minimal today. What was the progression like toward that sound and how did you know you’d found something uniquely yours?

I think that we didn’t want to be so unique… we were trying to sound like some of the minimal sounding producers at the time. We were really into the German sound coming out of Cologne (Kompakt), Frankfurt (Perlon) and Basic Channel in Berlin. Of course we were really into our Detroit techno thing too but we didn’t want to follow that path at the time. Richie (Hawtin) was a big influence on us that way too but we didn’t want to sound exactly like him either. We were finding our own way by accident to be honest. 

What was the key factor for you and your peers (like Jason Hunsberger) to make the move towards a more minimal Techno sound and how were you defining it back then?

I think the key factor was grooming a sound that took in those influences but ended up with something unique. Something that our peers also recognized and supported. It gave us a lot of momentum and encouraged us. An entire movement began simultaneously in Canada that we became a part of by default.  

How has the minimal term and the style evolved for you since then and what has remained the constant appeal for you?

I’m not sure that minimal term is really something that I wanted to be so associated with. Of course I’ve made a lot of stripped back records over the years but not exclusively. Somehow the genre got a tarnished reputation over the years, but I think music genres in general have gotten more stripped back and refined. Thats what appeals to me… the essentials used of the best elements and not overdoing it. That’s the timeless combination and appeal for me. 

There’s something consistent through your records and it draws a line between those earliest releases and something like last year’s Shadow Move. Even though sonically it might change with the machines, it remains a Mike Shannon sound. How would you distill the essence of that sound down in a few words today?

Oh damn.. that’s tricky…  Such a difficult thing to sum up without always sounding like a jack ass! People always talk about the « Shannon shuffle »… I guess that still resonates today. 

You often talk about the influence and reliance of technology and technological development in your music. From things like ableton max to modular systems, you always seem to be on the cusp of it. Where has this taken your music in recent years?

We’re making techno after all aren’t we? Makes sense that you would wanna be up on some technology. I’m not really into where things are headed with the AI doing the heavy lifting these days. Pattern generators have been around for ever but just telling some software what you want to sound like and then having it spit out Mike Shannon is too much.  

I’m curious how close the AI is to nailing my « formula » these days? But in terms of technology taking my music to different places I think lately I’ve had a love affair with sampling again. Somehow I’m going back in time with old samplers like the EMU E5000 ultra and this VST remake of the old Amiga computer sampler. It’s called Amigo. So badass.  So I think you can expect to hear a new Drum and bass EP coming soon! « Minimal «  D’n’B ;) 

Is it something that you can identify in this latest release for Det Gode Selskab?

Oooh yes perhaps… some use of the old sampler is in there with some of the percussion in the track. Low res gated reverbs n stuff. 

As somebody that’s DJ’d at a professional level for most of his life, what does all that experience mean in terms of preparing a set today and what if anything continues to be a challenge?

I guess the challenge today is staying relevant without having to rely on your sex or your preferences. None of that should have anything to do with programming a DJ set but it certainly applies to your schedule these days. Maybe it always did but I was too naive to get that. I find that sticking to the sound that is the most fun for you is usually what people end up vibing on. If you’re enjoying yourself, usually everyone else is too! 

You’re also a prolific live performer, but I get the sense from your mixes, there’s also something of your artistic personality to the records you choose to play. What do you look for in records to play out and how important is that connection to the music you make?

I think I really vibe on house tracks that are sexy and create a vibe that provokes and challenges at the same time. Not an easy record to find these days.  But if a track has that combo I’m in! 

How much does the context play in your selections on the night, and where do you see it taking you in the intimate setting of Jaeger for your next visit?

Oooh context is everything. Nothing worse than hearing someone abuse the crowd in an intimate setting. One of my fav quotes from a lovely London promoter and Toi Toi taste maker once said « you have to treat a 303 like a lady » Somehow the 90’s tempo shift up, lost a few along the way and context went out the window! A real deal club like Jaeger deserves only the highest pedigree of sound and context is everything! One of the most iconic venues in the world that is a respected European institution… It’s been a few years but I can imagine that it’s just like the last time I was there!  I really can’t wait to get back in that Sauna booth!!!

Thank you Mike. 

Thanks very much and see you soon!

We talk to Frank Wiedemann of Âme about playing live, making music and celebrating 20 years of Innervisions during his last live performance at Jaeger.

Innervision celebrates 20 years in 2025 and 20 years since Âme re-issued their breakout single, Rej via the label, but Frank Wiedemann is more excited for whatever is coming out next. 

The tall bespectacled German almost has to slouch over the high table, but looks  incredibly relaxed. We catch him moments before a soundcheck in Jaeger’s basement and even with time pressing he is happy to talk. “I have time” he says insouciantly whenever I ask if I can ask one more question, and even so we barely scratch the surface of his incredible career.

Frank and Kristian Beyer established their artistic outlet Âme almost concurrently with Innervisions, founded alongside Steffen Berkhahn aka Dixon, and they haven’t looked back since.

At the height of their popularity, they were winning all the accolades, but while their domination of the club music landscape was well documented, it was always subtle. As trends changed they never capitulated, instead staying their course and solidifying their stake in their special Innervisions way. They’ve not only stayed consistent, but remained relevant throughout. 

Artists like Trikk and Jimmy Jules have joined their ranks, expounding on the Innervisions sound, but at the core of that sound, Âme remains a kind of beacon from which the rest of the label’s sonic vision disseminates. 

As a production duo, Frank and Kristian have never rested on their laurels, avoiding to simply recreate past success like Rej. They’ve always chased that next record, underpinned by an innate versatility which can go from tunneling dance tracks like Nia to frivolous melodic encounters like Erkki. 

That versatility has again come to the fore with their latest release Asa, whose dominance on dance floors last year, evoked similarities to some of their earliest releases. Asa’s explosive melodic figure bursts through the thunderous stabs of drum machines and keys, sticking like an earworm with a pulse. Asa was succeeded by Shadow Of Love in October, a high-energy vocal track featuring Curses, marking another must creative period for the duo. 

With new music, Frank and Kristian have re-asserted their production and musical prowess for yet another epoch. It precedes what we’ve been informed might be a new album from Âme and in the precedence of that little nugget we meet Frank Wiedemann in Jaeger’s basement for a conversation.

It’s 20 years of Rej and Innervisions this year. You don’t strike me as someone that celebrates anniversaries.

We will have some parties this year… It’s only twenty years. 

Do you consider it some kind of a milestone?

I’m thankful for what happened these last twenty years and I am a happy person, but Kristian and I are looking forward to releasing new music this year. It’s good to have the heritage, but also nice to look forward to exploring new ground.

Talking about new music, last year Asa was a big hit for Âme. Looking at that track in relation with an early track like Rej, what is the consistency in the sound of Âme through the existence of the project?

If I’m being very honest with you, I never thought we had a sound, but now in hindsight, you might see some red line that connects the dots. We never really had a plan. I do a lot of music, and the music we both connect to, that’s what we release. 

Music always goes in waves with your personal development, but we are lucky to do something again that appeals to a lot of people. 

That reflects on the label too. Innervisions has always been popular, but there were times when it was at the top with Dixon winning DJ of the year across RA and DJmag, Âme being top of the charts. When you do go through those periods of hyper-popularity what keeps you grounded in that consistency?

I think it grounds you when you are not popular anymore… (laughs)… and that’s ok. One thing I learned is that you shouldn’t go crazy about success, so you don’t fall into a big hole if you don’t have it. I think every artist wants to be heard or seen. If you send something out you want to be received by somebody. I think that the main aspect of why you do it for yourself, should always be for your own pleasure. 

I know there is music that I still do that is just for my interest. When you are lucky you have something that connects to a broader audience. 

When we had Rej out, most producers I know would have chased that formula, but we did something completely different. Not because we wanted to do something completely different, but because we want to move on, before it gets too boring.

What usually provokes you and Kristian into a new direction?

It’s all inspiration. If you go back to Asa for instance, we were obviously very influenced by Underground Resistance. Some people also connected it to Laurent Garnier’s The Man with a Red Face, a track we play and love. It all comes back. 

If we remain on Asa as an example then, what was the inspiration or motivation  for that track?

The thing with Asa was I had that main theme lying around for a couple of years. I played it once for Roman Flügel while showing him some stuff and he said “that’s  so much like an Underground Resistance thing.” That opened something in my brain to follow that path. I think it’s often like that; you have inspiration lying around everywhere, you just need to pick it up.

You mentioned earlier that you will play Kristian things that you are working on. How developed are those things you play him?

It’s in a rough state. I think it’s important that we have the last 10-15% together. Sometimes it’s just one thing that attracts him and we go from there. In the past I was perhaps a bit more ego-driven, but now I have other outlets, and it makes me much more relaxed. I’m not saying I’ve completely let my ego go, but I’m definitely putting it aside, because I know it’s our (Âme) track and not my track. 

Is there a way that Kristian usually diverts your attention elsewhere when it comes to that final 10-15%?

He usually brings his experience as a DJ that definitely has a different perspective on the dance floor compared to me as a live act, which some people don’t always understand. When I put my musician’s hat aside and look through his DJ glasses, it’s good for me to learn. Sometimes I’m like; “this has to be like this,” and then we’ll have a discussion and it’s ok. 

Is it usually something like the arrangement of a track that’s the last challenge?

Arrangement, but also complexity. Obviously club music is more repetitive. When I play alone, I can go way more musical than a DJ would go in a club set. 

Would you say when you play live, those versions are more the way a track would sound if you had the final control?

In the end when we agree on a version, I connect with that. It’s good for me to get that perspective because I still play in clubs. I guess that’s my dilemma with playing live these last few years. On the one hand I love the club atmosphere and I don’t want the people to look at me, but rather be on the dance floor and be in their own world. On the other hand, I’m playing a concert and I want people to  acknowledge that in a way.  (laughs) There are moments I want the crowd to be with me. 

When you and Kristian decided to cover different aspects of the Âme project between live and DJing – which I heard both of you say was the best decision – was there a particular event that forced you to make that decision?

No, it just happened. In 2009 we did a tour with Henrik Schwarz and Dixon and we played a live show together as A Critical Mass, where we just played our hits at the time. 

For me that was the moment that I decided that I love playing live more than DJing. Also, my DJ sets before then were quite eclectic, and sometimes it’s there and you connect with the audience, but 60% of the people prefer a classic dance set, which Kristian is better at. I always say he is like a train, you can jump and be with him, or you can miss the train and it’s your fault. (laughs).

I’ve seen pictures and videos of your studio. There is a lot of gear and there’s a great emphasis on workflow. How do you distill that down to a laptop and some grooveboxes when you hit the stage?

The studio and all the gear I madly collect, is because when I create I love to have all these options. But I’m very aware that everything I do, at least 90% of it, I can do just in the box (laptop). 

When I play live, I used to travel with a big suitcase, but at the moment I enjoy having a small setup, basic drum machines, a little synth and a computer. I’m keeping it easy to focus on the songs and how I connect them. One thing I had to learn early when playing live is that you have to reduce. 

In the beginning I tried to play the songs as they were recorded, and that was madness. You had to do all the little breaks and all the little layers, and mix live. You had so many things to do, you can’t actually enjoy playing the music, so I try to do away with distractions now. I make it simple, so I can concentrate on the moment. 

You come from a background of playing in bands and performing live. How different is this what you are doing now as Âme?

I was never the guy to play a crazy keyboard solo. I consider the computer to be an instrument that you can perform really well, or be very boring. I hope I’m on the other side. (laughs)

I still look up to Henrik Schwarz in that regard, because he has so much expression in that one thing. 

What’s the biggest hangup when it comes to putting it all together in the end in the studio; where do you and Kristian often have disagreements, and where’s the compromise? 

It’s very easy to come to 90% of a song. If you have a good idea, melodically and develop the arrangement, the 90% is easy to achieve, but the last bit is something special, and that can be really hard. 

At the moment, we’ve been working on an album for many years, and we’ve already started to release stuff, but it isn’t finished yet.

There’s a song that’s still not finished that we started very spontaneously with Bruno (Trikk) in the studio with Jens Kuross, who’s phenomenal. It was just one idea one day. Then we had our doubts and we tried another singer, and another, and in the end we got back to the original singer, Jens. We just had to tweak it a little. Now we are at  a point where we are 99% there.

Some tracks need a day and they’re done, but this one it seems worth it to have a long excursion. 

Kristian and I try not to release anything unless we both fully agree with the result. 

Can we talk about this new album; how far until it’s finished?

The songs are all there, just a few minor things.

Is there a particular idea behind this album?

There wasn’t a particular idea, but one thing we learnt from the first album (Dream House 2018) is that we didn’t think at all about the audience we came from. It wasn’t a club album, because we didn’t want to listen to a club album at home. 

I think a lot of people didn’t get this because they were expecting something different from us for what was our first album, technically. It wasn’t a big commercial success, but I was happy with the album. This time we wanted to do something that was more connected to the dance floor. 

So we have a couple of tunes that Kristian and Steffen are already playing. The whole album is a bit more grownup.

You say that Dream House wasn’t a commercial success, but I remember it being pretty well received. 

It was for music heads, yes. 

It was very much an album you could play before you go out to the club or perhaps even after. So the next album will be somewhere in between those two things?

Some tracks, yes. It’s something you’d be able to listen to at home too. It’s not going to be an album of only club bangers. Even a track like Asa – I’m not sure if it’s going to make the album – but I could listen to that at home

. 

With the state of the music industry and distribution today, compared to the pinnacle days of innervisions, is it still worth it to put all this effort and thought into a longer format like this?

For me, yes. I still like to listen to the album as one and I still love albums. I also accept and somehow enjoy the fact that it’s now much more about single tracks. It gives me the freedom to try out different things. When you are in the process of finishing something all these ideas pop into your head and you’re still now able to do last minute songs. A track like My City’s on Fire with Jimmy Jules for instance; the album was done and that was the last track to come. 

Innervisions always seem to be in the zeitgeist, even when that sound might not be as popular. What’s key there and what is the driving force behind the label and its sound?

I’m probably not the right person to ask, you should ask Steffen or Kristian about it. From my point of view, it’s not market driven. Zeitgeist is something you can also manipulate too if you have a big enough audience. Steffen and Kristian can create a taste.

Also the artists you pick on like Trikk, they re-enforce that taste. 

It’s also about versatility. Bruno (Trikk), Jules and these people they just have so many different aspects in their music. I love it, because I prefer artists that have a broader spectrum.

I want to go back to your early days, since we have a little extra time before your soundcheck. Growing up in Karlsruhe; It’s equidistant from Stuttgart and Frankfurt. What was night life and music like and where were you going out?

Don’t mention Stuttgart… Kristian went to Frankfurt and I went to Freiburg. (laughs)

Drum and Bass was big then, because Mannheim was close and Milk was a big Drum and Bass club. House and Techno wasn’t big in Karlsruhe. That new Jazz scene, that’s where I went a lot. Kristian created a little cultural hub, because of his (record) shop. I have to say the parties we threw were never big or successful. 

I have some family, from lake Konstanz (the big lake between Germany and Switzerland) and there was a big rave scene in a town called Ravensburg (80 000 pop). There was this club called Douala, where DJ Hell played a lot, and Jeff Mills played. In the nineties Techno popped up everywhere in little places you wouldn’t expect it. Some of these places still exist. I play this place called Kantine once a year, because we have a house up there, and it’s fun. 

In Karlsruhe itself however, the arty people don’t stay there, they move on. 

Playing in bands and listening to Free Jazz, how did you get into House / Techno music? 

I was always interested in electronic music in general. Synthesizers and stuff were also in Jazz, and my father brought a synthesiser and drum machine home one day and that was very inspiring. One day during the Kruder & Dorfmeister times I started with Trip Hop and Drum and Bass and that’s how I got into it. I could never see a night just four on the floor, but when I met Kristian, he slowly sensibilized me to this music. He also brought me to Robert Johnson very early (in its first year) and that was really a game-changer for me. I figured then it could be very musical and warm. 

What encouraged you two to start working together?

Money! (laughs) We have two sides of the story. He said I approached him, I said he approached me. Whatever it was, we found ourselves in the studio at the same time. It was really a work relationship and not a friendship in the beginning, but after a while we became friends and now we’re brothers.

When did Steffen enter the picture?

Actually, at a very early stage. Kristian met him at a DJ gig, and played him our first song, and he liked it. Then Steffen took the song for a compilation that he did for Sonar Kollektiv called Off Limits and after a couple of releases on Sonar Kollektiv, Steffen said he wanted to start this sublabel called Innervisions…

And the rest is history… 

This interview originally appeared in the now-defunct formant in 2015 and with the next sync session at Jaeger this Tuesday, we thought it was time to unarchive this classic interview and find some prescient ideas floating around.

Robin Crafoord greets me at the door of his spacious Oslo apartment with husky “hello,” the grainy quality of his voice a result of a cold bearing down on him. His perpetually anxious dog, Lola is barking in the background and only simmers when her owner offers the lofty comfort of his cradling arms. I let her sniff my hand as some naive habitual gesture of my good intentions before I enter the apartment, while Robin puts on a cup of tea. I set my things down at what I assume is the dinner table, where I find a drum machine, synthesiser and sequencer taking up a large part of the surface, and I’m not at all surprised to find these pieces in the context of an essential activity like eating. Robin Crafoord is best known as the Robin from Trulz & Robin, but the purpose of my visit is to find out more about a newly developed community music project called SYNC.

The project came to exist as a way of “getting to know people” in Oslo, a city that had become something of a stranger to Robin during his extensive absence in Barcelona. For Robin the only way to achieve this was “through music”, and the group dynamic of an impromptu jam session.  “I just love jamming with people especially if you don’t know them that well.” It builds bridges in Robin’s experience, bridges that connect two isolated personalities through the common thread from a shared love of music. The first few SYNC events, which arrived in 2010, were an open call and a bit “chaotic” as diverse musicians joined in, invading the stage with all manner of instruments in what must have evoked something of a carnival atmosphere.

Over the years it’s existed, the project has been somewhat refined with the open call approach rejected for a smaller pre-determined group of musicians that changes for each event. “It’s important that new people will join in and that it grows” for Robin, who acts like a kind of conductor for the events as the only permanent fixture. The main objective of SYNC remains unchanged however from those first chaotic jam sessions. “The central idea to SYNC is to collect a network of musicians and become a place for musicians to meet.” But as the name suggests there is an important electronic component to the concept that creates the context for this main objective. It’s through the machines that these professional musicians, artists or even just hobbyists connect and sync up. Some might find the concept a little intimidating, but as far as Robin is concerned “ you can play one sound and it would be enough.” 

For each event the selected group plays three improvised sessions, starting through ambient progressions, during which stage they get a feel for their position within the collective. “I always tell the guys to think that they are an instrument and that they can play a bass-line or a drum or an effect sound.” Robin encourages them to think as a part of a group and not in the sense of a producer that is putting an entire track together. Having never played as a group before things might start off a bit cluttered, and they use this ambient section of the night to find their perspective roles within the group and “start to get more sensitive” about what’s happening around them from the other musicians.

Very little is discussed beforehand and on the odd occasion where a discussion ensues, it’s usually something as universal as a key, even though it’s something Robin might not always adhere to. “I never know what key I’m in.” As the session progresses to find a groove through two other parts, the musicians invariably start picking up on the activity of their peers and start developing instinctive roles within the group dynamic. The role is adaptive and gives the musician the opportunity to explore the depths of his/her expressive creativity in the context of the group where it can be refined through the limitations imposed by the machine and the other musicians. All of this happens for Robin at a subconscious level and it’s in the true spirit of escaping into the music. He shares an anecdote with me from one of the last events, where after inspecting the recording he found a peculiar sound, and after checking with his musical comrades couldn’t find the source of the strange noise. “Everybody ‘s like ‘who is making the sound.’ Nobody really knows where that sound came from.“

These unexpected moments are… expected actually when you get a bunch of strangers together, but there is a certain level of control that is inherent with the machine that you’ll not really find in the played instrument. “And it won’t stop” interjects Robin about the machine when I raise this point. Robin tries to have some level of control from his mixing desk, with the pre-fade listen giving the opportunities to” fit in a lead with a bass-line somewhere.” It is however when the machines rely more on the human input that the process really gets interesting for Robin. “I want to try and have an element of something that is not in sync also every time. To exclude anything is just stupid.

“ The last SYNC featured a drum machine triggered by a live drummer, while before that Jan Martin Eiko was at the keys of Korg Polysix. It becomes clear the more I speak to Robin that SYNC is as much about the people as the machines. There’s almost something of a socialist ideal behind the whole project as people get together to express themselves through music and form bonds and friendships long after the event concludes. “I know some of the people have been in contact since, and that they have shared a million ideas about how they can work together and sync their machines and be creative.” It’s a very honest pursuit for the people involved and “nobody has ever asked for money” to be there, with a mere few beers the reward at the end of each session. “In Oslo nowadays everybody is so business minded. If I asked anybody to play for 1500 kroner, they would say no way.“ This is very significant if you consider some of the calibre of the musicians that play at SYNC and the amount of effort it takes to get this type of equipment to the venue. It’s rousing what Robin has achieved with this concept. He is absolutely inspired at the end of each event and always feels the need “to go into the studio immediately and try to repeat the session.” 

We are interrupted suddenly by Vinny Villbass as he steps through the door. He is currently helping Robin babysit Lola. The DJ and producer will be joining Robin on stage for the next SYNC session with a TB-3, a Laptop and some field recordings he captured from Brooklyn recently. “It’s like ten hours of recording, so I wanted to play it in the background for the whole evening, really… really low. It would glue the whole evening together.” Robin will most likely swap out a synthesiser from his last session, but he tries to work with the same equipment every time, his SYNC set always standing in his hallway, ready to be used. The sessions also give him the opportunity to get to grips with a new piece of equipment, which he then tries to recreate in the studio environment with Trulz. He cites his Doepfer Dark Time sequencer as an example of how SYNC familiarises him with a new piece of kit. “I’ve been using it with Trulz at every live gig and I use it in every live session. It’s starting to become my instrument.” 

Robin also hopes for these live sessions to eventually become a recording project. “I’ve been thinking about it since I’ve started doing it at Mir. Everybody’s thinking about it.” And in the spirit of the community that SYNC relies on, this too will take the form of a collective of sorts. “I’ve done loads of party concepts, but I’ve never felt the unity that we have with SYNC. Everybody is so eager to create something around it.” Robin’s only just started collecting these recordings with this new element of SYNC in mind and it’s incredibly exciting, sitting on the other side of the process witnessing it all take shape.

There’s something truly electrifying unfolding here and as Robin talks about incorporating video in the future it’s clear that the possibilities are endless. There’s even a remote chance that SYNC will look to travel outside of Norway and sync up with people from other countries. “It’s kind of challenging to do this, to go to another place where you don’t know them and have a jam session.” Making music through machines – which everybody can play regardless of their skill set – can perhaps be that bridge between consolidating a language barrier or a misunderstanding. It’s something of an hyperbolic utopian ideal, and we’ve gotten ahead of ourselves here, but at the next sync session this is exactly what will be happening on a more reserved scale when Robin meets Gyrid Nordal Kaldestad for the first time and they make music together. “Now it’s cool and it’s a SYNC where I don’t even know the person.” 

In a recent interview with another artist, the artist mentioned how in collaboration, creativity is achieved when you find that place where you struggle to understand each other and that’s exactly where I find much of the appeal lies in this concept. With SYNC that struggle is present and the creative results are un-matched with anything you’ve ever heard before, making it completely unique from solitary jam sessions that form the basis of much electronic music today. It opens up the introverted cliché that dominates this music and where before an indulgent pastime was practised, now a community exists. SYNC comes at exactly the right time to dispel this tendency in electronic music and offers a gateway back to the group dynamic that existed way before the image of the one-man-band locked into his own world from behind a computer screen. It brings that sense of community back to a world that has lost touch with what’s happening around them as they get sucked into a synthetic world through a 7” telephone screen. SYNC offers something of a lifeline to a new era of electronic music, where the individualistic pursuit is once again thwarted for music in social spirit.

I leave Robin again to the machines that have not stopped blinking at the corner of the table. With his daughter put to bed and his dog somewhat calmer, I imagine it’s at this station where the Scandinavian DJ and producer will be spending most of his time tonight. It might be a lonely pursuit now in this context, but I imagine what will be on Robin’s mind all the time he’s at his machines, is the thought of the next SYNC and making music with new friends. 

Words: Mischa Mathys

Nico Coltsfoot celebrates 25 years as a DJ this year and picks his favourite Âme/Innervision tracks ahead of his upcoming night with Âme Live.

Nico Coltsfoot “discovered Âme and Innervision in November 2005.” While he can’t remember the precise time of day, he knew “exactly” where he was when he heard it. Digging through some records at London’s Black Market records, he first “heard the song Rej from Âme,“ and he was a changed man for it. 

“It was a magical moment” between what was still a burgeoning DJ and a still fairly unknown artist. Nico would follow Âme and later their label Innervisions “through thick and thin” in a DJ career that stretches 25 years this year.

The Norwegian DJ, Sunkissed resident and long-time Jaeger affiliate, has been around as long as Âme and Innervisions, with his pursuits as a DJ often intertwined in that sound the German artists perpetuate through their work and their label. 

In the time that they’ve been around, Âme have established something of a dance music empire. Together, Frank Wiedemann and Kristian Beyer are Âme and they touch on everything from Soul to Techno in their electronic sounds, always with a futuristic view of the dance floor. Alongside another world-renowned artist and DJ Dixon, they’ve established one of the most successful independent dance music labels in modern times in Innervisions. 

Innervisions are also celebrating an anniversary this year, marking 20 years of the label and 20 years of Âme’s first single and breakthrough record Rej. In the 20 years since, Innervisions have remained consistent and in a world of ever-changing trends, Âme has remained an integral part of the label’s strong catalogue. Only last year they released Asa, a record that garnered as much if not more attention than their breakout some 19 years later. It’s a display of the unshaken resolve in their sound and one that Nico knows all too well. 

Nico has been there since start too and he has been a fervent follower; “from hanging out at Innervision’s nights at Robert Johnson in Offenbach to the famous Lost In A Moment parties in Barcelona, Amsterdam, Osea Island (London) and the unforgettable party in the old castle in Burg Rabenstein outside Berlin.”

Whether it’s Kritisian Beyer taking on the DJ duties or Frank Wiedemann performing as Âme Live, Nico Coltsfoot is often there and at Jaeger he is often on the bill. The last time he “heard Frank play live was at Koko club in London in November 2023,” but it’s been a while since he played on the same night as Âme — we have to go back to 2018 for that. 

It seems appropriate that we celebrate this 25 year milestone and a birthday for Nico, reuniting him with Âme Live and Frank Wiedemann in the basement. “I can only look forward to the evening at Jaeger,” says Nico and on the back of that excitement, we’ve asked him to put together a little playlist of his favourite Âme/Innervision tracks. 

“Here are my favorites:”

Marcus Worgull – Dragon Loop – IV03 from 2005

I brought up this song again a few years ago and I have to say it has stood the test of time. I played it so much back in the days and it is still fun to play it. Floating and a pleasure.

Osunlade – Envision – (Âme remix) – IV35 from 2011

The summer of 2011 was fun and this song went viral in the club world. Just search: “Sitting ovation” for AME and Dixon @ Robert Johnson on YouTube. Everyone squatted down when that song came on at the wooden floor and jumped up when the bass came on after the break. I was there ;) 

Ry & Frank Wiedemann – Howling – IV 39 from 2012

You can play the original on a low down dj set or the Âme remix if you want to get the floor boiling. 

Culoe de Song -The Bright forest – IV 21 from 2009

This was actually one of Culoe’s first releases and it was a long time before afro house was a commercial term. The sound was something completely new and different at that time. This is probably also the IV song I’ve played the most of all time. I would say that the song still works today.

Rampa – Necessity – IV67 from 2016 

I heard it for the first time when Âme played it at the Lost In A Moment party on Osea Island. It’s an island that can only be reached when the tide is low. I had the vocal in my head for several weeks before it was finally released, a little later in the fall. You’d have to search a long time for a tougher song.

Ede – Poptroit – IV107 from 2023

Good proof that IV is constantly challenging the soundscape and bringing out new talented producers.

The XX – Reunion (Âme remix) – YT095  from 2013

A nice collaboration between the group The XX and Innervision. 

Trikk – Florista EP – IV69 from 2016

I could choose many releases from Trikk, but it has to be this one. Super solid productions and he delivers every time he releases new music on IV or other labels.

Butch – Lale – IV91 from 2020

This came right into the pandemic. This was a song that helped keep the spirits up during the dark years.

Henrik Schwarz & Amampondo – I exist because of you – (Dixon’s Stripped Down Version) – IV 15 from 2008

My all time Innervision favorites !!! I must point out that Âme (Kristian) and Dixon played this song when they played b2b at Sunkissed ØyaNatt at Blå in 2009. I am convinced that several of the bricks in the wall moved a few cm that night.

Colleen ‘Cosmo’ Murphy talks to us about her early musical life, clubbing in New York in the 90’s and the Loft before she heads our way for Romjulsfestivalen.

Colleen ‘Cosmo’ Murphy is one of the last connections to New York’s clubbing heyday. Alongside the likes of Tony Humphries and Louie Vega, she’s part of a vital link connecting the origins of club culture and dance music to the modern dance floor. 

She might not have been there right at the beginning of it all, but by the mid nineties, she had played an integral role in connecting the dots between club music’s roots in the late 70’s and its eventual legacy. Through her work at the Loft alongside David Mancuso, she never lost sight of those original club music ideologies set forth by her mentor, and today continues to be a beacon for the culture.  

She had been a “music obsessive” since a teen and had her own radio station by the time she turned 14. Broadcasting out of her local school in a suburb of Boston, she shared her music obsessions with her local community before moving on to New York and NYU radio where she continued to disseminate her musical infatuations to ever larger audiences. 

Her career would go from broadcasting to DJing to remixing and include working for the legendary record shop and imprint Dance Tracks owned by Joe Claussell. She would mark Francois Kevorkian and Adam Goldst0ne amongst her friends and peers, and play in what would become some of New York’s most legendary clubs and parties. 

Always with an open mind, there was nothing in terms of music that didn’t pique her interests, and even before she could define it, dance music played a role in her life. New York would introduce her to this underground subculture, with a friend opening the door to that world for the impressionable DJ and music fan.

Where at first it was a mere curiosity, it eventually bloomed into a life-long dedication when Murphy found the Loft in the early nineties and struck up an enduring friendship with David Mancuso. DJing at the Loft, she became familiar with Mancuso’s own obsessions with sound, influencing and expanding on her own musical infatuations. 

Eclectic would be an understatement when describing Murphy’s musical reach as a DJ, broadcaster, musical curator and remix artist today. Besides helping David Mancuso catalogue the sounds of the The Loft compilation series they co-produced together, her own Balearic Breakfast compilations marked its third release in June and her Classic Album Sundays has been syndicated as far as Norway. 

Everything Colleen ‘Cosmo’ Murphy touches in her work has an almost compulsive perfectionist nature to it. Channelling all that into Jaeger’s DJ booth next week will be one of the highlights of our Romjulsfestivalen this year. So we took the opportunity to call her up to find out more about her most seminal experiences.

In our conversation, we linger largely on New York; her earliest experiences with music; and her time with Mancuso, before our time eventually ran out, but through her first-hand experiences during one the most impactful times of club culture, we find an enlighteningly unique perspective. 

Where does your musical obsession stem from, did your parents influence it?

My parents were not obsessed with music and usually only played it in the car. They only had a few records and 8-tracks and it was very normal.

I got my first transistor when I was 7 years old. I remember plugging it in and turning it on and “Fly Robin Fly” by Silver Convention came over the airwave.

My aunts and uncles were quite young and I was closer in age to them than my dad. They were cool teenagers and started to influence me with the power of music. My aunt gave me my first record, which was Elton John’s ‘Greatest Hits’ which at the time had a cool cache for an 8 year old.

I was innately obsessed with music and Boston radio was the biggest influence. There was a wide range of music and it was so much more diverse than most of the other cities in the USA at the time. The radio was the only place you could access new music; a portal for discovery.

Was there a particular radio station you would always tune into?

There were many… There was WCOZ that had the Doctor Demento Show on Sunday night, which was a syndicated show that played novelty tunes. 

There was WAAF, which was hard rock. There was Kiss 108, which was a Black radio station with dance music and Funk. WBCN was the station that I listened to most, which started the year I was born and it was very edgy. As a teenager I would listen to a show called Nocturnal Emissions and that is where I first heard artists like Brian Eno and New Order. 

Then there were many college radio stations on the FM dial from 88 – 92 and I started checking those out as I got older.

You mentioned Kiss FM there. Was Tony Humphries already on the radio by that point?

No, because Tony Humphries was in New York and I’m talking about KISS 108 in Boston. I would hear things that I later discovered were on Prelude records – songs from D-Train and Unlimited Touch. If I had lived in a different city, I may not have heard those songs.

So was there a bit of a scene for that kind of music in Boston?

Yes, there was. There was actually a party called The Loft. There was a guy called Bruno who was a little older than me, and had this shop called Biscuit Head records. It was a small dance scene. Boston is mainly a rock town, but don’t forget people like John Luongo, Arthur Baker and Armand van Helden are from Boston. 

John Luongo stayed in Boston, but the rest, like me, would go to New York, because there wasn’t as much going on in dance music as Boston is more of a rock town. 

I have this image of America in the eighties with kids in schools being very cliquey. I imagine you had groups with skate kids, hip hop kids, rock kids etc. Where does a person with your eclectic tastes fit into all of that?

My town was a very conservative New England town and I didn’t have access to MTV and of course there was no internet. You discovered new music through the radio and your friends. Unless you were looking for something new, it was a steady diet of classic rock and top 40’s. 

When I was in High School in the early eighties, the whole preppy thing was in and it drove me crazy, but I basically got along with everyone. 

There were two older guys from drama club that turned me onto different music like B-52s, Lene Lovich, The Sex Pistols, and then I  became that person myself, turning people onto music through my radio shows and working in record shops. I had a lot of gig buddies and then they would go wherever I wanted to go which was nice.

You had your own radio station during high school. Did the kids in the neighborhood tune in for that?

Yes, that was the other big influence in my life – our ten watt high school radio station WHHB. Some people listened to my shows, and it went to the border of the next town and I was able to discover and share music that belonged to subcultures rather than the mainstream. If I hadn’t done that, my life would have been very different.  

Why did you end up moving to New York?

I did well in school and got into New York University. It was a big deal as I was the first person in my family to go to university (most of my family are trades people). Also, it was a way to get out of where I was as for me Boston had become too small. 

This was the pinnacle of college radio and WNYU was one of the biggest college radio stations in  the country. That is the real reason why I decided to go.

When you arrive in New York, it would’ve been the height of club culture there. For those of us who weren’t able to experience it firsthand, its legacy has been built up into this legend. What was clubbing really like at the time you arrived in New York from a first hand perspective?

In the eighties I wasn’t really clubbing, but I was going to live gigs. Some friends brought me to a few clubs but I had never been completely transformed by the experience. I loved dancing, but I wasn’t as intent on collecting those records. In the 80’s I was more into the psychedelic sounds from the sixties – that was my passion. I was delved into stuff like garage rock, psychedelic rock, prog and krautrock. That was where my head was at. 

A friend of mine, Adam Goldstone, was a club kid and he would bring me to different spots around New York. He’s the one that brought me to the Loft in ’92 and that was a transformative experience. 

However it wasn’t a club, it was a party and it made me realise “there’s a whole world of music that I don’t even know and apparently I love it.” I immediately grasped the ideals behind the party and that got me into club culture. 

Was that the 2nd iteration of the Loft?

That was the 3rd. It was at 647 Broadway until around 1974-5, and then 99 Prince street, and then David bought the place on East 3rd in the mid 80’s.He took a hiatus, but reopened in 1992 and I was there on the first night. 

And you hadn’t known about the Loft before then, in its earlier guises?

Most people in my early 20s like myself didn’t know about it. Unless you were a die-hard underground dance music fan, there was no way to know. There weren’t any books and The Loft was not the word on the street. Plus David’s parties had lost a very big part of their attendees after he made the move to Alphabet City.

 The Loft was hugely popular until 1984, until he had to leave 99 Prince street. Then he moved to Alphabet City, which was where I lived. It was a really rough neighbourhood, with crack and heroin dealers and doers on every block. 

For somebody like me it was fine; I looked like a raggamuffin, I was young, and I had no money. But the people that had gone to his parties at 99 Prince street had grown up, perhaps they had moved to the suburbs and had kids. They didn’t find Alphabet City too welcoming in the 1990s which is understandable.

Did you know anything about David and his legacy then?

I was aware of his history and what he had done was important, but it wasn’t talked about that much, and never by David as he was not the kind of person to revel in his accomplishments. When I started going, the parties were not that well attended and it was apparent this guy was struggling. Purely because I loved what he was doing, I got involved to help and David and I became friends. 

Some people had told me he was a legend, but the story was still evolving. The Paradise Garage had closed down in 1987 and Larry Levan passed away soon after I began going to the Loft. There was not a detailed written history of The Loft – it was told via word of mouth. 

You had been DJing on the radio, but had you been DJing in clubs / parties before you had met David and started at the Loft?

Through the radio in the eighties, we hosted WNYU nights in different places and I used to play at CBGB’s Record Canteen. In the 90s when I was hosting radio shows Soul School and Club 89, people asked me to DJ and one of the first places I played was an African street festival in Brooklyn. 

At that time, the lounge scene developed in Manhattan’s Lower East Side and the East Village. There was a crew of DJs like myself and most of us were friends and we would play these small bars and lounges. We even lugged sound systems and threw parties on the roofs of the tenement buildings where we lived.

What kind of music were you playing then?

I was playing a mix of dance music – house, disco, and dancehall. I would carry my milk crate of records many blocks over to 11th street, between avenues B and C, where I had a weekly residency. The sound system and turntables weren’t very good but it didn’t matter as my friends would show up and hang out while I was squeezed in a cupboard off to the side. But I was able to develop my sound as my weekly residencies were 6 hour sets.

You would carry around 6 hours worth of records in milk crates. That is incredible.

I didn’t have a record trolley bag until the 2000’s. Yes, we used milk crates and sometimes I couldn’t afford a taxi, so I would have to carry it across town. I was strong!

My gigs would go from 10 pm to 4am and I would play a wide spectrum of music. I learnt how to read a crowd. Sometimes I would play records at a trendy Soho lounge where there were Europeans who were clued up to House music. The majority of Americans didn’t know house music and this included New Yorkers. The music du jour at that time was R&B and Hip Hop.

Even at that time in the mid nineties, it was still an underground thing in New York?

Yes and some listeners told me they discovered House music through my radio show, just by scrolling along the FM dial. When I was DJ-ing, some would ask “what kind of music is this?” even though much of the music had been created in New York.

When I moved to the UK I was surprised how ubiquitous house music and dance music was – it was part of mainstream culture thanks to the Acid House movement. I was always surprised that Europeans had a better understanding of American underground dance music than most Americans.

There were very few house music shows on the radio at that time. Tony Humphries had Saturday nights; John Robinson did a lunch time mix of popular disco; and Red Alert had a great hip hop show. DJ Disciple, Jeannie Hopper and myself had a show at the lower end of the FM dial, and we were about to play the more underground records.

Were you getting and playing things from Detroit and Chicago at that time too?

I was more into Detroit than Chicago. I loved Larry Heard and stuff like that, but a lot of the stuff coming from Chicago was too bumpy and loopy for me. Coming from the east coast, it was more about arrangements. You had Philadelphia and New York, where the songs had melodies and arrangements and musicianship. I preferred Detroit, because I thought it had a lot of that but it was future facing; more souring melodies and drums. Carl Craig was one of my favourites but I also love Underground Resistance. 

You would delve that deep into Techno that early on?

Yes, I loved deep Detroit techno and still do. Sometimes I also played the more ‘progressive’ sounds of producers like Deep Dish, and Danny Tenaglia, who was one of my customers when I worked at Dance Tracks. I also loved the European sounds of Basic Channel and Laurent Garnier’s F-Communications label. 

I played a spectrum of dance music, and could also churn out a pure New Jersey gospel set. I was one of the few white people to play at Blackbox in Newark, New Jersey. It was a pure gospel vocal house and the club didn’t serve alcohol and the crowd were Church-goers. On the flip side, I also played more tracky deep house in the small rooms at raves around the USA.

 When you’re playing at a rave it’s just you and your records, but at the Loft there was a very strict set of parameters we would later learn. Was there a music philosophy there that David Mancuso would insist on when you played?

Yes, there was, but David did not go through it with me in great detail. So, I was quite surprised when he said; “hey do you want to play some records with me” when I was only 25. It was more concerned about the equipment rather than the music. 

David was financially suffering at the time. He had an amazing sound system including two Koetsu moving coil cartridges, but he did not have a back up. At that time these cartridges went for around $3000 and they are fragile. They sound incredible, but you have to know how to handle them properly and for some reason David trusted me. He was very trusting because if I had damaged one of those cartridges, he would not have been able to replace it, as he didn’t have the funds. He was living hand to mouth at the time.

As our relationship and friendship developed I learnt more and more about the sound at David’s insistence. A few years before he passed, I asked him why he trusted me to musically host when I was so young and before I knew the ins and outs of his sound system. And he replied, “it starts with a vibe long before one even hits the turntable.” He said he felt something about me right from the start.

We do a tribute to the Loft night every year at Jaeger, and recently I was surprised to learn that there are actual lists online of what was played at the Loft. Were there ever tracks you just wouldn’t touch if you were playing there?

When I began musically hosting I definitely played some of the songs I would not play now, but it was because of the sonics – the sound of the recording, the mix or the pressing. Musically, I was usually spot on as I had a good ear and had worked at record shops and had hosted radio shows for over a decade by that point in my life.

When you are playing on a great sound system, the mix and the pressing are vitally important. Certain pressings and mixes sound incredible, and that’s probably why they get played more and become Loft classics

When we started the parties in London together, David was at my house four times a year. We have Klipschorns and a Mark Levinson ML-1 preamp and class A amplifiers in our listening room. David turned me on to records and I turned him on to records. He would critique the sound of the records, pointing out if there was too much bass that was eating out all of the mids. I learnt a lot from David during our listening sessions in my home. 

There are so many nineties house records that suffer from a bad mix with too much bass. I would play him something that everyone was playing because another famous DJ played it and it was uber cool and he would say; “it’s kinda clever but it’s not lifting my spirit”. He didn’t care who was playing what or how cool a record was. One of my favourite critiques of his was saying that a particular record ‘was like one long intro’. 

You have to remember one doesn’t mix at The Loft. When DJ-ing house, you could play a track and mix out in 2 minutes, but not at The Loft. You had to ensure a song actually evolved and was great from beginning to end.  

It sounded like you and David and the Loft were on a roll by the time you left for the UK. Why did you make that move?

The main reason was that I was with a British guy, but it had always been in the back of my mind. My grandmother was English and she was a war-bride, but I also loved the music scene here. Also Mayor Giuliani had wreaked havoc onNew York nightlife, so by the late nineties, I felt it was time to move along.

It was hard to leave David and difficult to leave my weekly radio show, but by then David and I had begun work on The Loft compilations so I knew we would continue to work together. We actually became closer and often played together in different cities and spent more quality time together. David had less pressure when he was out of New York and he said our house was like a centre of calm for him. 

Besides your continued efforts with the Loft and David from the UK, you also started doing your Balearic Breakfast shows when you moved to the UK. Was your first introduction to the balearic thing you would adopt for your radio show later on?

I had heard about Ibiza in the early nineties as a friend of mine was a DJ at Pacha. We sold loads of Cafe Del Mar compilations at Dance Tracks and that is what  turned me on to the Balearic sound. There were many likenesses with the music Jose Padilla played and what David played at The Loft, in terms of the feeling of expansiveness. I bought all the Cafe del Mar compilations and played them out at my lounge gigs. Later, as I found out more about that Balearic and sAcid House scene, I found they played many of the same records I played on the radio in the eighties, or records I heard David play. 

In a recent show, you said something like; “whatever this thing, Balearic means.”  Are you closer to a definition yet?

I would just say it’s very open ended, and that’s what I like about the term Balearic. That’s why I like jazz too. I could not define jazz, but the whole approach is about being expansive and transcending boundaries. Other musical forms are more contained within definitive boundaries.

For instance, with house music, it’s four-to-the-floor. There are templates that are formulaic and worked within and that is fine. But that isn’t the case with the term ‘Balearic’ – it’s really a genre that isn’t a genre.

We discuss Rub800’s new label Airbrush and his work alongside Tonchius as Ruton in a long chat with the DJ, producer and label pair.

Who gets to decide who’s playing the music? I always wonder when I meet these DJ couples that live and work together. Tonje says it’s more often quiet at home, and that would make sense. because Ruben (Rub800) and Tonye (Tonchius) are doing things a little differently. 

The DJ, producer and label duo aren’t taking their cues from what anybody else is doing and together they’ve established a whole musical universe around their musical interests.  

Their label, Continually has been releasing records exclusively on the vinyl format since 2020, with music featuring the artists from Romania to right here in Oslo. At the heart of it is their collaborative project, Ruton which launched the label, building on their own progressive minimalism and expanding as far as that Romanian sound. 

As DJs, Rub800 and Tonchius are familiar figures around Oslo, and can often be found playing the likes of parties like UNTZ, Det Gode Seslakab, Moving Heads and club nights at places like VIlla. They are no strangers to Jaeger either.

With early informative experiences in 90’s Trance and Jazz, Rub800 and Tonchius have established themselves in a scene that has gathered around the extensive minimal expressions of Techno and House. An airy quality informs their music where melody infuses undulating rhythms. Whether combining their disparate influences as Ruton or working on their individual solo projects, under Continually it all informs a very distinct sound. 

Expanding on that sound, they’ve established a new label called Airbrush as an exclusive vehicle for Rub800’s most recent creations. Another vinyl label with that same DIY approach that informs Continually, Airbrush expands on Ruton’s sonic universe as they set their sights on the future. 

On a cold night in November, we found Ruben and Tonye on our couch at Jaeger to talk about their latest pursuits with Airbrush and filling in the blanks of their collective history together. We all meet up just before Ronya takes to the booth for her Jaeger Mix, which they’ll stay for later, but first we’ll have a chat as we sink into a sofa. 

***Ruton plays Moving Heads in December

Tell me about this new label, Airbrush. 

Ruben: I wanted to put out new music on my own. It’s a small label with mostly my own tracks, a low key do-it-yourself label. I also design the artwork on the sleeves.

And the new alias Sequent Consult, when did that happen? 

R: Around the same time. It’s something that I came up with about a year and a half ago because I wanted a new alias for Airbrush. I bought a new sequencer so maybe it’s connected to that. (laughs)

Tonje: And you have other aliases as well. 

R: Yes we (Ruben and Tonje) have the collaborative project Ruton. And we’ve released two records on Continually, the last one on the first one. 

And Continually is your other label with Tonje. 

R: Yes, Airbrush is just a small part of our musical universe. 

T: I think it tricks people because it’s mostly just on vinyl. If you had to search it, it’s not the first thing that comes up. 

So why start Airbrush?

R: With Continually, we wanted to release our friends and our own music, so I wanted a small side project with Airbrush, because I made a lot of tracks in the last few years. I wanted to express myself a little more in smaller batches and self-distribute these records. 

Similar to the way Sex Tags  do it.   

R: Yes, that is some of my inspiration.

Why was vinyl your preferred format for both Airbrush and Continually?

R: I’ve always played vinyl and I prefer DJing with records.  

T: It’s more of a cultural thing as well.

R:  I’ve been doing this for 10-15 years, digging in record stores. If you start digging and collecting records, it’s a bit more work. You have to go to a physical record store, carry those records.

Did you have the music ready before the label?

R:  I started to collect tracks that I liked and produced some more in a combination of tracks that work together. 

Were there more tracks left off the EP?  

R: Yes, of course. I thought about this side-label for a while, and then I started making tracks. Additional tracks based on these jams could be part of another EP, or VA, if it fits.

Continually is also exclusively a vinyl label, but it’s more inclusive in terms of the other artists featured on there.

T: The first one was us together. People started contacting us shortly after, mostly people from abroad; some friends, some friends of friends and complete strangers as well. That’s the idea to bring people together.

Have you had any people from Oslo on Continually yet?

T: The people that we have released are Slovenian, Italian and Dutch in addition to local producers A:G and Insectoscope (Matztam and Alex Jangle) which we have known for years and connected through Det Gode Selskab here in Oslo.

R: For the last five years, our music has overall been known more abroad than in Norway, but we’re very interested in local talent as well. I think since covid people in Oslo have shown more interest in our music with Continually and Airbrush. 

I feel like I’ve seen more and more labels releasing on vinyl in Norway in recent years. Do you feel that more people are interested in local releases?

R: At least for some people. Many young people seem more interested. 

T: People that only play digital will release stuff on vinyl too now, so I think there’s a general appreciation for a physical format.  

Vinyl still does well in terms of sales. What is the market like for an independent releasing vinyl today? I know the delays are one thing but is it easier releasing vinyl these days?

T: I wouldn’t say it’s easy. We both have full-time day-jobs. 

R: If you get the hype or a well-known DJ plays your record it could help.  

T: In general the market for vinyl has grown. 

People in Norway aren’t that exclusively interested in what Berlin is doing anymore?

R: I think so too, and I felt that more after covid. People are a bit more interested in their local scene.

T: That is what we’ve seen with Continually too. We want to release more Norwegian artists in the future. 

Do you feel that there is anything like a scene contributing to all this here in Oslo?

T: It’s up and down like always, but I think people have to get older and we are older now. It’s more connected. People actually have to work together instead of just doing their own thing. 

Yes, I find that it’s more fluid even in these disparate styles of music and concepts. There’s a lot of crossover happening even if the music doesn’t necessarily reflect it.

R: I can only speak for myself, but it’s about getting a bit older and more open to connect with other people and concepts that are different from what I do myself, and we still have some similarities. 

T: We might have been looking abroad rather than in the city a few years ago, but now we see this is where we live so this is where we actually need to have a scene instead of looking somewhere else. We go to a lot of other concepts with music that we don’t necessarily appreciate ourselves, but we’ll still have a lot of similarities. 

R: It’s important to be open to other genres and listen to something to which you are not that familiar. You can learn from it and enjoy some other people that inspire you. 

What was your first connection with electronic music, Ruben?

R: I’m actually from Grimstad, (and still live part-time in the south of Norway.) There was nothing really going on there. I grew up listening to Trance. There were hyperstate CDs and Mixtapes and live from hyperstate on P3. I didn’t start DJing until 2005, when I bought turntables and started buying records, mostly from online stores like Juno.

It was always about records?

R:  Yes, I have been fascinated with vinyl since around 1995. At that age, I had to watch DJs playing vinyl on television because I didn’t go to clubs. 

Was it MTV?

R: Yes, some of that and also Viva.

Did you have anybody to play with or learn from in Grimstad.

R: Not until 2009, when I moved to Oslo and met some people from Oslo at Sunkissed, Blå. That was my first experience of the Oslo scene.

T: Back then you had this DJ community, (online.)

R: Yes, we had this Repeat forum, where you could chat, discuss mixes, post mixes and discuss tracks. It was a PLUR type of forum. 

People posted events and such on there?

R:  Exactly. It was really for Oslo, very local. That was around 2008 and it lasted for many years and then faded away when Facebook came. It was very welcoming and interesting for me, who was new to this electronic scene. I just liked electronic music. 

Nobody taught you how to DJ?

R: No, I learnt everything myself. I just started with finding the pitch and practised that for many years. After many many hours you understand how the pitch works and you can find it without too much effort. 

What were those first records you got from Juno?

R: It was kind of uplifting-Trance. Those old trance guys, from a period of ‘97 – ‘02. I was caught by this cheesy Trance wave. 

All of it wasn’t that cheesy though. Those Sasha and Digweed global underground mixes still stand out?

R: I got into Sasha and Digweed after my cheesy period. That’s when I got into progressive Trance and Progressive House and then minimal and more weird music on the PLUR forum.

Were you also involved on the forum, Tonje?

T: I came in later. I met Ruben in Kristiansand actually. There wasn’t really a scene there, it was just them. 

R: I met some students and they were also into electronic music, so we decided to have a concept on a monthly basis called UNTS. Kim Young iLL is running it in Oslo today. 

T: And Ruben had a studio at Odderøya, which was a very good after-party place.

R: In Kristiansand, you actually have to close at 02:00, so we had to play a little bit more after that.  

What changed for you to go from Djing at home to playing to a club

R: I felt there was something missing so I wanted to play in front of more people and enjoy it with other people. I got in contact with people in Kristiansand and then I was invited to play and it developed gradually.

T: It started off as home parties. 

Because of the club situation in Grimstad and Kristiansand?

R: There’s nothing there. The first parties were just at home with other students and then we were asked to play in bars. It was mostly small bars. There’s no club community in Kristiansand. But we put on good parties. 

All you need is a soundsystem and some people, right?

T: It was nice for someone like me who just got interested in club music, because I came from Jazz and classical music. I was looking for something else, and I really liked it. I was a bit embarrassed at first to say I liked electronic music. Kristiansand is so small, so it was really easy to find a place to listen to that kind of music on my own. 

What were you doing in Kristiansand, Tonje?

T: I was studying in Kristiansand.  

Were you studying at the conservatory there?

T: No, I considered it, but I realised you had to play many hours to become a professional, and I wasn’t that into the sound of the trombone. Then there was a natural progression to electronic music. 

There was a lot of cross-over between jazz and electronic music for a time here. 

T: Yes there was definitely a cross-over there with things like Punkt festival

R: Punk was vital as a contemporary music festival. 

How did you get into making music, Ruben?

R: I like hardware and keyboards because I grew up with a father that brought various instruments home. I wanted to buy some synths and drum machines and give it a try to make some stuff on my own. 

Did you have any musical training like Tonje?

R: I had some piano lessons when I was young, because my mother forced me. Using my own ear and creating melodies and rhythms just come naturally. I think a lot before I jam, but I try to think less when I’m in the process, when it’s just being creative and having fun. 

When you say you think a lot. Do you have an idea about what a record will sound like before?

R: Sometimes yes. Certain records that were inspirational to me can be a starting point, but often it can be just the sound of a particular synthesizer or a sample or field recording. There are many angles in which to approach it. 

Do you draw a line in the sand in terms of sound between your aliases?

R: The Sequent Consult is darker, more mystical and trip based. With Rub800 and Ruton it’s for the moment more Housey. Melody is the common thing between all of them. We are interested in melodies in various shapes. 

There seems to be an airy quality to the first release on Airbrush from Sequent Consult, and that melody remains central. 

R: That is something that I try to consider, especially for an EP. I want to have a path through the EP. It’s something like a small story. With Ruton and Continually we are more open, because we also did some Various artist releases. If we are combining other people’s tracks with our own, you have to find this match. 

T: Also our style has moved in waves. When Ruben started it was more like this minimal Romanian style, and then going into House, Techno and Electro at some point. It’s constantly moving.

R: We are quite interested in many genres from IDM to downtempo to darker types of Techno. 

Do you try to incorporate those elements into your own music and attempt to make records in those styles?

R: When I jam, I sometimes have a thought to make something in that style, but then it turns out to be the opposite of what I had in mind. Sometimes I’ll try to be more mystical and darker, but then it turns into a more positive euphoric jam. When I jam, I don’t want to stop and think too much. I want to go in one direction and finish it. 

Tonje, you are a musician with some theoretical background. Does this come into play when you are working on electronic music, especially when you are working together as Ruton?

T: I started coming with this very theory approach, but it’s become just a jam. 

You completely abandoned the theory. 

T: I’ve forgotten a bit about the technical notes, but I still use a lot of chords and rhythms when I make music. That’s what music is about, arranging sounds into patterns.

R: It’s also about the sound. How it sounds is almost more important, with electronic music. 

Are there plans for the second EP?

R: Yes, when I started the new label, I created 4 artworks. I called it Airbrush because I just sprayed some artwork quickly. I think the next release is coming soon. I just need to finish some more tracks. We’ll also do the next EP on Continually quite soon. 

Together?

T: No, it would be most likely just me. I made some of these tracks 4 years ago and now I’m just adding two more. I am in the process of finishing it now. 

R: And then it takes a while to get it mastered and pressed so probably it will only come out the middle of next year.

Do you guys still buy records to play?

T: Yes.

R: I buy records from Filter Musikk, Discogs, Juno etc, but I find myself buying a little less than some years ago. It’s still once or twice a month but not as many packages. 

T: I think that’s because we are going to more 2nd hand shops. Every time we go to a new Country or a new city, we’ll visit the record stores.   

And you’re still DJing often?

T: I would like to play more.

R: Yes, we’d both like to play more.

It’s time for another Romjulsfestivalen with the likes of  Setaoc Mass, Funk For Forest, Colleen Cosmo Murphy, Josh Butler, Schmooze and Brus, Mira Mark, Horseman, Bendik Baksaas and much more.

What’s this… a rumble from beneath… What’s this… flashing lights through the fug…  what’s this… people of the night…. what’s this… a bass drum cracks… what’s this… a little warmth from the cold snap… what… is… this?  It must be the annual Romjulsfestivalen at Jaeger. We’ve observed the holidays, now it’s time to get on the dance floor.

We spend the week between Christmas and new year with a week-long celebration of music across two floors and a couple of Function One systems. 

Setaoc Mass, Colleen ‘Cosmo’ Murphy and Josh Butler fly in to Oslo with Øyvind Morken, Olefonken, Schmooze & Brus, Basement, Funk For Forest, Flux and Big Up spreading across our two floors with a host of local guests  over the course of the week as we send off another year from the dance floor.

Here’s the full lineup:

25.12 – 1. Juledag: Øyvind Morken + Olefonken

26.12 – Juleschmooze: Evangelias Løstegaard + Nora Teslo + Synne + Salamanca + Håkky + Madrigal +  Filippa +  Ehrmantraut

27.12 – Basement x M.A.D.: Josh Butler + Simon Field + Blichfeldt + g-HA + Axel FU + Dara Woo + Julie Reistad

28.12 – Funk For Forest x Nightflight: Colleen ‘Cosmo’ Murphy + Funk For Forest (live) + DJ Elias Løstegaard + Bror Havnes b2b Nina Yamada + Guldaugur (Caribbean Cruise Control) + MC Kaman + Don Quan + Lars Palmas Jr.

29.12 – Flux: Setaoc Mass + Bendik Baksaas (live) + Antiparalell (live) + Skodde (live) +  Naboklage

30.12 – Bigup: Drunkfunk + Fjell + Simon Peter + Tech + Mira Mark + SugarCacti + Clueless + Horseman + Sim1

You can find tickets here. 

We dig through the latest arrivals at Filter Musikk in search of some favourites in another cut with Filter Musikk

How do you find new dance music today? Before my time it was fanzines and mix cassettes. Back when I started digging into this music, it was magazines, radio, M.T.V. and eventually the night club. With the growth and efficiency of the Internet, independent blogs and forums took over from the magazines and broadcasters.By the time social media and music streaming came to be, many of these independent blogs and forums were laid to rest. 

And what are we left with today? AI algorithms influencing listening habits? It has become such an isolated and insular experience and any sense of community has dissolved with this experience.    

It has become a perpetual feedback loop based on the listener’s tastes and anything beyond that is ignored. There’s no surprise; nothing to penetrate your comfort bubble and expand your musical horizons, and lately nothing outside of what is already or has been a commercial success. It’s always the safe-bet, and even if you find yourself with eclectic tastes this feedback loop will never challenge you. It will always only want to satisfy your tastes, never mind how broad. 

It’s only in a true community that we challenge our listening habits. At its simplest that community is two friends discussing (or mostly arguing about) their latest musical discoveries while at a macro level, its writers and online commentators proliferating their favourite music to an audience, hopefully independent from how many readers/watchers/listeners it will attract.

That’s why places like Filter Musikk need to exist. The record- and dj equipment store has made an everlasting contribution to the scene in spreading the music that is often overlooked, and giving you options beyond your listening habits. Filter Musikk has been the nucleus of this music and its enthusiasts for a couple of generations in Oslo. 

You’re likely to find records in the store that you might have dismissed offhand, and you’re always going to find something that you’d never heard, but instinctively like. Here are some of those records. 

Ex Generation – The Napoli Exchange (LP)

Napoli’s disco scene is the thing of legends. It’s a breeding ground for some of the most exciting electronic dance music artists on the scene today and a paradise for all kinds of selectors. The mediterranean city has long been the haunt of music enthusiasts and collectors. The record stores of the region have been pawed over extensively by some of the world’s leading DJs and producers like Lewis Moody and Ziggy Zeitgeist (Ex generation/ Energy exchange records).  

These two have formed a particular intrinsic bond with the city and in a new collaboration with local producer, DJ and Label owner, Federico Galotti, they’ve channelled it into an album of original music with a host of artists, many from the region

It’s so easy to get lured into those familiar tropes and use metaphors like sunkissed synths and undulating waves of bass, but that’s the only way to describe this music. Paolo Petrella’s bass slaps against the formidable shore of 80’s drum tracks, while synths bubble through uplifting melodies. Beguiling atmospheres evoke the shimmery imagery of a beach at dusk, with the sun setting on a nascent dance floor. 

Ex-Generation expanded their sonic purview beyond the stereotypical Neapolitan sound, modernising the sonic palette and incorporating touches like the soulful vocals of Allysha Joy on Hurting Lies and the wispy enchantments of Honeylips on Holding Your Heart. Napoli’s heart beats strong throughout with Ex-generation and Federico Gallotti joining the likes of Nu Genea in channelling those old records into new sounds. 

NOS – Caves of Ix (12″)

Obscure sci-fi references, 8-bit cover art, and 16-bit sounds. Is this the nineties? NOS would us believe nothing has changed since the mid nineties and he would be right. Electronic music still uses the same machines (albeit virtual versions), the same tropes and the context remains on the dance floor. (Well in Caves of Ix’s case it’s more about the 2nd room or afters.)

Elements fade in like their being hand-manipulated from a mixer, while patterns spiral out of control as if the machines are trying to tell us something. There’s layer upon layer of classic synth sound, embarking on some retro-futuristic journey to the possibilities of music without challenging the listener.

 It’s instantly familiar and comforting, but unlike most of today’s variations on this sound, it goes beyond a simple loop. There’s a general progression on Caves of Ix that touches on anything from serene ambient to gnarlin acid. The Swedish artist doesn’t forego that original appeal of these styles of music, but asks; where else can we take it. And the answer is; back to its roots because if it ain’t broke don’t fix it. 

Skolopender – Polakk (12″)

Lately there’s always a new Norwegian cut in the mix, and it’s not just one style of music either. Whether it’s Hip Hop, Tech-House or Techno, Norway’s contribution to Filter’s shelves have been consistent and it’s really inspiring to see it happening on vinyl to this degree.

Here we have something new coming out of Bergen. Placed around the Techno common denominator, Skolopender’s debut record Polakk isn’t that stereotypical either. Elements of Noise, abstract field recordings, Psytrance and even some tribal elements peak through the hazy three-tracker.

Sound seems to seep out of some primordial ooze, with no inclination of what form it will eventually take, a continuous metamorphosis of sound. It’s only the appearance of some four-four kicks that some familiar structure appears, but for the most part the destination is illusive. 

It reminds this writer of the early days of labels like Stroboscopic Artefacts or Semantica when they were undermining the conventions of Techno with something truly experimental. 

E.R.P. – Faded Caprice (2LP)

E.R.P. is back in the LP format. It’s his first since 2019’s Exomoon and it’s hard to believe that it’s been five years since that last record. For a while E.R.P was such a constant at Filter Musikk, always there with a new EP at the very least and quite often a new album.  

Looking into his various aliases, it suggests that he might have been on something of a hiatus between 2018 and 2023. Perhaps, like the rest of us, he was merely taking a break to re-asses everything after the pandemic, but it’s good to have E.R.P back in the fold. A Filter Musikk with an E.R.P record just makes sense and it’s good to have something familiar in a world fraught with strangeness. 

Instantly recognisable as an E.R.P. record, the American producer and artist’s sound continues to be steadfast on Faded Caprice and you can tie a red thread from even his earliest records like Ancient Light to this one. There were never any teething issues with the creation of E.R.P or any of Gerard Hanson’s other aliases. It always arrives fully formed in the specific moniker’s gestalt. 

Faded Caprice is a luxurious bed of textures from which sparkling rhythms careen manically to the edge of Electro’s event horizon before it gets swallowed into IDM territory. Melody and harmony tease at becoming earworms before dissipating into a miasmic cloud, everything imbuing the atmosphere of the tracks across the album and the album as a whole. There’s an altruism to the elements, none are allowed to stand out ahead of the others in an all-consuming sound. 

Some motifs you feel that you’ve come across before in E.R.P’s other work, like a continuation of thematic material that impregnates Hanson’s designs for this particular artistic pursuit.

Burroughs – Half Light EP (12″)

Club music doesn’t often get as immersive as this, except maybe when it’s E.R.P. You feel like you’re engulfed in a pillowy bosom of sound, while deep bass movements pull at your gut. Burroughs’ arrangements expand and contract. Elements clatter against the backdrop, creating a sonic veil from which leading melodies and bass themes emerge. 

Whether tantalising on the edges of Trance or breaking familiar rhythm patterns with an Electro beat, Burroughs keeps touching hedonistic heights. Melody and texture dominate, but never overwhelm and it’s only on Carl Finlow’s remix of Sigler where things get stripped back to the starkest elements. The three original tracks hardly waver from the dance floor, but there’s a little more on the bone, an allure that is left to be discovered just beyond the functional. 

A-Trak is the youngest DMC campion at 14, he’s worked with Kanye, setup a label that includes Kid Cudi and Danny Brown as artists, and had one of the last decade’s biggest Dance hits. Could he be the last DJ?

* A-Trak plays Jaeger next Frædag

What is it to be a DJ in 2024? It used to be about an extensive and unique record collection; a talent for cultivating mood and euphoria through a selection of music; a skill for programming records through beat matching; and finding that third song as you blend two other songs. At the height of what is DJs popularity today, none of these things seems to matter when everything is about the celebrity of the DJ. It’s about how many followers you have on instagram and how good you look on a go-pro, with the “art” of DJing lost to the sync button and the allure of the craft maimed through millions of youtube tutorials.

Everybody can DJ and everybody does. It demeans some of the allure of what a DJ could be, but there was a time when this was different. There was a sense of mystique and unattainable skill involved. It was a record blending seamlessly into another with music that you could only hear in that specific context. There was no way of knowing what the DJ was doing, and even if you did, the chances of you acquiring the same music was remote.

At its most extreme you found the turntablist DJs, courting the Hip Hop scene. Their acrobatic skills behind a set of decks were something more akin to musical gymnastics than art. It required a whole other set of skills and training. It was a dexterous talent combined with inherent natural rhythm and melodic ear.  

We have all tried it; “scratching” your dad’s Pink Floyd records to the chagrin of your whole family. It never sounded like those Hip Hop records you admired and the deep gash it left in the record would often result in disciplinary repercussions, and rarely in anything musical. There were some people that could evoke melody, rhythm and even a whole song from those otherwise “noisy” interactions with a record player, and there were a few people that could do that from the start. A-Trak was one of those people and he has been in a league all his own since he was a teenager. 

“I think the surprising thing that happened with me,” he told DJ Booth magazine, “is that where most people try it and it sounds like ass, I had it sounding like scratching right from the start.” This was before he became A-Trak and he was still going by Alain Macklovitch scratching records like Stevie Wonder’s Keys of Life while decoding the techniques from Hip Hop albums like Pete Rock’s Main Ingredient or movies like Wild Style. ”I would watch the movie and pay close attention to all those scenes of Grandmaster Flash DJing while noticing the crossfader and even just how to hold a record and drop the needle, the physicality of it all. I was 12 or 13.” 

Fast forward 30 years, and A-trak is one of the most accomplished DJs around, not merely for his skills as a scratch DJ, but for his ability to crossover between musical genres, which parlayed that into a career that covers everything from Hip Hop to House music. He’s worked with the likes of Kanye West, had a billboard charting Dance hit, and established one of the most successful labels in Fools Gold, putting out records from Danny Brown, Kid Cudi, Run the Jewels and of course his Armand van Helden collaboration, Duck Sauce. It all started with his first DMC championship at the age of 15 in 1997; an international turntablist exhibition showcase and competition.

In 1997, DJing was still equally split between those turntablist DJs associated with Hip Hop and Dance music DJs known for their beat matching progressive mixes through genres like House and Techno. Back in the late eighties when these two things were a bit more fluid, DJ’s like Jeff Mills (neé the Wizard) were incorporating turntablist techniques like scratching and beat-juggling in mixes covering everything from Funk to Synth Wave. By the mid nineties there were two distinct camps, however with Hip Hop claiming the turntablist while dance music moved into something more fluid like what we experience in a Techno set today.

It was in the Hip Hop arena that A-Trak’s skills developed and where he first staked his claim. After taking the 1997 DMC title, A-Trak found himself moving in Hip Hop royalty circles. His deftness in handling a turntable were coveted by the great producers of the early 2000’s and today they have been forever immortalised on records like Common’s Be or Kanye West’s Gold Digger. It was particularly under the latter’s wing that A-Trak the artist would become fully-formed. “I think Kanye always encouraged me,” he explained in a DJ Mag interview. “Once I started working with Kanye, I became even more aware of what I was doing as A-Trak.”

Starting out as Kanye’s touring DJ, he would eventually work on the artist’s albums Registration (2005) and Graduation (2007), before he started to make his own music. One thing that set A-Trak apart from his mentor however was his extensive knowledge of music beyond Hip Hop, including Dance music genres like House. It’s even rumoured it was A-Trak that introduced Kanye to Daft Punk, before the latter built Stronger around the legendary Daft Punk sample. Around that time House and more vaguely Dance music in America was still something just a bit twee or cheesy. “For the longest time, dance music didn’t really have a place in mass culture in America;” A-Trak told Andrew WK in an Interview Tête a Tête. “It was kind of a subculture, and in a lot of ways, was corny. Like, you heard house music at clubs with dudes who wore muscle shirts and had gel in their hair.” 

A-Trak likens it to the Roxbury SNL skit; something to be ridiculed and it took people like him to legitimise it in the eyes of the American public. As somebody that came from Hip Hop with ties to artists like Kanye West, A-Trak could bridge the gap between the stylised aspects of a Hip Hop DJ and the transient euphoria of a dance floor. He not only sought to combine this in the way that he DJ’d, but also in the way he produced music, before channelling it all into the label, Fool’s Gold eventually. There was an untrodden path that laid before him between the way Hip Hop and House music was made and he succeeded in finding the shortcut between these two worlds. 

“Coming from a hip-hop background, I grew up in the aesthetics of sampling. And in the classic days of hip-hop, there were all these unwritten rules about what you’re allowed to sample and what you’re not allowed to sample,” he explained in that Interview article. He could only really “produce at home if my whole record collection was there,” but things changed around the same time he established Fool’s Gold. “I started wanting to make tracks that I could actually put in my sets.” He started “integrating synth sounds” in his music, and even though he didn’t quite know how they worked just yet, it started to coalesce into something like a musical “sculpture”. 

Fool’s Gold initially coincided with a move to New York and meeting Nick Barat (aka Catchdubs) who, along with Graphic artist Dust La Rock and A-Trak’s brother Dave Macklovitch (aka Dave One from Chromeo), established the label around 2006.  – O yes, did we forget to mention, A-Trak and Dave from Chromeo are siblings. “We were thinking about Nervous Records,” A-Trak explained about the origins of the label in the DJ booth article. Based on “(t)hose types of NY labels from generations before us that were completely informed by the DJ’s ear were hugely influential to us,” they were looking to bring “an interesting cross-section of people under one roof.” 

One such cross section was between A-Trak and Armand Van Helden as Duck Sauce, which took A-Trak from DJ and label runner to House music producer. Their lead single Barabara Streinsand was a chart topping success with a Grammy nomination. Not only did it give him the opportunity to work with a House legend, but it also provided a new outlet for the multi-faceted DJ. He could now easily be at home with a turntablist exhibition routine as he would at a House club. Often incorporating both, his House sets can and will feature some “turntable-Jazz,” undercutting the stoic beat-matching pursuits of a typical House set, without it getting corny and gimmicky. “Underground hip-hop is part of what I do.” he told DJ tech tools. “The mash-up and electro phase of the mid-2000s still pops up in what I do,” he continued. “I don’t necessarily have a favourite type of set, every set is unique.” 

A-Trak and his intersection between Hip Hop and House music, informed from his early years up until today is in an on-going evolution. “Everything is part of a progression: what I’m doing now includes components of everything that I’ve done, from the mid-90s, up until now,“ he concluded in a DJ tech Tools interview. From his teenage years as a battle DJ, his earliest production credits in Hip Hop, up to Duck Sauce and Fool’s Gold and his pursuits today as producer and DJ, everything informs A-Trak’s sound as one of the most full-formed DJs today.

“I’m just as versed in hip-hop as I am in electronic music,” he told Interview. “ So I have this sort of bird’s-eye view of where this is going, and I’m also a participant in it.” He truly is the last DJ.

DJ Dust has been a touchstone in the Oslo scene as a Funk savant, an NRK broadcaster and a Headon O.G. We talk to him about all those things and more ahead of his set with Espen Haa for our next Loft and David Mancuso tribute.

“The only problem I have is that all my records are in a big container, and I’m in the process of finding… ” 

“The container?”

“No, the music I’m going to play.” (laughs)

I Imagine Jan Tørresen (aka DJ Dust) waist deep in a sea of black shellac, wading through tattered sleeves featuring all kinds of people dressed in seventies attire, a collage of comic book characters brought to life. “I have no order, that’s the problem,” he muses over a telephone call from his home in Grimstad. 

Jan is preparing for a visit to Jaeger’s sauna alongside Espen Haa for the annual Loft and David Mancuso tribute, which  comes with a set of very strict rules from Espen. “And I have to abide by those rules, so I’m gonna play the Loft classics.” Fortunately he has collected a fair few of those ”Loft classics” over the years and, hidden somewhere in his disorderly record collection, they’re just waiting to be rediscovered. 

Jan Tørresen has been collecting and playing records since his early teens. Back then Grimstad was a “sleepy southern town” where “nothing happened” according to Jan, but there were two record shops. Jan had an early fascination for music and by the age of 14 he was DJing at  school parties. There was only “one other DJ in Grimstad” according to his memory, but Jan had an early distinction from his peer for being… the worst at it. 

“I just played new music and they hated it,” he recalls with guffaw. ”I didn’t know anything about DJing. All I knew was that I liked to play records, but I didn’t know what people wanted so I didn’t give people what they wanted.”  With the exception of a few close friends, it didn’t make him very popular,  but he was still determined. 

He recounts one specific incident at his first gig outside his hometown:  “I remember I played Grandmaster Flash and the Furious Five’s ‘Wheels of Steel’ in Kristiansand, and I was asked to leave. “ It wasn’t an isolated incident apparently, but he was only a teenager at the time. “I thought people wanted to hear some really funky shit, but all the people wanted to hear was Creedence Clearwater Revival and Bob Dylan.”

While Jan’s love for music wasn’t much reciprocated in his community there was a lot of interest in music and Djing in Norway, proliferated by a musical émigré class. “Back in the eighties there weren’t many Norwegian DJs but there was a big demand for DJs all over Norway and the UK supplied those DJs.” Those DJs in turn needed access to the latest records from abroad and record stores started to pop up all over the country to supply these DJs, record stores owned and ran by many of these same DJs.  By the time Jan turns 16, a third record store opens in Grimstad. It was called Mike Lewis’ records, named after just such an English DJ. 

Jan started working there in 1982. “That was heaven to me, because that was direct-import disco stuff.“ He took his salary in records, but even that didn’t endear him to the dance floors around Grimstad. “I played the music that they were playing in the hippest nightclubs in New York in Grimstad, and of course they  didn’t understand it. I loved that music, and I was under the impression that the music that I was playing in my room, the music I went bananas for, they were gonna love it, but they hated it of course.” 

A lot of what he was listening to in his bedroom was Funk, and the music genre hadn’t reached those uber-cool levels it had enjoyed in the USA at that point. Jan was way ahead of his time. After hearing Funkadelic’s Aquaboogie, Jan was hooked and he assumed others would be too. ”I just fell into it,” recalls Jan, before continuing, “it just felt right for me.” People might have hated it, but he was probably the only one playing it around that time, and soon enough everybody comes around.

He learned to adapt and started playing more of the music he thought people wanted to hear. It coincided with the opening of Skyline in Grimstad by 1985, a place where Jan would truly start cutting his teeth as a DJ. It was a “very modern looking place for Grimstad” and the “best disco in the south of Norway”. During his time at Skyline Jan really “started to understand the politics of dancing.” It didn’t stop him however from sneaking in a Funk oddity in his sets, something that could “clear the dance floor, just for the hell of it.”

By the time he moved to Oslo in 1990, a shift in attitudes towards this music started to appear. His earliest tastes in music ossified around Funk, Soul and Disco, and he was determined to make this work and it seemed the capital was following a similar path. 

Armed with a box of Funk, Jan was set loose on Oslo. ”I checked out what the coolest club was and asked if I could play, and you know what they said?” Jan asks rhetorically. They said “see you on Friday.” It was a time when you could still make a living as a DJ. DJs were still set apart at that stage, because not only did they have to intrinsically understand those “dance floor politics” as Jan put it so eloquently earlier, but they also had to have the records. Jan’s salary in records that he had been stockpiling, put him in a league of his own. 

“My collection was quite unique,” he boasts “because of my job at Mike Lewis’ record shop, I had all the records nobody else had.” Those American and British imports had set Jan apart early on, and his selections soon caught the ear of the people behind Headon; a club that would change the landscape of Oslo’s club culture for generations to come. They had “heard I played Funk and Soul and Disco stuff,” remembers Jan. “They came down there and asked me to play at Headon. Everything was much easier, because there were fewer DJs back then.”

Jan’s “vast 7” collection with really hardcore funk” was the perfect match for Headon’s immoveable Funk philosophy at that time. Unlike Grimstad, he could play “hardcore Funk and it worked because people hadn’t heard that in a club in Oslo before.”

By the mid nineties Jan’s reputation as DJ Dust preceded him. Wherever “people needed funk, I delivered” and it turned out that even the radio needed the Funk. National broadcaster NRK and P3 had heard the shockwaves of club music passing through the country. They had already enlisted the help of Olle Abstract and Pål Strangefruit in courting a younger audience dancing to many raves and nightclubs that were thriving in Oslo at that time. NRK thought they needed a third addition to their roster to complete the sonic triptych of Oslo’s nightlife and approached Jan on the merits of his appeal at Headon, but they wanted a little more than music at first. 

“They asked me to do some comedy, because believe it or not I can be quite funny sometimes.” The idea was to interlace the music selections with comedic “skits” but time and resources proved wanting. Jan was working at Virgin Music as a product manager by that time, and between Djing and his day job, the music would have to suffice for broadcasting purposes. 

It was a golden epoch for Norwegian public radio with Olle, Pål and Jan on the airwaves, conveying something of a subculture through national airwaves, and it’s something that has been lost since. Besides perhaps Frantzvaag’s weekly radio show, NRK’s programming today appears conservative in tastes and range and completely out of touch with what’s happening on the dance floors of Oslo. When pressed about that period in broadcasting and their liberal pursuits, Jan can only offer:  “I wish I could give you an answer to that, but I don’t know.”

What he does know however is that his work at Headon was the foundation for his work in broadcasting and for a period between 1997-2002, he was a very influential selector in the scene. He continued to play at Headon, and was one of the only DJ’s to play there for the entire lifespan of the institution. As the club and its DJs matured, they would relax their music policy, opening the hardcore Funk establishment up to Soul and Disco, but stopping short of any contemporary electronic sounds, which was the main purview of places like Skansen and Jazzid at that time. 

Jan would also move on from his beloved Funk into the realm of Disco for his radio show on NRK toward the end of his incumbency. It coincided with a vital time for what would be a burgeoning Space Disco scene coming out of Oslo. Jan doesn’t believe it had any direct influence on the scene, but he does acknowledge that  “Lindstrøm listened to it (his show)” and he distinctly recalls giving “Prins Thomas a gig at Headon when he was just a kid.”

Even twenty years on, nights like this Loft Tribute and the sounds we hear on the dance floor week in and week out, has interned Disco’s endless appeal in Oslo. “It’s groovy, it’s uplifting and it’s fun,” reflects Jan about Disco’s everlasting charm. Yet again I get the “I wish I  knew”  on why something is the way it is, but for Disco’s enduring love, he can guess that it is because “there’s Disco in new music.” He singles out Sabrina Carpenter’s espresso as an example, and for his own love for the genre he is unbiased. 

“I love both the organic Disco and the electronic Disco,” he insists. His hardline Funk pursuits softened over the years and “in the last ten years” he’s even “been doing some new stuff.” Back in the nineties, he wouldn’t play anything beyond the ninety eighties, but today you could find DJ Dust playing a newly released House cut. 

When he did the Jaeger Mix in 2019, he kept it strictly eighties synth Disco with tracks from Scritti Politti and Mtume alongside some of that signature Funk sound. That was the last time we had a DJ Dust set at Jaeger. We don’t often get the opportunity to hear a DJ Dust set here in Oslo, so when he does we’re guaranteed something special. During our interview for that Jaeger Mix, he joked about hanging up his headphones “lots of times” in the past, but never could quite make it stick. “It’s when you get out there and start playing and you see people really enjoy the music and dance their ass off, it makes it all worthwhile.”

Today he still works within the music industry as a freelance music supervisor, marrying music with films and adverts. That side of his musical personality remains “completely different” to what he does in the capacity of a DJ. Like any other job, it’s just there to facilitate the passion, and Jan’s passion remains strong for his first love. Back in 2019 he said, “my heart still beats faster when it comes to soul, funk and disco” and that remains the case today. 

I leave Jan to his digging as I hang up, picturing again the Norwegian DJ in a container somewhere in the south of Norway. We don’t know what he’s going to play, but whatever it is we can be sure that DJ Dust will bring the Funk! 

Talking to Daox one of the co-creators and DJs behind MOGA in Morocco about the extended Moroccan scene and his own history with electronic music.

Essaouira, Morocco is a city steeped in cultural- and musical heritage. It was literally the last port of call for generations of African men and women before they were bonded into slavery, creating a melting pot of African music traditions and taking it to new worlds like the Americas.

Today the former Portuguese port town has removed the shackles of its blighted history, but it continues those traditions with festivals dedicated to various styles and genres of music, extending  way beyond those ritualistic traditions. From Jazz to Electronic music, Essauoira is a modern-day musical Babylon, a sonic metropolis where people gather annually for everything from traditional folk music to contemporary electronica. 

Today, Essaouira is a fishing- and tourist town, with a social calendar filled with music festivals.  One of the festivals is MOGA. The electronic music festival staked its claim in the city in 2016 and has become a touchstone for the electronic music scene in the region. Every year since their start – besides during covid – they’ve been bringing some of the best international DJs and artists to their intimate gathering for a largely Moroccan audience. 

In 2024 they hosted the likes of Dixon, DJ Tennis, Paula Tape and Prins Thomas alongside events and activities that broaden the scope beyond the performance and spill out into the rest of the  city. Since 2021 they’ve added a sister event in Portugal with the producers behind the festival bringing those dark historical links between the two countries to a new positive light through music. 

One of the people  behind the festival is Daox (Abdeslam Alaoui). The Moroccan DJ producer and club promoter has had more skin in the game than any other, having effectively helped build what constitutes a scene around Morocco through his various activities as DJ and club promoter. As the co-founder and main booker for MOGA, Daox continues to be a bridge between Morocco and the rest of the world.

It doesn’t go without its own sacrifices however and when I called him up the week after this year’s festival, he was still recovering from Bronchitis, and resting up. “I’ll be ok,” he assures as he prepares for his visit to Jaeger to play Oslo World this week. Memories of seeing some of his “favourite DJs” including “Prins Thomas and Rhadoo” are still fresh even if it was only for a moment during the busy haze of running the festival, and while questions of the festival linger, there is also a rich musical history behind Daox. 

As a DJ he calls himself a student of the “groove school…  when it’s groovy and it’s drummy and seamless.” With sets that drift between “House and old Techno,” Daox is an eclectic sort, coming from a time when the differences between genres were more fluid and it was all about that rhythm. 

As such he continues to be a “Perlon addict,” playing with the subjective conventions into his own musical diatribe. Besides DJ and festival runner, he is also a producer and has worked under a string of different aliases in the past. His most recent release is a collaboration with Hip Hop artist Young Loun, where he created the haunting electronic atmospheres that embrace the rapper’s wavy vocals. 

It might seem at odds for an artist and DJ hosting an electronic music festival, but what I soon discover is that nothing is as you’d expect with Daox, and his passion for music reaches as deep as the origins of music itself. 

How was this year’s MOGA festival? We had Paula Tape play here almost directly after and she had only good things to say about it.

It was a big success, after we had to cancel last year because of the earthquake. We lost a lot of money last year, and people sometimes lose trust in these situations. You lose a bit of the momentum and hype and we had to rebuild.

Running a festival is not without its challenges, I’m sure. What was the impetus to take that risk and to start your own festival in the region?

I was running parties and I was running some residencies. I hosted a boiler room to bring James Holden, Floating Points, Biosphere and Vessel to Morocco alongside some local artists like Maâlem Mahmoud Guinia and Maâlem Mohamed Kouyou, who are big in Morocco. 

At the same time I was playing in Morocco, but the parties weren’t that good, so I started hosting my own parties outside of the clubs, because the clubs were too commercial. 

After that I became the artistic director of Pacha, Marrakech – totally by accident – and I completely changed the programming. I brought over big names like Shaun Reeves, Life and Death, Seth Troxler and Luciano. It helped to bring fresh music to Morocco, and bringing this underground music to clubs helped to shape the scene. 

I left Morocco for Canada shortly after to study and I met my close friends & associate partners Benoit Geli & Matthieu Corosine, who wanted to do a festival in Morocco. We ended up in Essaouira. 

It’s such an amazing location with stunning scenery and a lot of history.

It’s a beautiful city. Essaouira was a Portuguese harbour and a slave post. It’s really small, but they have a big cultural- and musical legacy. People like Santana and Jimi Hendrix would visit it back in the day and you also have Gnawa music. It’s an historical music that is played on the gimbri, which is like the precursor to the bass, and was played by the slaves and you can still hear them play this mystical music today. The city hasn’t lost its authenticity and its vibe and they have five different music festivals there throughout the year, but we decided to do something electronic. 

What’s your main audience at MOGA, is it more local people?

It was always for local people. During the time we launched MOGA, all the festivals were more tourist festivals. It was more focussed on promoting it outside of Morocco. We always wanted to create a festival for Moroccans. 

What is your capacity for the festival, because from the videos I’ve seen it looks very intimate, and people can get very close to their favourite DJ? It is a contrast from what we usually see, which is aeroplane hangars with a sea of people below a DJ two metres in the air.

It was our initial idea to keep MOGA intimate. We didn’t just want to bring in people to play. We wanted to create a hub, a rendezvous where it’s not just about seeing other artists. It’s an experience. For that reason it’s always going to be less than 5000 people in Morocco. 

We can go to 10000, but it will lose its magic. 

You don’t feel like you’d be tempted to grow it even bigger?

In Portugal we can go to 6000 people because it is on the beach. Activities and the city events will be bigger, but we want it to stay like this, although you never know. 

Besides its historic links, what is the connection between Essaouira and Portugal? 

The city in Portugal where we host MOGA is Almada which is a Moroccan-Portuguese city. We always wanted to do something in Portugal, but we never had the chance. During Covid we got together with our partners and they suggested we make it somewhere else, and Portugal was first on our list. It happened really fast. We met the ambassador for Portugal in Morocco, who was an old DJ, and opened the door to some people in Portugal. In one month or less, we were ready to go. Since 2021 we’ve been doing it every year. It has become a really big cultural exchange. 

It’s something of a continuation of that shared cultural heritage of the past, but in a more positive light. 

Exactly. 

Is electronic music the main focus of MOGA?

I always call MOGA a contemporary dance music festival. It can be electronic or even tribal. In electronic music you can have many different styles, so it’s already quite vast. More so today as everything from Hip Hop to Rock music use more and more electronic components. Let’s just call it Dance music! (laughs)

Yes, you can dance to anything really. You mentioned that you were bringing in international artists to Marakech. Was there a big scene for that kind of thing back when you started?

The scene was already big in clubs, but it was different music. It was really mainstream. It was Swedish House Mafia and David Guetta, which wasn’t bad, but it was too focussed on this kind of music. Bringing fresher underground artists to clubs, also brought with it a legitimacy. 

I grew up and came up through Psytrance festivals; we have a lot of Psytrance festivals in Morocco. But this music never stood a chance in clubs and you couldn’t really play it in bars. We couldn’t really reach more people, so when I started working at Pacha, bringing the kind of music that we considered more underground, the crowd got bigger and people became more curious.  

Were there other people interested in that kind of music before this, or was this something you had to build as well?

Before Pacha, we had a collective called Runtomorrow. We were around 15 people but around Morocco you could find other similar collectives running parties. Every city had its own collective. Talents were always there, but the clubs and the bars weren’t following or believing in us. It was quite a challenge because you had to start from scratch. None of us had club experiences so we all figured it out by doing it. 

I guess the internet would’ve helped, but this would have been an early internet, before social media? 

It was the early internet. It wasn’t like now, when the internet is fast, you have instagram and information is readily available. We were sharing parties in forums before facebook. (laughs)

What is your own history with electronic, dance music? 

When I was younger I used to watch tv to listen to this kind of music on channels like MTV and MCM. At night, MCM would play electronic music videos, like Aphex Twin. One night they played a Ken Ishii music video. 

It was quite famous, but it was quite violent so they played it late at night. I remember staying up late at night trying to watch it again and again, without knowing what this kind of music was. Later, we got napster and things got better. 

At the time you saw that Ken Ishii video, this was the late nineties?

It was more mid-nineties. Napster came years after, and then the internet came to Morocco and even if it was slow, you could start researching this music for yourself on-line. Then in Morocco we had a big festival called Morocco 2001, which was put together by some German guys in the middle of the desert. It was Psytrance and Techno and they had around 5000 people attend. 

All the Moroccans that went there came back illuminated, because they had discovered a new way of music. A few of them started running their own parties at festivals like Rhythm of Peace, Which was run by a Moroccan DJ & passionate Moundir Zniber aka Moon who was a friend with the people behind Boom! Festival in Portugal.

Between 2001 and 2009, it was the golden age of music in Morocco, where the country shaped its electronic music identity. It was really different than anything you would hear even in European clubs. It was the underground of underground music. 

You mentioned Boom! and the Germans there. Was it mainly European people importing that sound to Morocco or was there a Moroccan electronic sound already?

Yes it was more imported from Europe, but like everything you find artists that are willing to experiment and it will find its way into a fusion of historical music and European music. It was the same in the 60’s and 70’s when we had a big psychedelic movement of music here with psych rock. At the end your roots always come through. 

Which way were you inclined to go when you started DJing, were there any Moroccan electronic artists putting out records at that time?

We didn’t really have records from electronic artists here when I started, so it was mainly coming from Europe, and more so from the USA. But my sound changed every year. I started out in Psytrance and then I went into progressive and then Techno and then minimal. Today, the reason I can programme a festival is that I’m not limited. I like different kinds of music and I’m really open. Life is too short to limit yourself to one style of music.

Where were you coming across the records from the likes of the USA?

Napster, like I mentioned before. We didn’t have a big vinyl culture here. We had a nice cassette business. They were easy and cheap to make, and you could find a Techno mega-mix. 

What era was this?

Up until the late nineties, because they were super easy to copy. I still have a cassette called Mix Zone from that time. I bought it after I found out about Ken Ishii and I still have it. I still play music from this cassette. 

I guess not from the actual cassette?

I bought the original records from discogs and a few digital versions. It still sounds fresh, like it was released today. The music is timeless. 

When and how did you make the leap into DJing?

I started downloading music in 2002, and I was playing it to my friends. Even though we never had a chance to go to the parties playing this music, we became a community. Eventually we decided to make our own parties. In the beginning we were just some people in a house, listening to music, and we realised we needed somebody to DJ. 

I bought a soundsystem and my friend brought a really old mixer and then we started ripping CDs and playing music. We were 10 at the first party and by the last ones we were 200-300 people. It started at a friend’s house and in the end we had to do it on farms.   

Besides DJing, you also make music on various aliases. What are you currently working on or are the production aliases on hiatus?

I still make music, but for the moment there’s a challenge in making time for it. I have side projects where I make everything from ambient to techno. I help produce other artists and  recently I made a Hip Hop EP with an artist called Young Loun. I have also been working on an album for the last 7 years. For the last five months I have had a studio, so I’m finally finishing it. You can actually expect a lot of new music from me next year.

We premiere a remix of Ivaylo’s Lifter from PsychoFreud while we talk to Anders Figenschow about AI, Drum n Bass in Norway and a little history 

Norwegian Drum n Bass and Jungle has always had much more success outside of Norway. Even at times  when places like the UK are in the midst of a revival, Norway has only enjoyed slight increases in interest, with most of the fanfare for the Norwegian scene happening outside its borders. At the height of the genre’s popularity back in the late nineties to the early 2000’s, Drum and Bass and Jungle DJs were in-demand, and some of the world’s best were home-grown Norwegian talents. 

PsychoFreud was one of those DJs and he became one of Norway’s biggest exports in Drum and Bass during that time. A demanding touring schedule and releases for some of the genre’s pre-eminent and prestigious labels saw his star rise in regions like eastern Europe. Sought after and rarely taking a break PsychoFreud became a household name in the international scene, but after 15 years  he changed course and took his life into a different direction. 

After years of touring on the international circuit where he’s played places like Romania over 20 times, he resigned himself to a quiet life, focussing on a career outside of music and his family.” My daughter is 16,” says Anders Figenschow (aka PsychoFreud) over a telephone call, ”so it’s still a few years, and until then, I’m gonna stay at home and make sure the family is ok.”

While at home however music has remained a constant in his life, and he continues to produce tracks and remixes under various aliases and projects including Gunmen with Tony Anthem, King Kanakas and of course PsychoFreud. On the rare occasion when he does make it to a DJ booth these days, he’ll adopt the familiar PsychoFreud to play the odd set for a friend abroad or at home, including a regular appearance at Jaeger’s Drum and Bass and Jungle night with Bigup, but for the time being he is content in dedicating his time to the recorded work. 

His latest is part of a remix package for the next release on Lab Cleaning Jams, with Anders providing two very distinct remixes for the project under two different aliases. While his King Kanakas Funk and Disco side project was the obvious choice for Ivaylo’s progressive House original, it’s the PsychoFreud remix that we get to premiere today as he takes the original into a rollicking uptempo Drum and Bass track infused with some dancehall vocals. 

“That was sort of a challenge,” explains Anders, “because making a drum n bass remix out of a house-y disco track is difficult, because of the speed difference.” Going from circa 120 beats per minute into 176, very little of the original track remains and even what’s there has been totally reworked for the context. The bassline is the only constant between the two as the “main-driver“  in PsychoFreud’s adaptation of the original. It pedals through a broken amen break while a vocal honours the artist behind the original track in a simulacra of Jamaican MC toast. 

Making a “vocal version” was the biggest challenge of the remix according to Anders. In the past he might have turned to a singer, but on this occasion he took it upon himself, but it’s still not his voice you hear. “You can tell,” he says through what I can glean is a smile on  the other end of the telephone call. “Since I started making Drum and Bass, in the mid-nineties, I’ve always worked with singers,” he starts to explain. “Lately it is easier since I can use AI to do them for me.” 

Avoiding the cost and unpredictability of the human mood, Anders has turned more and more to AI in his productions and it’s been used to uncanny realism across his two remixes for this release.  “This way I make sure I’m happy with it,” he says of his use of AI generated vocals. He stops short at letting AI dictate the lyrics, suggesting  “it would very quickly sound bad,” if it were left up to the machines. Anders writes the lyrics including his shout-out to Ivaylo, using the new technology as “a complimentary thing,” to the rest of his production

You couldn’t tell until somebody told you, and even then it’s still hard to not put a human face behind those vocals. Furthermore, his use of AI in his sampling techniques for this track is completely indiscernible. ”It’s much easier now to generate parts and use that as samples,” he says, because of all the “legal aspects” that make actual sampling so difficult today. 

Anders knows about those sampling headaches all too well, since he cut his teeth in Hip Hop in the nineties back during a time when sampling still lived in that ambiguous grey area between stealing and repurposing. As a member and the producer for Oslo’s Most Wanted, a notorious rap ensemble long since disbanded, he would learn his eventual musical trade. “I wasn’t very good,” he humbly suggests, “ but I could sample things and loop something.” His time with Oslo’s Most Wanted was short lived however and his time with the group was clouded in turmoil. It’s “a long story, for another type of interview,” he concedes. “It was a very dramatic time and there was lots of violence involved,” and after a few albums in quick succession Anders moved onto the next thing which was Drum and Bass and adopted the pseudonym, Psycofreud. 

In the late nineties PsychoFreud’s music was picked up by the “quality” Drum and Bass label Knowledge and Wisdom and this is what, according to Anders, really “kicked off my music story.” He would spend the next fifteen years touring all over the world, playing in a different country every weekend. Fusing Reggae, Dancehall and Jungle in energetic Drum and Bass constructions, his style has always been distinctive. Listening to an early release like “Selassie I,” all those ingredients we find on the Lifter remix, including the vocals, are already present. 

“It’s the same sound I’ve always” made, suggests Anders, and even with AI, it’s still concurrent. I wonder if his sound would have adapted to the newer audiences and clubs had he still been playing out, but besides the “natural evolution of music” he doesn’t think so. He goes as far as to suggest that he considered the quality of his sound was “never the best” compared to something like Tony Anthem or Serial Killaz. “I just care about what the bass sounds like and what the vocals are doing. I’m more of a producer than a sound technician. I don’t care.”

Although PsychoFreud enjoyed much success outside of Norway, the small scene back home couldn’t accommodate anything like the scene in eastern Europe. “It’s impossible for a country like Norway to catch up,” suggests Anders in a rhetoric that I’ve heard from the likes of Teebee and Bigup in previous interviews too. 

“In eastern Europe people come into the clubs when they are 15. In those countries they expose a younger audience to that music. While in Norway it’s impossible, because they don’t let people into clubs under 20. And they don’t play it on the radio. What we call underground is big over there. Same with the UK.“

I consider whether he would have made the move into a 9-5 career and family life, had the scene been healthier here, but it’s not like Psychofrued or any other of the aliases or projects that Anders are involved in are on hiatus. Just last year he and Tony released  “So Mi Like It / Messed Up” as Gunmen on Dutch label Rasta Vibez while besides this remix for Ivaylo, PsychoFreud is readily busy on soundcloud. 

In one of the latest posts, he’s on a Hip-Hop tip, and during the course of our Hip Hop discussions he does say; “I really want to make a new album and finish off something.”  No doubt it would feature some AI technology, at the very least at a sampling level, and whether or not he’ll get back into playing across the world, we’ll have to wait and see when his daughter is all grown up. He’ll surely be making a turn again at Bigup either way and for now we have this remix to keep us company. 

These records just in at Filter Musikk…

“Life is full of surface noise!” That’s what broadcasting legend and musical savant John Peel used to proclaim when arguing for the continued relevance of vinyl in the face of the “cleaner” sound of digital. The quote came at a time when MP3‘s future dominance was just starting to establish itself. 

Ironically, today MP3’s have been superseded with streaming (arguably a lower quality of music format) and in the tumult around commercial compensation for artists and the value of music on platforms like Spotify, the surface noise of vinyl is inaudible.

Independent record labels are opting for more physical-only releases, while there are record stores solely dedicated to that format. Old records are getting remastered and re-produced in their original format and new records are garnering a lot more attention if they arrive in a record sleeve. 

For today’s music nerd, the surface noise of everyday life is the wistful evocation of the snap, crackle and pop of their favourite record. It’s the sound that permeates out of Oslo’s Filter Musikk everyday, and even if you’re not at the listening station with a pair of headphones, you can hear the tsk tsk of a needle scrubbing through the grooves of some record. 

Here’s the latest from the shelves of that hallowed ground, as we get into another cut with Filter Musikk. 

*Filter Musikk are back in the sauna next Wednesday.

Sequent Consult – Substance of Faith EP (12”)

Norwegian artist incoming. Rub800’s launches his new Sequent Consult alias and label with a vinyl only limited run of the first EP, Substance of Faith.”New label with a DIY spirit” proclaims the artist and that ticks all kinds of boxes here.

Four blissed out Techno tracks squeak and and bleep like a robotic fever dream throughout. The groove is minimal and it’s firmly rooted in every track, unwavering and purposeful, allowing synths and pads to streak across into unknown territories. At one end of the spectrum, the title track is a solid dance floor filler, including accessible melody and a ear-worm vocal snippet, while at the far end “Slow Burnt” offers an off-kilter downtempo stepper. 

There’s an atmosphere of mystery and tension through the whole release, a sonic sci-fi opera in the language of machines. It’s a strong start to a new label and this new alias, and we sincerely hope there is more lined up for the future and more homegrown talents follow suit. 

Ulo S. – Uphoria (12″)

Ulo S. is the new alias of Lou Karsch, the man behind LKR records and a host of aliases that have been released on everybody from Further Electronix to Kalahari Oyster Cult. It’s no surprise, he’s based in Melbourne where there’s always been this odd confluence of everything.  

The Australian city is like the Bermuda triangle of music, where the world’s oddities arrive and in an odd fusion of genres from emerging artists spills back out in the world unfamiliar. From the ersatz jazz-prog of Midlife to an anything-goes label like Butters Sessions, Melbourne is a strange yet endearing place for music.

On Ulo S. first release, unusually melodic bleats and squawks cultivated from synthesisers are offered up on a bedrock of simple rhythmical constructions. A lot of Acid and plenty of a drive tunnelling its way through the dance floor. On the title track a vocoder and fuller textures touch something closer to synth wave, but at its core this record’s intention towards the dance floor are clearly marked out. 

Legowelt – The Sad Life Of An Instagram DJ (12″)

Legowelt is not a complete stranger to Instagram. He has been making videos featuring some of the more obscure and affordable equipment in his sprawling gear-heaven. Showing us some of the unique features of these oft dismissed synths and drum machines, he’s also using the time to craft the beginning of future songs. 

The eccentric DJ seems anything but sad when doing this and these quirky videos always put a smile on my face at least. Or does he mean another kind of Instagram DJ?

Humorous- and nerdy titles aside, this record delivers that Legowelt charm in abundance. Electro remains the foundation for everything Legowelt and this record is no different. Even when dies move into a straight 4/4 kick like on “No One Wants To Buy My NFT” or ”Soundblaster Pro Tripper”, there’s always an Electro sensibility in the arrangements and sounds. 

Between the titles of the tracks and their sounds, Legowelt’s DIY impromptu style is everywhere and immediately recognisable. It’s always consistent and as more and more of these ageing producers capitulatie to trends or simply drop out, Legowelt’s music is becoming more unique than ever. 

Cela – I’m In Love (12″)

Italo Disco is always going to have a place at Jaeger. There’s something about the bubblegum attitude and the grooves of these records that just work on the dance floor. 

Although Giorgio opened the door, the wealth of artists and records that followed, is still continually being catalogue. It feels like every time we do this piece, there’s a new reissue/remastered version of an Italo Disco masterpiece. Some are well-known, often coveted records, while others are obscure digger references and there are so many labels operating today, whose sole purpose it is to unearth these gems and present them to a new audience. 

Cela falls somewhere between those two categories as an artist duo (Marty Celay and Robert Drake) that was well known in Disco circles working with the likes of Chic, but who only created one such creation themselves.

“I’m in Love” is not one the most obscure tracks, lighting up dance floors in and around 1979.  Its soulful bass groove and unforgettable hook has waned little. For 11 minutes there’s nothing else you want to hear and in the stripped-back US version the build-up creates just enough tension for a DJ to transport a dance floor to new heights. 

The Source Experience – Throwback (12″)

A throwback both in name and attitude, back to a time when Techno was raw, impulsive and unforgiving. It wasn’t about elevated tempos or the size of the room, but the brutality of the sounds and energy of the track. 

It’s something Robert Leiner aka The Source Experience knows all too well as somebody that cut his teeth on that sound back in the beginning. That’s the sound he instilled at R&S through records like his self-titled debut, which went on to establish R&S as one of the leading lights in the field of Techno at the time. 

Some three decades on from that record and The Source Experience continues to perpetuate that sound with another record for Börft. Acid motifs squeezed between clenched teeth, emerge from the thunderous drum programming on the title track and “Acid Crack.” 

On “Far Out,” Leiner eases in than Electro arrangement. Pliable synthetic pads swaddle sharp metallic rhythms, in stark contrast to the first two tracks. There’s no hook and the sonic nature of the tracks are irreverent to any clichè or archetype.  That’s exactly how it should be. 

The legendary radio institution comes to Oslo in November taking over both floors with some rinse affiliates and local regulars

From pirate radio station to worldwide leader in UK underground music, Rinse FM celebrates 30 years in 2024 with the tour making a stop at Jaeger and g-HA & Olanskii’s Frædag. Samba Boys (KETTAMA & Tommy Holohan)  join a lineup of local residents ad DJs across our two floors for as we bring the airwaves to the club. While we drift into the heavier hues of Techno downstairs with Olanskii and Takt joining the Samaba Boys, upstairs we go from Balearic to Trance with g-HA, Charlotte Bendiks,  Øyvind Morken,  Pavel Plastikk and Dara Woo. 

Rinse FM was at the forefront of UK counterculture genres Grime, Garage and Dubstep, rigging up impromptu antennas to reach London’s urban enclaves back in the 1990’s and influencing a whole generation of producers and DJs in their wake. Today it’s a broadcasting behemoth with stations in London and Paris reaching audiences all over the world, where they continue to be the tastemakers for future generations.

You can read more about the event here and grab your tickets here.

Alexander Skancke talks about wearing his heart on his sleeve on his latest record and how he got here today ahead of his next Sunkissed appearance

In a recent video from his Instagram account, Alexander Skancke can be seen playing on a rooftop in Kiyv Ukraine. Below the video, there’s a personal message of thanks and appreciation for the resilience of the scene and people in the country. The DJ, label boss and record peddler has always worn his heart on his sleeve, and the post reflects the personal approach he adopts through everything he does, including his records. 

Last year, his debut LP, Kingdom Couch delivered a self-reflective account that confronted mental health and therapy head-on in the wake of isolation during the pandemic. His minimal production touches bleep with insecurities while menacing sonic textures carve desolate landscapes throughout. It’s unusual to find electronic music artists getting that literal with their music and rarer still for them to get as raw as Alexander gets in his vocal delivery. 

“I am an open book,” he reflects via a telephone call from Berlin.

Originally from Trondheim, Alexander has called Berlin home for some time, and has established a career and label from the German city. His label Quirk has become a significant feature in record stores everywhere and when he’s not working on the label or DJing, he spends his time at Bikini Waxx, a record store and distribution company, nestled in a courtyard in Kreuzberg. 

He is a familiar name on lineups across the rest of the city, and his label nights are a regular feature on Club Der Visonaire’s a calendar. He’s been playing on the international circuit since releasing his first records and even on occasion makes a stop at Oslo for the likes of Det Gode Selskab. 

With another upcoming gig for Sunkissed at Jaeger, his first visit to the club in a long time, we took the opportunity to catch up with the DJ, artist and label runner.  We talk about his start, what it takes to be a DJ and more, but we begin with his latest record. 

The latest release, I love you, is another example of you getting personal in your music. There’s a sweet story behind the origins of the record. Can you tell us about it?

I am really fortunate to have fallen in love with a really nice girl. It came out of nowhere and I used that as inspiration to finally write a record about love. Every artist has to do that at some point; write a record about love. It might be a cliche, but I wanted to do it as cliche as possible. 

It is unusual in the electronic dance music environment to hear artists getting so personal and wearing their heart on their sleeve like this.

Yeah, I’m an open book. I also wrote my last album going through a really hard time. The album was about going to therapy and struggling with isolation, like we all did during covid. Now, at the end of that, theres falling in love and building a life with what could be my life partner.  

When you are dealing with something as abstract as electronic music, how do you relay that sentiment to the listener?

It’s more of a feeling in a track, whether it’s happy, sad, mysterious or more abstract. I also use a lot of my own vocals and they are pretty direct. 

There is definitely an uplifting feeling to this record, and it’s in part to that kind of nineties-era House sound that you have going through this record. Is that something you were trying to bring across on this record?

I will definitely credit all the American artists that paved the way for house and techno music in the eighties and early nineties. They have been a huge inspiration to me. I guess it’s kind of an ode to that era. 

I read that you have been collecting records since you were 14. Is that correct?

Yes, I used my confirmation money at 14. I was at a crossroads of whether I should buy a mountain bike or a pair of turntables. My dad recommended I buy the turntables, and I only found out afterwards that my mom had said; ‘yeah give him two months and it will be over’,  but they are all very proud and happy for me now.  I still have those turntables. It spiralled out of control after that.

What planted the seed for you to want to become a DJ and was there anything like a community in Trondheim that urged you along?

I was in the basement, with nothing but two turntables and a mixer and I had to teach myself. 

What really inspired me was that there were musicians on both sides of the family. My grandfather was a multi-instrumentalist and he would tour the world playing in brass-bands. He was a piano teacher and he used to teach kids how to play all kinds of instruments in school.

So I was always around music, but I think starting to DJ was more of a rebellious act, even though my father was playing stuff like leftfield, the orb, and prodigy at an early age.

So your dad was pretty open to contemporary electronic music?

Yes, he’s the one to credit for all of this, I would say. 

Does your dad also play an instrument, or is he just a fan of music?

He doesn’t play any instruments, but I don’t know anyone that’s such a music collector as he is. So there was a constant exposure to all kinds of genres growing up. 

What were those first records you bought? 

When I bought the turntables, the guy gave me a stack of records, which was a mix of UK Hard House, Trance and 90’ Techno. I don’t remember which records they were, but they are definitely gone by now.

Was there a record store in Trondheim that you would frequent or were you already getting stuff online at that point?

There was no record store in Trondheim, so I would buy records every week from juno.co.uk. When I got a little older, I even took out a student loan to buy more records… I’m still paying for that.

I hope you still have those records.

Yes, a few of them, and I still play them.

Did you start making music around the same time as well?

I wouldn’t call it making music. It was just fooling around with some software on my computer. I started really getting into it around 2009. After that I was on it 24/7.

Did you have any formal musical training or was it like DJing, you thought yourself? 

I always wanted to play in a marching band as a kid, but since I was skiing and playing football, there was no room to join the marching band too. My grandfather tried to teach me how to read music and then he sadly passed away suddenly. I’m more or less self-taught in everything I have done. I’m really stubborn and I have to give some credit to the Internet and the people out there in that regard. 

Yes, it’s such a wealth of knowledgeable people sharing their thoughts and practices. 

For production; there has always been a ton of things out there, but when it comes to DJing, you can learn the technical aspects of it, but DJing is so much more than that. You have to learn by doing and experience. 

The internet can’t prepare you for playing in front of a crowd. 

Exactly. You can stand in your bedroom and DJ for fifty years, but when it comes to playing in a club, this you have to do by experience. I truly believe it takes over ten years to understand the true essence of DJing. 

When did you move to Berlin?

I’ve been a bit on and off with Berlin. I first moved here in 2013 for half a year and then I moved to Budapest for 2 years. I moved back to Berlin in 2016 and have been living here since. 

And did you start at Bikini Waxx immediately?

Bikini Waxx started a year later. It started with an intern position, uploading records to our webshop, in exchange for some records. It quickly evolved into a full time position. My career evolved parallel to the job.

As you evolved as a DJ did you find the recordstore having an effect on your approach?

100% of course. I’ve been DJing for 19 years, and if I look back, it’s only in the last 5 years that I’ve figured out what it’s about. It takes a long time to understand it. I’ve heard this from other established DJs too. 

I guess why the scene is still dominated by the established DJs that have been doing this for years and have the experience. 

Exactly. There’s always a new generation coming in, but many of them, at least in my circle, are already 30+ and they’ve been doing it since they were kids. 

When you did finally understand it, like you said, was there a particular catalyst for that aha moment in your career?

It’s from working in the record shop, which gave me a lot of exposure to different kinds of music, but it also made me see how people are using, buying and selecting music. I quickly realised a pattern where people are buying music that is perhaps not to their personal taste, but what they think is a trend or a hype. When I realised that, I thought to myself, nothing really matters except for what I truly feel and love. So I am personally trying to stay away from trends and hype. 

Is that something that relates to your music? Listening to the Quirk catalogue and your own stuff, there’s certainly a style there doesn’t waver. Has it always been like that or was there a similar eureka moment for you?

Obviously it’s evolved from the early records to now, but what happened when I started Quirk, it gave me the freedom to really express myself instead of trying to cater for another label, based on that sound. Being independent had freed up so much pressure as an artist. That’s why I started the label. After I did that first record and it became successful, I started to produce records that I truly felt reflected me and myself as an artist. 

There is this groovy, deep and minimal thing that I would suggest is you, but then there are also these touchstones whether it be Garage (Jungle Japes) or Breakbeat  (Lockmind) that recontextualizes your music. Is there a process to incorporating elements like these in your music?

Firstly it’s because I work in a record shop with all kinds of genres, even outside electronic music. It truly comes from going to clubs and seeing the great masters of Djing. They can flip something going from minimal to electro or even breakbeat. Being on the dance floor and experiencing this, I have left parties to go home and make music. I’ve been inspired by the genres and the DJs, but it always has this minimalistic approach to it. 

Is that minimalistic approach something that has been there since the start and something you’re just naturally drawn to?

Yes, I’ve been into that pretty much since I started in 2006 and that was the heyday of Minimal and Tech House and it’s stuck with me since. I’m waiting for the great come back. (Laughs) It’s the same story for everybody getting older wanting to get back to the “golden days”. (Laughs)

I spoke to Henriku (who you know and work with) and he was saying the minimal scene is not as prominent as the harder side of Techno. What is your experience in the current context?

It’s always there, Berlin is a huge city with enough room for all of us to have our microcosms. Minimalistic music is not the hottest or trendiest at the moment, although I don’t care too much about that to be honest. What matters is what you feel and love. Legendary artists have a cult following; so there is always room for it and it inspires a new generation. With every new generation they want to do it differently than the past. Ultimately, it’s the young people that decide what direction the music will go, because they are the ones going to the club. 

As of now, the music is very fast paced. It’s full of energy and very Techno and Trance oriented. There will always be a counterculture and this goes in cycles. That is the beauty of Berlin. There is room for all of it.

Do you still go to clubs when you are not playing and where do you like to hang out in Berlin?

I still go, but perhaps a little less than when I moved to Berlin, but if I go out I go to Heideglühen or I’ll have the casual beer at Club Der Visionaere; it’s been my second home for many many years and still is. 

We sat down with Bigup DJs to talk about the next wave of Drum & Bass and Jungle and their individual origins in an extensive interview with the Jaeger residents.

At Øya 2024’s Klubben stage the rain might be coming down, but the outside dance floor is full of animated bodies. People are stomping in time to 160 beats per minute and more as Sherelle  plays an eclectic mix of Hardcore, Rave and Jungle. On occasion a hint of some familiar melody evokes a memory from another time, before it’s consumed by another pummeling break and a draconian kick. 

Behind the DJ, Nia Archives is bouncing in unison to the rhythm, much like she did at her own set earlier that day for the Hagen stage, where she infused elements of Jungle and Drum & Bass with saccharine melodies of her vocals. I see Trond aka Drunkfunk from Oslo’s Bigup crew in the distance and I’ll see him again later that night playing a packed Jaeger basement ahead of the Metalheadz showcase. It becomes evidently clear that Drum & Bass, Jungle and those harder UK sounds are enjoying a moment right now. 

It’s been on an upward trajectory for some years, but as DJs and artists like Sherelle and Nia Archives enjoy some much-deserved love from audiences the world over it appears this UK club phenomenon is reaching a height of popularity it hasn’t seen since it’s heyday, back in the early nineties when Metalheadz was in its infancy at London’s Blue Note club on Sundays. 

There have always been dedicated audiences and scenes, but it’s remained an underground pursuit for the last two decades and it’s only now with a younger audience that we see it rising into public consciousness and even flirting with the mainstream as new artists like Kenya Grace and Luude breached the charts and old heads like Chase and Status found new fame and audiences off the back of the newly heightened popularity . 

For every newcomer or resurgence however there have always been a steadfast few upholding the spirit and sound of Drum & Bass and Jungle and in Oslo some of those few are Bigup. Made up of Drunkfunk (Trond), Fjell (Niels), Tech (Svein) and Simon Peter, Bigup has become something of an institution when it comes to Drum & Bass and Jungle in the city. Alongside other crews like Skankin Oslo they’ve been sounding the clarion call for the genre consistently. 

Since 2021 Bigup has been a steady presence at Jaeger, with the crew playing at least one Wednesday a month. While they’ve called Jaeger home, they’ve also become the stalwarts of the genre, playing individually at other events or concepts, like their warm-up for Andy C at Rockefeller. That event saw 750 enthusiastic patrons fill the venue in what Trond described as “the first time that there had been a Drum & Bass event at Rockefeller for a long time.

Alongside events like Chase & Status at Vulkan, which they believe could have filled that venue twice, Bigup believes that Drum & Bass and Jungle is “coming back again to a time when it was fresh. It has reached remote locations like Trondheim with Tronderbass. It is currently flourishing  in Bergen, where Norwegian Drum & Bass legend Teebee is based. And it continues to only gather steam in Oslo with events like Mira Mark’s Ladies First; an all female lineup featuring everything from Drum & Bass to Garage.

In lieu of its current popularity there have always been people like Svein, Trond, Niels and more recently (well, 12 years going strong..) Simon, who have been the unwavering pillars of those genres and this community throughout it all. 

In what has been a long-overdue event, we finally sit down with Bigup to talk about their origins, the current state of Drum & Bass and how we all got here. 

Check out Bigup’s future dates here

Svein, as the most senior member, you probably have the first memories of Drum & Bass and Jungle making its way to Norway. Do you remember your first encounter with it?

Svein (Tech): I can ‘t exactly say. For me it started with the Rave / Hardcore scene, going over to Jungle and then Drum & Bass. 

So you were going to/ playing at those raves when they were happening?

S: Yes. I moved to Oslo in 1994 to get into the music scene and by ‘95 I was playing at these raves. 

Were you playing Jungle by that time?

S: Jungle and D&B

What were those raves like?

S: Mostly small parties, but we also had a few parties with lots of genres including Drum & Bass and Jungle. It was a small scene in the beginning

Trond (Drunkfunk): I remember seeing the posters and they had Ed Rush and Grooverider at Rockefeller back in ‘97. 

S: Yes, I was there, helping with promotion, and playing in the back room at Rockefeller.. 

Were there any clubs back then catering for Drum & Bass in Oslo.

Niels (Fjell): Wasn’t there Jazid? 

S: Yes, Jazid was the first proper club I played. 

What about Headon, because I know Tony Anthun (Future Prophecies) was a resident there at that time?

S: Yes, Headon was good, but not a lot of Drum & Bass there.

Simon, this was before your time.

Simon Peter: I was still in diapers! 

T: I went to Headon one time in 1999. I had come straight from Roskilde and I was very excited to tap into the city life before moving to Oslo, but I was under-age, and I politely left. 

They didn’t have to ask you to leave? Was that your entry to Drum & Bass, going to festivals like Roskilde?

T: My entry was going to Blå in the late nineties. I liked a lot of music, especially Jazz and fusion Jazz. Unlike Headon they would let in 18 year olds. The trick was to hang around the concert. I would see Future Prophecies, Teebee and the first time I saw Svein.

S: I did warm up for Future Prophecies after the Jazz concert there and I remember playing only jazzy Drum & Bass to adapt to the crowd.

T: I also ended up going to Jazid, that was my first real club experience. Before that, it would have been radio or Roskilde.

Was it Norwegian radio?

T: It was mostly P3 (Norwegian national radio channel). I have a fond memory of DJ Friendly playing Teebee’s track “Fingerprints” during prime time, saying that he was one of the top ten Drum & Bass producers in the scene. 

So there was a little scene at Jazid around this style of music. Were they mostly people coming from the Rave scene or was it becoming its own unique thing?

S: Jazid was an institution. There were a lot of people coming there anyway. It wasn’t always about what kind of music was being played, people just liked the club. I guess many people were introduced to Drum & Bass in that way. 

I’ve been reading the Dancing Viking book, but I haven’t gotten to any parts about Drum & Bass yet. It appears to have been more of a scenester place. 

S: Yes, but they also had the record shop and they sold a lot of Drum & Bass there. I was always there. 

Trond, by the time you get to Drum & Bass and Jungle there were already installed in the collective psyche as genres. Your experiences would’ve been very different. 

T: We were a very eclectic generation as well listening to a lot of different stuff. I definitely remember Teebee and Goldie playing at Betong (Chateau Neuf), which was a student party. There was a good spell in Oslo at that time. I always appreciated the Oslo clubbing scene for having smaller clubs. I would frequently go to Sikamikanico; there were Drum & Bass parties at John Dee; and of course Svein was part of the institution I looked up to, The Oxygen crew. They won the Natt&Dag award for best club night at some point.

As one of the eclectic generation, what was the spark to push you into the direction of Drum & Bass and Jungle as a DJ?

T: I tend to collect and I can’t collect it all, so sticking to one genre was a good idea. It was easier to mix together and I had to learn all those skills. 

Niels, you grew up in the Netherlands and Drum & Bass had a big presence there during its heyday. What was your introduction to the scene here in Oslo though?

N: I grew up in the Netherlands and came here in 2007. I remember Sikamikanico during the same period, Club Pi and some random places. 

You were already a fan of the genre then?

N: Yes, the first time I heard jungle was in ‘93. I had a classmate whose father always travelled to the west of the country (I am from the east – which was quite rural) and he would always bring us compilation CDs with stuff he thought we would like. Somehow he found a Jungle compilation CD. That was my introduction to Jungle and Hardcore House and the Gabber scene grew together in the Netherlands. Often there was a club with several floors where one would have Gabber and another would have a Jungle stage. That is when I first experienced the power of the music, because of the bass. You couldn’t get that through a set of cheap headphones. 

That’s the revelation, right; hearing Drum & Bass or any club music for that matter through a big soundsystem.

N: Even though I was only 12 when I first heard it, I knew older people from my neighbourhood that would listen to boom-bap mixtapes so I was exposed to that kind of deep and low bass sounds already, but the first time you hear Jungle you don’t understand how people can dance to it.

At one stage there was a big scene for Drum & Bass and Jungle in the Netherlands. Where was it focussed?

N: As a student, I lived in the Hague, and I went to Amsterdam but I mostly went to Rotterdam. You had the black-out nights in Utrecht and that’s probably still going as one of the oldest Drum & Bass club concepts. I do remember there was a big draw around 2006. It always comes in waves. 

S: That’s true for Oslo as well. 

Except in eastern Europe. I recall Teebee telling me he was playing for 20 000 people over there at a time when Drum & Bass wasn’t that popular elsewhere.

SP: They’ve always loved it, they like the energy.

Simon Peter, as the youngest person in the crew, your introduction would’ve been totally different. 

SP: I’m from the Internet generation so for me it was Youtube, iTunes and podcasts etc. I started listening to Drum & Bass in 2005 (I was 16). Unlike the other guys, I just got into the sound from the safety of my own home. Later somebody played Benga and Coki at a party at Hausmania and I was hooked on the early sounds of Dubstep as well as DnB. 

Then I found out that there were people playing Dubstep at Revolver, which really inspired me to start mixing myself. My brother (rest his soul) was into the whole Blitz scene, and also very eager to play DnB, so we started our own thing at Taxi Takeaway & Maksitaksi, playing Drum & Bass and Dubstep almost every weekend!

And when you say we…

SP: It was me, DJ Apecat, Thismeanswar, lug00ber and xeche.

T: …and I was a guest.

N: We all were guests there at some point. 

SP: At the time, we had every Friday and Saturday if we wanted to. It was a really hidden kind of place. I didn’t have the club revelation these guys had, we kind of made it ourselves.

Did you get people to come through every Friday and Saturday?

SP: It was the kind of place you would stumble into. Some nights you would have somebody reading poems and playing acoustic guitar, and then up next it’s Drum & Bass. It had a very good, yet unpredictable vibe. 

I’ve noticed in Norway that breakbeat is a very hard thing to sell to a dance floor, even at slower tempos. You end up losing half your dance floor, because they seem to be unable to recalibrate. 

SP: Exactly. Drum & Bass is more challenging, it requires all of your physical being.

N: Breakbeats, Drum & Bass and Dubstep is a very nerdy scene. Half the audience seems to be DJs or producers.  

T: All soundsystem culture is definitely about listening to the sound system, which is why it’s mostly an out and live experience. I remember the dubstep parties at revolver being very lively; a lot of students would go there. It was very big when Skrillex was doing Spektrum. 

SP: That was a very short moment in time, when it had its peak. 

T: The age limit at Spektrum was under 18, and maybe this has been one of the problems for Oslo in the club scene, the age limit. At least it used to be quite high, and I’ve always been a believer that past 23 you’re probably not going to recalibrate to a whole new tempo and style.

N: Those are the most formative years. At 18 you leave the House and by 23 most people are finished studying. 

T:  And I’m pretty sure that in eastern Europe you can be exposed to sound systems at a much younger age. 

Being that you’re from different generations and even countries, how did you all meet in the first place?

T: I met Svein in my formative years, when his hair was a small ponytail. I found the scene to be very open-minded and welcoming. I made my first Oslo friends through this scene. We all got together as Bigup after the closure of Maxi Taxi. Svein, Mira Mark and I were residents at the Villa at Room101 with DJ Subway, who ran that for 10 years. It was during a hiatus from that that we all got together, taking it back to scratch.

Was there a big audience for it when you were doing Room 101?

T: Absolutely. It sounded a lot different from what we play for the Jaeger crew today. It was heavier, because Drum & Bass was heavier and people reacted positively to that then. Right now it’s more Jungle, roller or liquid inspired. The setting was also different. DJ Subway was legendary for his heavy-metal inspirations.

When did you all start calling yourselves Bigup?

SP: I didn’t really know these guys, but I would see them play, hanging out in the back. It was Niels who invited me. 

N: I was playing in a band and the guitar player knew somebody working at Oslo Sports Bar. They were looking for people to play one night a month. It was actually Trond who came up with the name

T: Now it’s on the record!

N: We forgot to invite Svein the first two times, but he was there as a guest already.

S: I played as a guest two nights and then I was asked to join.

T: It was a nice warm-up slot, from 20:00 – 00:30. (Everybody laughs)

SP: It was shit. Some nights we would arrive and we couldn’t play because there was a football match on. 

N: Oslo Sports bar eventually went bankrupt…

SP: …Thanks to us…

N: And then we went to Naboens. Almost exactly when the pandemic started we were offered the backyard at Jaeger for Wednesdays, once a month. 

T: That was Wednesday, the day before everything shut down. It was a very bizarre feeling. 

What a great time to start a Drum & Bass night! Since then, or since after the pandemic, we’ve seen a trajectory in the interest in Drum & Bass and Bigup. Is that your experience too?

SP: One hundred percent. Not only here, but also playing at other venues or raves. I remember playing DnB at rave parties about 7-8 years ago, people sometimes gave us weird looks or stopped dancing. Now you can hear Techno, House, DnB and all different kinds of genres at the same gig. People are much more open to different experiences and styles. The scene is definitely changing. 

I guess people have all this music at their fingertips now. Like Trond mentioned earlier, you had to be selective with the stuff you bought back in the day, but now you can just stream or download it and it’s right there. 

T: It doesn’t take up a shelf either. 

N: With the production quality of tunes nowadays, it makes a big difference. If you played a fast and loud Drum & Bass tune, it sounded messy compared to today. Things breathe more now, even if it is a faster and louder tune. Also the sound systems are better than they were 15 years ago. People can enjoy it more instead of just waking into a room and getting blasted with sound. That was always a big threshold for people to get into Drum & Bass. 

SP: And of course, this venue (Jaeger) makes you select tracks that don’t punch you straight in the face. Maybe between 2-3AM the energy level is quite high, but we try to ease into the night. It’s usually very approachable; groovy tunes with samples that you might know from other  more popular/classic tracks. 

T: Because Drum & Bass is 30 years old, you have some great sounding older tracks that can be played again, but back in the early days it was always about playing the freshest track. I don’t think kids today have that same need from Drum & Bass.   

Can you still play those older tracks in the context of the modern sound system and alongside newer productions, especially Niels with what you were saying about the harshness of those older tracks?

N: Definitely. It was that period between 2000 and 2010 when things got harsher, but before that, and after that you can still play those tracks. 

SP: You can still find a slot for those older high energy tunes of course; maybe not 10 of them in a row. 

With what we saw at Øya this year with Nia Archives and Sherrelle, there certainly was a lot of energy there, and there seems to be a focus on this style of music again in the mainstream too. Svein as somebody that’s been there since the beginning, how do you compare this period we are in now to other times it was popular?

S: It’s hard to say, because yes there are ups and downs, but we have been going to London each year and seeing that it’s always still been very much alive over there. We just couldn’t get to function as well over here, because there are just not that many people in the scene. 

I’m maybe the guy playing the oldest tracks, because I´m still playing vinyl only, and there are just not that many many releases on vinyl anymore. I have to dig a little bit deeper in the collection. 

Are you still digging for older tracks and finding them?

S: Yeah, very much so.

Are  you finding new releases on vinyl still?

S: It’s getting harder, and more expensive. But I have to buy some new stuff as well. I’ll order it online, but I then have to  wait for the vinyl to arrive, which could take several weeks.

T: And by that time I’ve already rinsed the digital version. 

Techno has the 909 and acid a 303 and what a lot of modern producers are doing is either using those stock sounds. Is there anything in Drum & Bass  that is comparable? 

N: An 808 bass drum as the bottom end. 

T: The sound of the amiga made Drum n Bass and Jungle sound great. They always pushed the gear to the limit. 

SP: As for physical machines there were the Akai samplers. And of course tracker software running on amiga and other computers. In the later years DnB’s evolution has been much more software driven. 

It seems that it’s more technologically driven than even Techno. Because when something like the Massive software synth was released, I recall producers flocking to it in droves like it was the only thing they would use. 

SP: Massive was the goto software synth for many years. Now Serum is the industry standard.  

N: That’s also a wavetable synth, which is sample-based and that case full circle. Drum & Bass has always been about samples. A very good example is Circles by Adam F. That tune is almost only samples.  

SP: There are so many nerds producing DnB so it’s always cutting edge.

T: Recycling sound is definitely happening now. Old stuff coming out in a new suit. 

I have a theory that because Techno got so hard and fast it was edging into Drum & Bass tempos, the more explorative DJs would then get the opportunity to mix in Drum and Bass in a Techno set. It puts open-minded people from a whole other scene onto this music again.

SP: I agree. The shift isn’t so big, compared to going from 125 BPM to 172 BPM like you would  have to do in the past.

T: It’s the same thing that happened in the ‘90s

Do you feel there is something unique to what each one of you brings to the night, or will you often buy and play the same track?

T: I’m probably the least genre focussed. My DJ sets are always a little unpredictable. Sometimes I play music where I even surprise myself. Preparing for a set I’m looking for new music that I’m really feeling, I think Niels’ focus is more on finishing tracks before he DJs. 

N: Yes, because I produce myself. That’s one trap I fall into; I want to play my own tunes but I don’t produce a new track a month. I often fall back into the tunes I would like to promote, but it makes my sets sound a bit the same. 

SP: We definitely bring our own flavour. Everybody has their own style. 

So perhaps a better question would be; what is it about the genre that appeals to you all personally?

T: It shifts with the seasons. Everything from the carnival vibe to the harder darker side of it. 

SP: For me it’s the diversity. You have smooth and mellow tracks for just chilling, and on the other hand you’ve got full on rave music, all within the same genre. 

T: It’s always been a fusion genre. It managed to stay underground when it wasn’t popular and always manages to rejuvenate the audience.  

N: It’s always reinventing itself. 

Special edition of the cut featuring new, current and reissued releases from Olefonken and Snorri’s Snorkel’s records

Let’s go for a swim, in the crystalline waters of one of Oslo’s most distinctive imprints, Snorkel Records. The label run by Olefonken and Snorri has become a landmark in Oslo’s electronic music and DJ scene. It’s the home of Hubbabubbaklubb, Olefonken and a host of other artists as the city’s answer to the space-disco scene that came before it. 

Snorkel Records bubbled to the surface after the success of Hubbabubbaklubb’s Mopedbart when Hubbabubba member Olefonken together with Snorri established the label. Olefonken’s debut solo effort Quaaludes garnered its own crossover success at the time and set the tone for the label. 

Since then Snorkel has expanded into every realm possible, from beat-heavy boogie to downtempo psych-House; catching a glimmer of a balearic dusk that has never quite set in Oslo. Acts including dibidim and Raaja Bones have joined Hubbabubbklubb and Olefonken in extending the catalogue alongside frequent remixer contributors from Axel Boman and Øyvind Morken

Last year Snorkel tipped a toe into the world of reissues with Olav Brekke Mathisen and Sideshow Jøkke when they interned N.A.O.M.B as a future classic, 20 years on from its original release. 

A reserved, yet dedicated output from the label shows a level of sincerity there that goes beyond productive necessity and only focuses on enriching the catalogue of the label and the scene in Oslo. The perfectionism of Olefonken’s own productions and those of Hubbabubbaklubb transfers to the label, with quality over quantity informing the label’s considered output, with the artwork for each record playing a significant role to its appeal. There’s an attention to detail there from the artwork to the packaging that sets a Snorkel record apart at every level.

This week, as they add Sju’s Nye Sko to the catalogue we take a deep dive into Snorkel’s back catalogue with Filter Musikk.

Sju – Nye Sko

The latest release from the label from a newcomer to the label, Nye Sko steps up the label’s efforts for a new 12” series. London- based, Norwegian artist Sju joins the Snorkel crew with a  dreamy vocal track that whisks us off into exotic realms on the wave of a disco beat.

Olefonken and Øyvind Morken take on remix duties with two very different versions coming from the pair. Both eye an early evening dance floor, staying pretty close to the original tempo, while stripping it down to essentials and in Øyvind’s case adding some of that schizophrenic charm of his. 

While Øyvind drifts off into the uncanny valley, offering some dissonance and tension where there was none before, Olefonken stays pretty close to the original with his dub and sole service mixes, only emphasising the attraction of the original. 

Hubbabubbaklubb – Axelsuperklubb

Taken from Hubbabubbaklubb’s debut record, Dr​ø​mmen Dr​ø​mmerne Dr​ø​mmer, Et Annet Sted gets the remix treatment by another Scandinavian legend, Axel Boman. The ponderous original hastens some at the hand of the Studio Barnhus boss and Swedish DJ. 

Jangly electronic drums replace the original beat, intersecting the laissez faire atmospheres of the original as electronic basslines bounce through the workout. 

This particular edition of the release gets a bonus remix from another legend, Superpitcher. He takes Fjellet front the same LP to different heights, accentuating Morten Skjæveland’s vocal in a trippy re-arrangement of the original. 

Acts like Superpitcher and Axel Boman fortify Hubbabubbaklubb’s appeal outside Norway, and leaving much of the original tracks in place in these remixes, it suggests a kind of perfection in the originals that is hard to improve on. 

 

Olefonken – Ubuntu Tutu

Olefonken at his best! The producer and artist shares something of his DJ instincts in this release which has gone down as a modern day classic since its release. There’s something of the balearic in Sun City with its keys, bongos and stabs evoking the sounds of eighties House of the mediterranean. 

Ubuntu Tutu is a more laid back affair,  with its soft klangs and electric pianos. You’d be forgiven for thinking this could be a Hubbabubbklubb track, especially with the ghostly presence of Morten Skjæveland cooing in the background, but there’s a clear intention for the DJ there, and it’s made its way into a few significant DJ bags since. 

Hubbabubbaklubb – Eddie & Suzanna

A Hubbabubbaklubb original Eddie & Suzanna tap into that distinctive appeal of the band first heard on Mopedbart. The “koselig” Norwegian feeling that permeates through Hubbabubbklubb’s sound is reinforced with themes that touch on the collective consciousness of the region. 

Eddie & Suzanne named after a local cult film, was the second single from Dr​ø​mmen Dr​ø​mmerne Dr​ø​mmer and tugs on some shared nostalgia that even people born after that period (including Hubbabubbaklubb) could enjoy. 

That track is joined by Virklighet, the only B-side that clearly was destined for the LP, but cut out at the last minute. Shimmering guitars, elastic basslines and glimmering synths are redolent of the 1980’s palette in which the band thrives. 

Putting this out on a 7 inch with the extra track, shows something of the Snorkel philosophy in giving something a little special and extra to the fans and collectors of this music. 

Raaja Bones – Boardwalks

The obscure figure, Raaja Bones has contributed more to the Snorkel catalogue, than even Olefonken with an LP, an EP and a tape featured on the label. Boardwalks is the middle child and between the experimental outlier that is Sleepwalks and the soul-searching ambience of Black Dreams, Boardwalks is the artist’s most lively and engaging release. 

It probably has the most in common with the Snorkel’s sound if there was a sound that could be attached to the label. Vintage synthesisers and drum machines come together in snappy electro-funk arrangements that would have Bootsy Collins tapping his feet. 

After a triptych of records for the label, Raaja Bones has disappeared into the ether, but here in Boardwalks he leaves us wanting more.  

Normann & Ole HK put together a mix of “sexy, groovy and sophisticated club music” for the latest edition of the Jaeger Mix

After two years of Helt Texas, we finally get the opportunity to talk to the two DJs behind the Thursday concept. As the latest edition to the Jaeger Mix series, the DJ duo delivered a mix that they consider ” a good representation of what we do at Helt Texas.” 

They talk about their origins, other projects in the music. world and what it takes to establish a successful night like Helt Texas in what was one of the most in-depth interviews for the Jaeger Mix series, while we listen back to it all.

You can hear the mix and read the interview here  or just play the mix below. Find out more about Helt Texas here.

The cut returns to the blog with selection of new- and re-issued records illustrating vinyl’s timeless quality

AI producers; the ceo of Spotify saying there the artist time is worth nothing; and the general devaluation of the recorded music has had the music industry in a tailspin of late. Is there any point in a record on a platform saturated by the greased palms of well-heeled capitalists? 

I believe there is. Even if an artist is putting it out for the sake of pure personal enjoyment, it will always be there. Who needs an audience. And if you want to get very purposeful with it, there is always the vinyl format. 

Yes, it endures, and even though we’ve not been as active in singing its praises of late, it remains. In an age where the 2 min song is a trend, informed by social media and you never quite know the extent of human involvement in the artistic endeavour, one thing is for sure; those issues are moot in the context of vinyl. 

Nobody is going to invest in anything less than their artist integrity in the format and releasing something on vinyl is an honour that something like the logic of AI will never understand. 

So here we are again, back to the format that started it all, this thing called club culture and the place that continues to take pride of place in that culture in Oslo, Filter Musikk. Roland Lifjell and Sverre Brand at Filter Musikk have had their own evolution too, with a new sleek looking website and tons of interesting new and re-issued records coming through the doors.  This is the Cut with Filter Musikk. 

Larry Heard – 25 Years from Alpha (12″)

Old heads do prevail and it takes an old head to get us back to what we’ve lost sight of along the way. 15 years on from when it was first released Larry Heard injects some Hi-Tech-Soul back into Techno with 25 years from Alpha. The electronic music legend’s record prevails with a sensual touch where elegant melodies float over rocky Electro- and House drum programming. 

It’s timeless in the sense that it maintains that Larry Heard appeal that has been there since the 1980’s and has wavered little. As with everything he touches there’s an immersive quality to his soundscapes and driving development where keys seek out new melodies continuously. 

Released during a time when we were all rolling in the deep-ness of House, this record would have certainly found an audience on the dance floor back then, but in the context of today it’s very much outlasted its zeitgeist and its timeless quality is only strengthened. It doesn’t matter what era of Larry Heard you land in, the artist’s music is prevalent. 

Casco – Cybernetic Love (12″)

Are you ready for Cybernetic Love? In today’s context, probably not. Casco takes us back to the1980’s where cybernetic love seemed so innocent in the context of an Atari or calculator on your wrist watch. What seems insidious and creepy today, feels charming in the Italo disco producer’s hands back in 1983.

Robotic voices sing sweetly, cutting through the undulating din of chirping synthesisers. In the instrumental version there’s a kind of chip-tune quality to the accompaniment, lending to an otherworldly nature throughout the track. The label, House of Music makes this music attainable again in the vinyl format where classic Italo-Disco records like this one have reached astronomical prices. 

Bufo Bufo – Beelzebufo (12″)

Hard-hitting electro galvanising the modern dance floor for the great rewind. Sometimes sounding like it came straight out of the 1980’s when electro was still emerging as its own genre out of a tangent of Hip Hop Bufo Bufo’s Beelzebufo foregoes subtlety for jacking kicks and scratchy samples. 

A lot has happened since the birth of electro and Bufo Bufo seems to want to fold in the shared human experience of dance music into the space of this record. Rave, acid and even Jungle sit side by side and every now and then there’s a tinge of balearic sequences rippling through the formidable drum programming. 

Klasse Wrecks as a label continues to find these unique characters in the dance music realm with Luca Lozano and Mr. Ho establishing an entire sound for their vision of the dance floor. Bufo Bufo doesn’t break rank for the label’s 49th record and even falls in step with the labels more jagged approach to production. The sleekness we found on the artist’s last two records is hewn on to a rough edge where the beats and samples jut out in jagged 

Fmvee – who do u love? (12″)

“Lived experiences are transmuted into an amorphous bricolage of pummeled (sic) kicks, synthetic textures, and diaristic details, what they describe as an act of ‘remembrance,’” according to the press-release for this one. That is some “lived experience” Fmvee went through begging the question, are they ok…

“Who do you love” has its serene moments however, a sonic parting of the sea, where the dissonance and glitches are swaddled in a soft blanket of pads and detuning plucks. Rhythmical patterns seem to slip through the artist’s grasp as they dissipate into nonsensical raps, while the melodies just hang onto a thread, before they come apart. An oscillator unravelling into a scribbling sound of uncomfortable incoherence. 

Even when Fmvee tries to get it together for “sobbing” at the end of the record, the soulful vocal track is undermined by eerie electronics that pick at the listener’s most inner insecurities and turmoil. 

It’s not easy listening, but there is some kind of comfort here in that you won’t feel alone in your despair. Fmvee is clearly going through some shit here on this record and if they can make it through, so can you. 

Skudge / 543FF – LRC003 (12″)

Opening track “departure” is nothing but misleading in name, because this is Skudge doing what it does at its best. The Swedish Techno outfit takes a rare sojourn to  Lazy Reflex Complex where they join label head 543ff on a 12” split. When the rest of the world is going harder and faster, Skudge and 543ff  keep the record grounded in what would be defined in the trad-Techno realm. 

It’s odd calling this style of Techno traditional in any sense, since there is nothing conventional underpinning anything here. Musical theory is reduced to notes that fall between the cracks and rhythms swirl in hypnotic repetition, that rejects the notion of anything like a beginning or end. In 543ff “zoning” it’s hard to find any exit, as you’re being sucked through a whirlpool created by a drum machine, suppressed by an oppressive atmosphere.

After three releases, it’s Lazy Reflex Complex won’t be lured over to anything constituting a trend and with artists like Echelon and now Skudge making an impression on the very young label, it seems they are intent on hitting the reset button on Techno to a point where it was last respectable. 

Tickets and lineup announced for ØyaNatt 2024 featuring Grooverider & Dillinja (30 years of Metalheadz), Ben UFO, Yu Su, Wallace, Perel  and much more.

Øya festivalen’s official afterparty is a go and like every year Jaeger opens two floors to some of the world’s finest DJs for 4 nights in August. Every year things like budget and common sense go out of the window and we escort some of the scene’s leading DJs through Jaeger’s doors.  This year we celebrate 30 years of Goldie’s Metalheadz label with Drum & Bass icons Grooverider and Dillinja, hosted by Oslo’s own DnB and Jungle tastemakers Bigup on the opening night of the festival.

Ben UFO, Yu Su, Wallace and Perel follow the rest fo the week with Helt Texas, Schmooze & Brus, Frædag and Sunkissed rolling out the red carpet for your guests with their respective residents filling out every floor. Dubwoofa, Hubbabubbaklubb,  g-HA & Olanskii, Drunkfunk, Fjell, Tech, Simon Peter), DJ Stuk, Salamanca, Max Lok, Ole HK, Normann and MC Kaman & Kash round out the busy schedule.

From a hill in Tøyen to the beating heart of the city, Øya’s nocturnal activities resume at Jaeger yet again in 2024. As the immense din moves in from Oslo’s east end our Funktion One systems burr in anticipation, harmonising with the frequencies transported across ancient ley lines since 1999. Jaeger hosts two floors yet again with a visit from Drum n Bass legends Metalheadz, Ben UFO, Yu Su, Wallace and Perel as Bigup, Frædag  and Sunkissed host the weeklong official afters at Øya festival 2024. 

07.08 – Wednesday 
30 years of Metalheadz x Bigup:
Grooverider (UK)
Dillinja (UK)
Dubwoofa 
Drunkfunk + Fjell + Tech + Simon Peter

08.08 – Thursday
Helt Texas x Schmooze & Brus:
Ben UFO (UK)
Normann & Ole HK
DJ Stuk + Salamanca + Max Lok 

09.08 – Friday
Hubbas Klubb x Frædag:
Yu Su (CN)
Wallace (UK)
Hubbabubbaklubb DJs
g-HA & Olanskii

10.08 – Saturday
Nightflight x Sunkissed: 
Perel (DE)
g-HA & Olanskii + Vinny Villbass + Ronny Rabalder + Daniel Vaz + Asbjørn E + A:G 
MC Kaman & Kash 

We spoke to Shakèd about his upcoming release for Det Gode Selskab as they prepare for their Yoyaku boat and harbour party followed by the official after party at Moving Heads on Sunday.

Shakèd is the latest addition to Det Gode Selskab’s roster, sliding into the record label’s lineup like he was always meant to be there. His debut for the label, Space Invaders thrives in the minimal landscape with elements of Techno and House converging over starved rhythms where there is as much emphasis on the space between the beats as on them.

The Dutch artist is one of the very few non-Norwegians to make it onto the label, sharing many of the sonic traits that has established Det Gode Selskab as one of the leading lights in Norway’s club land.    

Space Invaders marks the latest release from the collective-turned-label, re-establishing that prowess for the minimal groove that they have shown now over various VAs and a handful of EPs from the core group of DJs and artists established around the label. 

Shakèd taps effortlessly into these minimal ideologies, as the title track swerves into familiar territory with a piercing kick drum and twittering circuit boards. Elsewhere robotic vocals and gleaming stabs bring the futuristic theme to life. The EP moves from one glissando bass line to another, distilling the sound of the record down to a silky shimmer that hovers over infectious grooves. 

Shakèd’s experience shines through with a production touch that keeps everything tight and effervescent. With over 10 years working in the electronic music realm his sound is well established. He’s also a busy figure in Amsterdam’s nightlife, and spends his time between various aspects of the music industry there, including doing bookings for Yellow House. Recently he’s been signed to the interwave agency, finding a home with a big pedigree and a roster including familiar names like Magda, Satoshi Tomiie, Cabanne, Maher Daniel, O.BEE & Tomas… and much more. 

While he might be new to Det Gode Selskab, he’s no debutant, and it shines through on this latest record. After the official release party at Jaeger a few months ago, Shakèd is back with the Det Gode Selskab this weekend for their Yoyaku boat and harbour party and with the official afters at Jaeger for Hetty and J.André’s Moving heads, we caught up with Shakèd to find out more. 

You’ve been working on music for over ten years?

It’s been over twenty years already. I started playing drums when I was 11 and I’m 35 years old now. I started electronic music when I was 15. 

It doesn’t surprise me that you tell me you’re a drummer, because there is something about drummers that just have a natural knack for electronic music. It’s that focus on rhythms.

That’s it. It’s very groove and rhythm-based. You only need three pitches and to play with a rhythm and then it starts to work. 

As a drummer, were you playing in bands? 

Yes, I used to play in punk bands. 

What brought you over to electronic music?

I was staying over at a friend’s place and woke up to some strange sounds. It was my mate making beats on fruity loops, and I was, “wow, what the fuck is this, I need to get involved.” Immediately after that, I sold my drum set and bought a laptop and never looked back. Instead of only playing one instrument, which I always thought was kind of boring, now I can play every instrument.  

Was there a big learning curve?

So big! It was before Youtube. Even though I’m a nineties kid and I was raised with electronic music like Moby, Faithless, Gorillaz and a lot of Trance, I had zero sense for structure. It took me forever, if I’m being honest. It took me at least 8 years to figure out that I have to put a clap on every second kick. 

I’ve spoken to drummer-cum-producers in the past and they often tell me that they’ll incorporate some kind of live drumming in their tracks. Are you in that school of thought?

I never really got that far in drumming. I always found learning notes and learning sheet music very boring. I never took the next step. When I discovered computer music, I started all over and I could just turn knobs and be absolutely mesmerised by it. I didn’t have any clue what I was doing, but I had fun doing it. I would only play live and I would bring my laptop everywhere, plug into an aux cable and tweak filter knobs. Only fifteen years later I started to get somewhere. 

You mentioned Trance, which is obviously big in the Netherlands, but were you ever a part of a bigger scene and were you going to any clubs?

I was lucky enough to grow up in a very cultural city called Amersfoort. I had friends who had older brothers that would go to House parties. At some point I won a bet with a friend and got his spare ticket to I Love Techno, in 2005. There I heard Alex Under play a live set and that was such an eye opening moment. From that moment, I didn’t rest until I knew how to do that, and I’m still at it now. 

Although you were only tweaking filter knobs in the beginning, today you clearly have a sound as a producer. At what point do you start developing that sound?

My sound is the result of 20 years of electronic music experience, walking around the dance floor and in the scene. This is my take on electronic music. It was influenced by my early days with Faithless and Moby as well as going to that Techno phase in the beginning for me, and then going through hardcore and Trance, and at some point it became minimal and Tech-House. I prefer to call my style Tech-House, because that’s what it is, somewhere between Tech and House.  About 7 years ago I got in touch with minimal and the Romanian style, that’s also when my sound became more mature. At the same time it has been influenced by the Dutch school.

Do you feel that when you started making your style of music, that it was a natural evolution or did you have to work at it to get it to that point?

About ten years ago I was scouted by a big agency called David Lewis and they were really big into Tech House and the commercial side of things. It was really then that I noticed that music was so low and unintelligent. It really bothered me. I felt uncomfortable with the quality of music that was presented to people in the commercial segment of the scene. It was around that time that I discovered VBX and Slapfunk and that really pushed me to set the bar for myself. I really invested in taking it to the next level and making really intelligent meaningful music. Slapfunk and VBX are the promoters that showed me the pinnacle of this kind of music.

In your music today there is an accent on the atmosphere and a sound design element. Did you change the way you produced music in the shadow of that experience?

When I first came to the realisation that I wanted to make more intelligent, meaningful music, I first spent a lot of time on trial and error in trying to find my sound and trying to compare my sound to others. That meant that I was putting too much pressure on myself to the point that I was not actually making music anymore, but just being more generic about it. I think it is very important for me that my music is mine and there are no rules around it. 

That’s also why I never wanted to do music school, because I really prefer if it’s my own language. I decided to make whatever the fuck is in my body. I don’t try to think or compare it, I just do what’s there. My approach is that I work at it till it’s finished and then upload it to soundcloud. I believe that beauty is in the eye of the beholder. I just make it as best as I can. 

Was that process behind space invaders, did you have those tracks up on Soundcloud before Det Gode Selskab nabbed them?

Yes, I usually upload the first version of it and that’s what I send to the label. Space Invaders followed that process. 

Did you know of Det Gode Selskab before you sent it to them? 

I initially knew them as a fanboy and then a mutual friend of ours Sascha from keepitgoing, he introduced us to each other. Then I invited them to play in Amsterdam for Yellow House, the place that I book for. 

It’s not just the Space Invaders EP, but also another one coming on their VA series, Jack‘s Favourites.  

Like I said I’m a super fan, and I think we really appreciate each other’s creative output for some reason. It just really clicks that way. 

Tell me a little about Yellow House. It seems like you work in many different areas of music, not just an artist. 

I also work as a nightlife- and social cultural entrepreneur, to facilitate new talent and keep the landscape fertile for the next generation.

I find that Amsterdam has always had this nurturing awareness of nightlife and is constantly trying to facilitate club culture, even through public funding. Is that still the case?

That is still the case, but it’s not going by itself. You always need people. I felt  the call to step up in that way. It goes in phases, and we have a good thing going on now. I strongly believe for the health of our future, we have to keep working together.

What is the main musical outlet in Amsterdam at the moment when it comes to clubbing?

Luckily there’s a lot of people active in the nightlife and there is a healthy mix of different genres. There’s a big Techno community; a big Trance community; and some underground things, but the status quo is still very House orientated. The sort of underground that I love is getting smaller and more niche. It’s had a good run, and it’s good if every couple of years new things come to the horizon as well. At this moment the Dutch scene is reinventing itself towards a new status quo. 

But niche is good, because if things get too popular, they tend to get watered down too.

For sure. It’s different because the budget changes. When there’s fewer people showing up, we have to re-invent the parameters for it to work.

What will you be packing in terms of records these days and the upcoming set in Oslo?

I think my sound has changed a lot over the last two years. It has been very minimal and lately I’ve been inspired by the underground where people want a bit more energy, a bit more party and a bit more action, especially after covid. I also feel that, and the urge to bring more energy to my productions and sets. It’s getting back to what I used to do, I used to play a lot of anthems and high energy stuff. When I got into minimal, there were a lot of rules, and now there’s a lot more possible in the underground. All of a sudden I feel a lot more free and confident. 

We speak to Børre about his newly established Kora label; his history with music; and erring on the experimental edge of electronic music ahead of his appearance for Flux

Electronic music has always been about pushing boundaries and conventions. Why try to replicate the sound of a guitar when you can conjure sounds from space? Why placate primitive impulses when you can create rhythms and textures beyond the scope of rational thought and human instincts? It’s been electronic music’s eternal pursuit to give us sounds and structures that have never been heard before and advance our approach to making music. 

In recent years this approach has been stifled by the perfunctory demands of the dance floor in electronic music’s favoured habitat, the club. As it’s risen in popularity, dogmatic tendencies have led down a rabbit hole of standardised forms and practises to a point where even in the age of AI, electronic music has but one design; that of replicating existing, often traditional forms of established genres. 

Exploration is left to the margins, while established forms of Techno and House dominate a scene, but for every mainstream institution there will always be an underground counterpart pushing at the boundaries of known conventions. While any undercurrent trend has been all but decimated by Techno’s popularity in recent years, there are still people toiling at the fringes and one such person and label is from right here Oslo. 

Børre is an artist working within the wider electronic music scene in Oslo and alongside collectives like Flux and Ute, he’s established his own sound within this musical sphere and it’s not necessarily Techno or Trance. His Label Kora released its first VA in April this year with a truly international cast of artists contributing tracks that go from irreverent ambient creations to gnarling bass exhortations.

Alongside familiar names, Børre contributes to the sprawling sound of Kora where the label and the artist are free to explore new boundaries on personal whims. Two records in already and the label has hit an impressive stride right away, with Asmus Odsat on the first EP a month after the VA. With more to follow soon and a visit from Børre to Jaeger’s basement, we caught up with the artist and fledgeling label boss to find more. 

At about the same time I sat down to type this, you’ve just released the next EP from Kora. Why did you turn to that artist to inaugurate the label’s first release outside of the VA?

I have actually known of Asmus for a couple years. Not on a personal level, but through playing some of his tracks. He has this quirky, weird and playful approach to electronic music that also works really well in a club setting. So I reached out to Asmus to ask if he wanted to be part of the VA, he sent me a bunch of tracks and it went from there. We picked one track for the VA, and then we started to curate an EP. The EP in itself differs a lot from the VA.  I would consider it to be more of a “summery” EP. Even a bit cheesy at times, but in a clever way. I really like that about it

That VA you mentioned is a sprawling collection of tracks that dive deep into experimental waters. It defies categorisation for the most so even when things are ambient or Techno, it avoids the homogenous trends of those genres. What is at the heart of the sound or ideology of the label for you? 

My ideology for the label is very simple: To release the music that I love and feels like it deserves to be shared with the world, not depending on genre or function at all. And of course that might sound a bit obvious, but that is what I want to do, and why I started the label. My goal is for Kora to become a platform where I could just as well release an experimental jazz album as I could release a techno 12”. Even though it of course naturally revolves around electronic music, as that’s where I come from and where I spend the most time. 

You’ve come out strong with two releases in a short space of time. What were the circumstances around the creation of the label?

I have thought of starting a label for years. It has been something I wanted to do for a long time. Now the time feels right, I like where I am in the musical universe right now, I feel like I have landed a bit, and I’m where I want to be in terms of creating and managing a label. 

There was a heightened interest for this kind of music with labels like Raster Noton, PAN and to some extent leading the charge ten years ago, but then it got kind of swallowed up by Techno’s dominance. Why did you feel the time was right to establish Kora now?

I don’t necessarily feel that the time is more or less right now. The time will probably never be right for this kind of music. The majority of people will never be attracted to this music in the same way as I am. For me it’s as easy as this is the music I love, and therefore feel like I want to share it, shape it, and help bring it to more people. I feel like electronic music is kind of in a shapeshift now, especially when It comes to the club aspect of it. The last years (especially in Scandinavia) it has been dominated by trance and faster & harder techno. I feel like it’s starting to move into a more openness towards music that is more abstract and not always 4×4, also in a club setting. At least to some degree. 

On the VA, you too provide a more percussive beat-driven contribution. There’s obviously some connection to the dance floor. What is the label’s relationship to the club? 

I don’t want Kora to become a label that is purely music for the clubs, but the relationship with the club will always be there and will probably always be very obvious in some way. Personally I find club music to be an incredibly exciting form of music. Club music in general has a main purpose, and that is of course to get people to move, dance and sound good on a big rig. Around that you can pretty much do whatever you want. I really like that whole approach to music.  

Peder Mannerfelt is the other artist on there providing more of a dance-floor focussed track. As one of the more established artists on the roster, what does he represent for Kora and how did he arrive at the label?

Peder Mannerfelt is an artist I have been an admirer of since I first got into electronic music. The way he approaches club music represents why I find club music so exciting. He has these amazingly weird and left field tracks, that at the same time works so well on a dancefloor. And he never stops exploring new sounds. How he ended up on the first Kora release is a rather boring story though. I sent him a DM on Instagram, sent him some music and it went from there. 

Between Sweden, Copenhagen, France and Norway your collection of artists on Kora stretches across a large region. How do you find artists for the label?

In some way or another I stumbled across their music – mostly online. 

What’s your personal history with electronic music and how did evolve into DJing and production form your first experiences with the artform? 

When I was about 14 I got really really into hip hop. I bought some equipment and pirated a copy of Ableton, and started making beats. That kind of evolved into exploring more left field hip hop and beat music. I got really into Flying Lotus and that whole LA Brainfeeder kind of thing. That opened up the door to explore a wide variety of electronic music. I got into more IDM stuff like Boards of Canada, Aphex Twin, Autechre; the obvious ones. The obsession with electronic music kind of developed from there. Then I started going to clubs in Oslo, and of course that got me into more club-oriented music and eventually I started DJing and hosting some parties. 

In keeping with what I’ve heard from the rest of Kora, your own music likes to skirt the margins of experimental electronic music. What are your instincts when it comes to making music and what laid the foundation for those explorative tendencies in your music?

It’s just my musical preference. When I make music I more often than not have no clear plan of what I’m going to make beforehand. I pretty much always just go with the flow. I think the  eagerness to explore sounds has been something that has been with me since I started making music, and also something that is totally necessary for me to keep enjoying making and playing music. The most exciting part of music for me is to find something new, something you feel is untouched and unexplored. Even though that’s not something I have in mind when making music, I think that it’s something I am unconsciously striving for in a way.

Some of the DJ mixes I’ve heard perpetuate that kind of attitude in terms of the music you select, but at some point especially in the club context you have to draw a line when it comes to playing that kind of thing. Where does that line exist for you?

It can be tricky sometimes. I think for me, I just play what I feel makes sense in that specific moment and not try to overcomplicate it. Djing has, in some sense, become more of like a concert sometimes, which gives more freedom to do what you want. But most often I am playing a venue where 99% of the people are there just to party and dance, not because of you as an artist.

Of course I always try to in some extent play in my own sound, and to challenge the crowd, but I am also there to make people dance, so I can’t always drop a 10 minute weird beat-less track just because that’s what I would like to hear at that moment. In the end I think it’s about finding that spot between not being afraid to try what you want to do, but also respecting that most of the time it’s not about you, but about the party. And as I said It totally depends on the setting you are playing in.

Which came first for you, DJing or making music and do you feel there should be a sonic connection between the two?

Producing definitely came first for me. I started making music when I was about 14, and did not start to DJ until I was about 20. I feel like there always will be a sonic connection between the two. I have my way of thinking about music, and in the end I like what I like, so there will always be a sonic resemblance to some degree. I always admire DJ’s that can do it all though. I feel like a truly good DJ can play a calmer daytime party at 120 bpm, and then go play at 160 bpm in a dark basement, and one should still be able to somewhat hear that it’s the same DJ playing. 

What about the label, do you feel it should represent what you do as an artist or DJ, and conversely do you try to communicate that again through our own music and DJ sets?

I think to some extent the label will be a representation of me as a DJ, yes. Not in the way that I will play all the music I release, or even all the types of music I release. It will probably resemble my DJ sets in the way that I am a bit all over the place when it comes to DJing; As I am when it comes to music in general. 

I’m into so many types of music, and also DJ a lot of different types of music, and even though it will be somewhat aesthetically similar it will also differ vastly in style and purpose. That is definitely gonna be the case with Kora as well.

The label is only a couple of months old so I’m getting ahead of myself a bit. Has the first few releases lived up to expectations? 

Yes! The first release has been very well received.

Has it perhaps influenced the way in which you will approach the rest of the releases and the future of the label?

 Not really. For now I will continue to just go with the flow and do what feels right to me.  

What else is the foreseeable for Kora and yourself that you’re eager to share?

There’s a lot of exciting things coming up. For Kora there´s first and foremost Asmus Odsat’s full 12” that will release sometime late July/early August along with a remix by Sputnik One. I was in the studio just last week finishing up the mixing of a project that we are releasing this fall. Also have planned two other very exciting projects that will arrive late 24 and early 25. I am also gonna release my own EP somewhere in there. That will also be on Kora. 

Lastly, can you play us out with a song?

Dmitry Krylov – Age Of Aquarius Ft. Kostya Molokanov.  

One of the less clubby tracks on the first Kora VA, but also one of the most exciting for me. Dmitry will have a full project out on Kora this fall. He is really one to look out for. 

Flux are back at Jaeger taking over the basement for all of July with some special guests and residents.

Shaking the foundations of the basement, the Flux collective brings their concept to Jaeger throughout July. g-HA & Olanskii give the Oslo collective the keys to the basement for every Frædag in July and between residents, local- and international guests Flux bring their distinctive take on Techno to Jaeger. Anemi, Bjerregaard, Naboklage and Skodde represent the flux collective with appearances from Børre, Igubu, Komet99, Maara, Axel FU, Mørkøe, Sabel and LDS. 

Here’s the full programme:  

05.07 
Sauna: g-HA & Olanskii + Øyvind Morken
Basement: Børre + Igubu + Naboklage

12.07
Sauna: g-HA & Olanskii + Pete Herbert + Olefonken
Basement: Maara + Komet99 b2b Naboklage 

19.07 
Sauna: g-HA & Olanskii + Øyvind Morken
Basement: Axel FU  + Bjerregaard + Mørkøye

26.07 
Sauna: g-HA & Olanskii + Prins Thomas (3 hour set)
Basement: LDS (live) + Sabel + Skodde (Live)

You can find more information here and tickets here. 
Read an interview with Flux here and here.

Mysticisms label runner, DJ, writer and artist Piers Harrison answers some questions via email 

Piers Harrison is a music enthusiast of the most intense kind. Everything he does between DJing, running a label, making music, reviewing records or even writing liner notes in other peoples albums, stems from an almost obsessive dedication to the music. 

It’s a very special dedication that goes to the deeper ends of our collective music culture. Since his earliest expressions in music, he’s been devoted to the margins of popular music culture, where obscure dub cuts and chugging disco edits lived side by side in a colourful sonic melange of sounds. 

He’s earned a reputation for his digging habits amongst his peers and when it on occasion manifests into its own artistic creations it folds in the same eclectic approach. He started making music as part of the Disco-infused group Soft Rocks and from there he’s made notable contributions both as an artist and remixer while Djing all over the world. 

Today he runs label Mysticisms alongside Stuart “Chuggy” Heath his devotion to the music has never waned. Mysticisms has been at the forefront of that UK digger scene where it has provided a steady stream of future discogs “wanted” releases. From icons like Scientist, to headlining artists like Tornado Wallace and on to our very own Øyvind Morken, Mysticisms releases have garnered a lot of attention amongst record collectors and DJs alike for its broad yet concise approach. 

Behind every occultish record sleeve from the label lies a cult-like musical phenomenon whether it be an original track or a re-issue. It’s as much an expression of the versatile and truly eclectic people behind the label, as it is for the artists featured on the label and recently its subsidiary dubplates has expanded on that vision with, as the title suggests, a reggae/dub informed sound. 

Between running the label and the myriad of other things Piers does behind the scenes, he is first and foremost a purveyor of sounds and a DJ, where he brings his idiosyncratic tastes to various dance floors around the world. 

He comes to Jaeger this Friday, playing alongside mysticisms affiliate Øyvind Morken, so we caught up with him in London over email to find out more. 

Hey Piers. Thank you for taking the time to talk to us. Let’s talk about London. Where are you going out and /or playing at the moment and what do you find your audiences are particularly reacting positively too?

I’m quite an old man now, so maybe not the best barometer of London clubland. I hope there are kids out there smashing it up to some wild sounds and having the time of their lives. I sometimes come across free parties out where I walk my dog. It’s lovely to see that the joys of repetitive beats and various refreshments have not lost their allure for the youth of today despite constant news pieces suggesting otherwise.

I really enjoy the Giant Steps Sunday dances. They’re a wholesome and life-affirming way to close out the weekend. It’s a nice social thing, with an appreciative, knowledgeable crowd and great music on an excellent sound system. Ron Trent, a month or so back, was a total masterclass. I was there from the first tune to the last.

Brilliant Corners is probably the place I play the most. I recently did a late session there with Brian not Brian; that was an absolute hoot. It seemed well received, too, so I think we’ll be back for another one at some point. I loved playing in the studio at Little Portland Street, a semi-private spot with London’s most bananas sound system. It’s a complete DJ’s dream: everything sounds so lovely, super intimate, flexible hours, the biz.

After dubstep (and to a lesser extent Post-dubstep) the attention in terms of club music moved to Berlin, and then Brexit happened. How has that all affected the scene there, specifically for more obscure artists and DJs?

I think London is like New York, y’know. Reports of its death will always be exaggerated. Yes, the city is horribly expensive; I’m sure running parties is a nightmare, but it will always attract people who want to make something happen.

I have nothing good to say about Brexit whatsoever. The least of it is that it’s made touring more expensive and complicated for artists lower down the food chain.

What’s at the core of what you like whether it be Djing, making music or simply listening to something at home?

Tough one. I guess my tastes lie at the intersection of house, reggae and balearic stuff. I like some humour and lightness of touch in music. I’m not into super austere stuff; I love vocals and don’t shy away from things that might be a little quirky. Records with a lot of personality. Hence, the name of my little edit label.

What led you down the path of Djing and making music initially and what was always at the heart of your musical explorations during the early stages of your career?

I first started trying to make mix tapes at the age of 12 or so. I was equally obsessed and frustrated with figuring out how and why songs would fit together in sequence. That’s not changed at all. I’m pretty basic, really. I have no desire to make albums, soundtrack films or play live. I want to find and present interesting music to the best of my abilities.

Your first musical outlet was the group, Soft Rocks if I’m not mistaken. It seemed to emerge from an era when older elements like disco and synth-wave converged with modern club music genres. How did you arrive at that intersection of music?

Yeah, we were in the second wave of nu-disco. We all hated that term at the time and saw ourselves as anything but. In retrospect, a lot of brilliant and creative music emerged from that period. And a lot of utter dross, too. I started learning about a wider world of music then – afro, rock stuff, post-punk, just leftfield dance music. It’s still a massive part of who I am musically and what I do.

I owe a debt to Chris Pure Pleasure, my friend, a partner in Soft Rooks, and record dealer, from whom I gained a great deal of musical knowledge. Then again, I paid a decent chunk of his mortgage for a couple of years, so I guess we’re about even.

Calling you a vinyl enthusiast would be something of an understatement. What continues to draw you to the format between DJing, your own music and Mysticisms?

Well, there’s been a bit of change there. I previously only used vinyl, mostly just because I was really comfortable with it. I’ve been at this for a while; for the longest time, this was the only option. It wasn’t a choice; it was just what you did.

I am now at least 75 percent digital. I lean heavily on my own edits and play loads done by friends (shout to Jonny Rock for coming through with heavy artillery!). I enjoy finding music on Bandcamp, too.

I still constantly buy records but only take them to places where I know they will sound okay or where there is no other option. Brilliant Corners is vinyl only, for example. I’m bringing a bag to Jaeger as I’ve heard nothing but good things about the system and setup there!

What are the challenges in finding and presenting music in that format today?

The obvious one is the expense. Records are a serious financial outlay, and I’m endlessly thankful to the people who buy what we put out when other cheaper formats are so readily available. Logistically, it’s a nightmare, too, with pressing plant delays and so forth. Still, I can’t say I’d released something properly without it existing in a physical format.

Mysticisms is such a concise and very unique expression, and even though the music is always different, there’s something at the nucleus of it that ties it all together. What is at that nucleus for you?

I have always wanted Mysticisms to be a house label like On-U Sound was a reggae label. It loosely adheres to the conventions of the genre, but there’s a huge amount of freedom within those limitations. It just has to make sense to Chuggy and me. A relatively knockabout filter disco record can sit next to something super deep, like the Scuba record. It works in our minds. I can only hope it does the same for others.

From iconic artists like Scientist to in-demand artists like Tornado Wallace, and then onto more obscure ones like Øyvind Morken, the artistic scope is quite varied. How do you and Stuart pick these artists for the label and how does it reflect your own tastes?

We now have the dubplate sub-label, so that’s home to the more reggae and dub-informed, downtempo stuff we both love. We want to support new music, but selling it is a challenge, which makes us sad. We had hoped that Mysticisms would be 50/50 reissues and new releases, but in reality, it’s weighted in favour of the reissues. We try to get new stuff out there by doing the various artist Alchemy samplers.

Obviously the art is a huge part of the label’s identity, too and the occult theme that runs through it all. What and who planted the seed for that, and how do you feel it reflects the music on the records? 

Chuggy had the name and the idea of the little triangle chap, who has ties to the ancient British occult. I worked up some crappy line drawings, and then we handed it over to the designer. The designs have mutated and developed from there, depending on the release. Chuggy is the creative director visually. I say yes or no and lob in the odd idea.

My girlfriend is a practitioner of magical arts, so our home is equally full of records and tarot decks. I love the iconography, even if I don’t fully buy into it. I suppose it’s a belief system that is as good as any other and much better than some, such as capitalism.

Between DJing, making music, running the label and writing liner notes, what continues to keep you motivated in terms of music and if the love for it ever wavers, what usually draws you back into it?

Music has been an obsession of mine for 35 years. I think about it constantly, and I’ve made most of my friends through it. I’ve been having an eight-year-long WhatsApp conversation with Toby Tobias about it. I am always excited about music and prefer to avoid looking back and falling prey to nostalgia.

Besides your gig at Jaeger, what else do you have to look forward to in terms of music in the near-future?

I have a few nice gigs incoming. Over the next couple of months, I’ll be in Ibiza, Bucharest, LA, San Diego, and Istanbul. I have to give a special shout-out to the Love International festival, which is super special each year, and I’m looking forward to doing another morning session there for Test Pressing.

The best thing about DJing internationally has been making friends along the way, so I’m excited to be playing with Øyvind in the basement at Jaeger. He’s a proper DJ, putting in those hours at residencies, playing at all parts of the night, working with guests. This is stuff that makes you. 

He absolutely killed it at Koko when he opened for Chaos in the CBD last year. Uncompromising but accessible. Pure Morken! I’m going to have to stay on my toes!

Lastly, can you play us out with a song?

It’s not something I’ll be playing in the basement at Jaeger, but I’m currently obsessed with this slice of deep, lofty jazz-funk.

Ralf Moufang & Elastic Headache – Still On My Mind

From Kids Love Bass to Mr Promising Start, Seth Raknes talks to us about his latest project and how he got there ahead of his set this Friday.

Seth Raknes has never been one to label easily. When he came here to perform his debut LP as Mr Promising Start last year, I was expecting something of that UK bass sound with which we’ve associated him and his time at Kids Love Bass. Instead we were taken down a wormhole of cinematic abstraction towards a kinetic creative identity. 

“I wish I was better at this“ is an album of deep introversion, drowning in a miasma of lush electronic textures rooted in the lower ends of the frequency spectrum. On Jaeger’s sound system it droned and intimidated with Seth’s vocals growling at you through distorting machines. Playing on a backdrop of video as abstract as the music, it draws the listener/viewer close to the artist. 

At some point and unprompted, the entire audience sat down on the floor, like they’re listening to an old friend talk about a recent journey, and that is what it felt like; it’s an album that takes you on a trip towards Seth Raknes most inner creative soul. 

“I wish I was better at this“ is the latest evolution of an artist and DJ that was been deeply intertwined in the fabric of Oslo and Norwegian club culture, and while it marks a departure from the DJ booth, I found that it still maintains that immutable tether to club music and that club sound.

Seth lives in Barcelona today, but he continues to make regular visits to Oslo, and with his newly established label Lauguna Luminosa, it looks like we’ll be seeing a lot more of him in the coming future with more releases primed. His next stop will be at Jaeger, opening up for Todd Edwards and with another release shortly on its way, we called him up to find out more about his future, his past and his journey to Mr Promising Start. 

The last time you were at Jaeger you presented your debut LP. Was this your debut as both Mr Promising Start and Seth Raknes? Because I can’t believe with your history that you hadn’t released anything before.

That’s my first full release under any nickname or alias. I’ve had some obscure remixes, but this is my first original work. 

I know it took you six years to record and finish it. Was there something from the outset that planted the seed for this project?

It was a mix of everything. I dabbled in different sounds before landing on anything. For this particular project, I decided on the name and the vision I had at the same time. It was in 2016, and I was living in Bergen at the same time. 

I came back to Oslo, and went into the studio. I made a bunch of sketches, which were just instrumentals, but I had already decided I wanted to record vocals on them. I went to Roland (Filter Musikk) and got some tips on recording techniques. Then I moved to Barcelona and the project was put on ice.

It took a long time to finish it. I kept moulding it and working it. I sent it out, but in the end a few people pushed me to release it myself, and it took another year to set up my own label.

You mentioned that you had this vision for a sound in your head before you even started it. What exactly was that idea?

I’m still trying to put it into words, because part of it is a subjective feeling and image. I have this sense of colour and atmosphere when I think about what I want things to sound like.

To be more specific; I wanted to make electronic music that wasn’t really locked into one particular grid or genre. In a similar way to how I DJ; influenced by the different styles and tempos. 

I wanted to have vocals on it, to separate it from whatever else is out there, and I like writing lyrics, but I don’t have a voice that can sing. I was pre-determined to process the vocals to fit into an electronic landscape. 

When you talk about writing lyrics, were there any particular lyrical themes running through the album?

Yes, I had a theme to it and a style that probably comes from rap music as a reference. I also made it with the mantra that I didn’t want to overthink it, so sometimes it’s close to gibberish. I try to focus more on keeping the flow against the backdrop of electronic music where there is a lot of mathematics.

There is a lot of my self-deprecating humour around anything from anxiety and depression to more light-hearted stuff. There’s a whole song there called “customer-service” about how people come to talk to you in the booth while you DJ. 

I wrote that during the peak of the pandemic, and I hadn’t done a DJ gig in ages and it’s me reflecting on how nice it is to not have to deal with certain aspects of Djing, like people ordering a drink from you. Overall, there’s a sense of humour in everything. 

Between the lyrics, the sound, the visual aspects like the video, and the performance of the LP; Was it always the intention to create this sprawling multimedia project?

It wasn’t the idea from the beginning. It goes back to your previous question; when you asked what the vision was. I am particularly inspired by audio visual stuff and film in general. A lot of the songs on the album have references from movies or series, which captures these moods and references the lyrics. There’s always an image present when I work on music.

There was never an idea to create visuals for it, but that happened when I started working on the art direction with my good friend, Eivind Sillah-Guttuhaugen (one more thing). He said; “you should do a music video.” 

When I started working on the music video together with director Vi Duc Truong I had this idea for an intro piece for the music video and then the ball started rolling. I do this a lot when I’m up late and I can’t sleep due to insomnia. My brain started churning and I thought it would be cool to have some simple visuals going for the entire album, during that listening party at Jaeger.

It turned into a short film. I forced my friend Gustav Tønnesen to help me film the thing in Barcelona. 

Talking about the intro, it sees you skateboarding around Barcelona, and while doing some research for this I found an article with an 18-year-old Seth Raknes on skateboarding. Music and skateboarding have always had this symbiotic relationship, and skate videos have always impressed this kind of narrative through the music. Is that something that influenced you with the creation of this LP?

On the musical side it has very little influence. I wasn’t even skateboarding at the time when I started the album. It was more prevalent on the visual part, and that was on purpose, because that aesthetic is part of my identity. Especially with those VX cameras that we used and the format. I also went through the skateboard world when finding people to help out. 

I have a bit of a complex relationship with skateboarding. I like skating, and I like the things it has given me, but I don’t like labelling myself as a skater for various reasons. When it came to the visual aspect however, it totally made sense to include that in there. 

Did your relationship with music and DJing start through skating, or have you always tried to separate those two parts of your identity?

I wouldn’t say I separated them. If anything, I think music took me away from skating. I was more into skating in my teens and then in my late teens l found I couldn’t really identify with skating.

The music genres that most of the skaters I knew listened at that time, wasn’t the music I was interested in. I started going away from rap and things that I had listened to in my teens and getting more and more interested in electronic music.

Most of the people that I was skating with were in either one of two camps; rap and mainly boom bap or guitar music. And then you had two clothing styles based on that, and that was just too segregated for me. I never really cared what others were doing, I just did my own shit. 

*photos by Christian Tung

Was it Djing that piqued your interest initially when it came to electronic music?

It started with Djing. I wanted to work with music, but I couldn’t find my place. I was working at a local skate shop in my late teens and I would burn CDs to make mixtapes for the store. People would come in and ask what these CDs were, and people wanted to buy them or make mixtapes for them. 

At the same time I started going out and I would hear a lot of the same songs at parties, and I thought; “maybe Djing is my calling”. I wanted to work with music, but I didn’t have any talents. I could write raps, but I couldn’t physically do them and I dabbled in music production, but couldn’t play any instruments. 

At the time there was a label called Pass It records at the forefront of Hip Hop and I knew a lot of people involved in that and one of the people in that group was Daniel Gude. I approached him and asked; “how do I start Djing.” I also asked William “Nasty Kutz” Wiik Larsen (DMC champion/ super-producer) to show me some basics and I practised. I threw my first party at Blå, calling on a favour and twenty people came and I lost a lot of money. 

Not too long after I started playing with Daniel as Kids Love Bass. 

And the rest is history…I just want to come back to the mixtapes. Who or what was informing your listening habits and helping you find the music for these mixtapes?

It was the Internet. In the early stages, I was going to music blogs and using limewire. A little bit later, when it came to electronic music, I started listening to Internet radio stations and I was kind of in the middle of that blog House era. 

DJs like Diplo were crossing genres between rap and electronic music, which made sense to me as well as Grime and UK club music. On the other side, being a DJ in Oslo you learn more about House and Techno, being such a small scene and with Daniel being my partner and his huge collection of music, you also find out everything from Disco to Boogie.

I know you’ve never been one to be pigeonholed in terms of what you play, but is there anything like a sound that you look for in music you play or buy?

The easiest way to sum it up, would be to look at what was going on in London in that era. Particularly that Plastic People, Rinse FM thing where dubstep and garage started crossing paths with darker Techno and House. You would hear wobbly basses on a House or Techno track. With Kids Love Bass it was the same thing and we had a preference for things that came out of that world.  

Colloquially in London it was being referred to as future bass, purely for lack of any definitive term.

Yeah it was a weird time. Still to this day, it’s a little unclear. It was called post-dubstep, future bass and then there was UK Funky that was part of that, but they had their own label on it. 

That classic question of “what do you play or what do you make”… as soon as I started Djing, I haven’t been able to respond to that with a simple answer and I still can’t. (Laughs)

Did you find, like me, that a lot of the artists and DJs that came out of that era, that were bridging all those genres and styles, eventually moved into more traditional styles and became very conventional Techno or House artists.

Yes, definitely. There were some names that I feel faded away and got lost in the sauce, but I can also understand that. It’s hard to find your footing. They would make one song that sounded more Housy and they would get booked to a party and drop a dancehall track, which would empty the floor, because people were just there for that one House song. 

Now you see artists coming back to it, like L-Vis 1990. 

That’s the same with your album. It harks back to that creative melting pot of that era.

The interesting thing is; I made that album thinking I would appeal to that type of “Bass” crowd, but when I dropped the album the people supporting it were coming from more typical backgrounds, people like Laurent Garnier or Joris Voorn. 

Were you thinking of the dance floor, the DJs and the club setting when you were making this album?

Everything I make is shaped to sound good on a club system, but no it wasn’t made to fit into a DJ set. It’s club music, but made to listen to at home. With all the elements, and the details, it’s not that stripped down, I totally understand that it wasn’t picked up by DJs and used in the club context. It wasn’t intended to go down at peak hour in Berghain.

And you can’t make an album for that either.

For sure, and I took out tracks for that reason too. 

Will those tracks make it onto a future EP or LP?

I don’t think so, I’m done with this process for the most part. What I will probably do is a few tracks as instrumentals and some remixes. 

Is that why you set up the label too, as an exclusive vehicle for your future releases?

I think it’s mainly for me. I wouldn’t mind doing something for someone in the long-term future. But it’s so much work and I don’t feel like I can be responsible for other people, for now. It’s mainly for me. I have a ton of music laying around and I have more ideas for other projects. 

So it’s only the beginning?

Yeah. I’m in the process of the second release, which is an EP dropping on June 21st. The EP is called “monetize your soul.” This time I’m trying to get into the club. I’m dropping it to try to get into the festival circuit, hence the title; I’m trying to sell-out with a smirk. There are some inside jokes about trying to please crowds and following certain trends. I picked the songs because they fit that mould, but I made the songs just trying to have fun and see what works for DJs. 

I have a lead track called “waffle of the week;” it’s about time I made a waffle anthem. It’s a straight up House track with a little bit of UK Funky and UKG references. It has some cooking sounds sampled in there too. I’m making a video for it, and I will drop that track exclusively on bandcamp on the 7th of June, when the party is going down with Todd Edwards. 

And I imagine that waffle of the week will make it into your set on that night.

I will for sure play that track and a few more from the EP. So if you want to hear it on a good system and you’re in Oslo on June 7th, you know where to be.

We discuss music technology, drugs in the 90’s and club culture with electronic music savant, Daniel Troberg ahead of his appearance at Jaeger

Electronic music instrument designer, producer, DJ, radio host, label owner, vinyl enthusiast, festival organiser, and club-music savant. Daniel Troberg wears many hats, and everything he does either has a root in, or branches off, from electronic music. Since the age of 17 he’s been involved in the clubbing scene, starting as a DJ on the Åland Islands at the peak of club music’s second wave; when things were still experimental, but starting to get a foothold in the mass consciousness. Hosting parties like Out of the Blue, Minimalize, and Science Fiction with his friends while “not even being old enough to drive,” Daniel played a vital role in Åland’s nightlife in the 1990’s.

A computer savant for as long as the personal computer has been around, Daniel was more than just a DJ and music enthusiast. He started hacking MSX computers to create rudimentary electronic music as a young child and by the time he came of age, he was programming machines to do his musical bidding, releasing records under aliases like Elektromekanik, The Player, and Erase.

By the late nineties he started working for electronic instrument company Elektron, playing a hand in the design of their first trailblazing machines, the Machinedrum and the Monomachine. Working at Elektron, he designed what was to become one of the world’s most iconic samplers and drum machines, the Octatrack.

Today there isn’t a Techno setup around without an Elektron machine and most of the live iterations still use the Octatrack at the centre of their setup. Next to Roland’s original XoX series, Elektron’s machines are iconic with Daniel’s influence on electronic music.

Based in Los Angeles today but “working all over the place” Daniel is currently involved in another synth company, ASM, as well as representing the “holy grail” of mixers: Zaehl, a company made famous by the association to legendary early Kraftwerk producer, Conny Plank. He DJs regularly, ever faithful to the vinyl format, playing all over the world and hosting his regular show ‘Transition’ on radio station Dublab.

He continues to record music for labels like Detroit Underground and Acid Chicken while also running his own label, Sonidosys. During a visit to Berlin’s annual synth messe Superbooth, he’s also making a few stops in some DJ booths around Europe and Scandinavia, including Jaeger’s this weekend. We caught up with him via phone to find out more about his musical history, his work with Elektron and his thoughts on electronic music and the culture.

How was Berlin?

It was very nice. It felt like the start of the party season.

And you were there specifically for Superbooth?

Yes, and I also played at Klunkerkranich. It was the 10-year anniversary for Bitwig (DAW). Stimming and Rust played too, both fantastic sets, and the place was packed.

Was there anything at Superbooth that excited you for the future of music technology?

I rarely get excited these days. I think everything is just a rehash, but thats ok. I think the next thing is the implementation of AI in both hardware and software, but what I am excited about is also the opposite. When someone make products that are at the extreme opposite end of AI, where you step back in time and bring forth old and sometimes absurd technology instead. Or combine the two. It’s those extremes I’m personally interested in at the moment.

When it comes to your own music today, where do you usually start in the creative process? I find in your music there’s always this experimental thread that appears to be exploring the possibilities of the machine.

My main workhorse is the computer with a DAW like Ableton or ProTools. Bitwig, Renoise, and Metasynth gets used too. I still have a bunch of hardware and I usually like to sit on the floor and have my stuff around me and record half an hour or so of material. Then maybe patch things in a different way and then record again, and so on. It’s just interesting to have different approaches, because I can get different results. I like to not remember how I did things, because then it gets boring for me. Then again, at times I take my two Octatracks to rework stuff I’ve recorded previously.

I’m glad to hear that you still use the Octatrack… Can you separate that machine builder/creator part of your personality with the artistic side?

Yes but it has taken time. My analytical mind like to think of instruments as to what they can offer to a user. With the Octatrack, the idea was to have it be able to play back pretty much any musical style, tempo, time division and so forth. It wasn’t meant to be a Techno machine. That was the last thing we all wanted back then, because it’s so obvious. But it is also great at it. My artistic side like to have inspiring instruments, tools, and toys to play around with. Like the Octatrack, or the Hydrasynth Explorer.

The Octatrack is very much a performance tool and when we’re talking about performance and recording, are those two separate things for you?

These days with the amount of real-time and on-the-fly editing, and the fact that one can jump between recording and play modes fluently, I’m basically playing live as I’m recording. It’s so interactive these days. I also often apply this to mixing, and effects. Sort of what they did in Jamaica with the early dub techniques. So, I don’t think there is a large gap between performance and recording to be honest.

And is that where your music comes from, in that live performance moment?

I’m not really a live performer. It all depends on my mood. Sometimes it’s nice to just print down a melody into a sequencer. When I work in Ableton, Bitwig, Renoise, or with hardware, it usually gets loopy. But when I work in ProTools or Metasynth, it’s more linear. I do drone and ambient stuff too, and that has a much longer cycle. I don’t treat it the same way as a rhythmic loop for obvious reasons, so usually thats where ProTools comes in.

You mentioned the drone and ambient projects, and you have so many other aliases with a prolific output amongst them, but where did it all start?

I got my first computer in 1983. Shortly after that I wrote my first lines of basic code that made simple melodies. At the same time, we also had a reel to reel at home, so I was recording things on that. And I got a little toy keyboard. In terms of making actual tracks, the computer was indeed involved in the process but that was a bit later on. Then came hardware synths, samplers, and so on.

A reel to reel machine seems pretty unusual to just have around in the eighties.

It wasn’t super unusual, because that was one of the few mediums you could record onto with good quality. Thinking about it now though, I don’t think anybody I knew had a reel to reel at home, but my dad did have one. He liked to listen to music and he had excellent taste. It wasn’t a high-end studio reel-to-reel, it was a consumer reel-to-reel.

When it comes to computers and coding, why did you think to use it as a tool for music, instead of creating video games?

Music has always been a means of escape for me. I have always listened to a lot of music, and music from computer games was just one more channel for me to tune in to. A computer game that had the slightest little sample in them – because for instance a Commodore 64 can play back samples in a very rudimentary way – would freak me out, because it just sounded so otherworldly. By the early to mid eighties, as breakdancing became popular, hearing the robotic music that the breakdancers was moving to, made me somehow realize that computers were partly involved, or more correctly, that electronics were involved. It was sort of a revelation to me. It fueled my obsession with music.

Did that lead down to a road with club music?

That came later of course, but yes, it was inevitable. With that came an interest in DJing. My good friend Johan, who started DJing at the school discos, lent me some turntables and a mixer. When I started 7th grade, I connected with him on a musical level, as he had records and turntables.

When did you start putting on events?

It started in 1994.

So right at the cusp of a House music’s next evolution.

Yes and around that time there were a lot of interesting styles and music that was coming up too. The home recording revolution helped to push that. Cheap boxes that flopped in the 80s was now used and abused to make alternative music. It also started to get quite aggressive. It was a hot pot of everything and I really liked the experimental Acid tinged techno and house that came around ‘93/94.

Who were some of those influences?

Too many to mention, but I used to buy records from a guy down in Gothenburg and he was tied in with suppliers in Detroit, like Underground Resistance. He was also tied in with the Delirium record shop in Cologne, which would later become Kompakt records. Stuff that was coming from The Netherland and the UK was fantastic too.

What are you leaning towards in terms of music in your DJ sets today?

I don’t really like new music that much. I think most new music sucks to be honest. There are very few things that excites me, but what I like is finding music that is mind-blowing, and then exposing that music to people who hopefully haven’t heard it before. If you are a DJ, or Selector rather, your mission is really to pick songs and tracks and present them in an interesting way; be a curator of music. I like to concentrate on the vinyl format, because thats what I grew up with.

You are still traveling around with a bunch of records right now?

Yes, because I don’t want to compete with the younger generation of DJs. I really just want to be an old grumpy guy that knows vinyl. That’s good enough for me. On the other hand, it is having a bit of resurrection too. So in a way, it might be hipper than ever, not sure.

Are you still finding new music on vinyl, or is it about collecting those old records?

I find really good new stuff from time to time. What’s funny is that there are so many reissues right now. I go to places like Hardwax in Berlin and find amazing music, there’s no question about that. I have some particular styles that I prefer; I like a certain type of Techno, House, Italo Disco, Electro, Ambient, and some quirky 80’s stuff. I don’t play too dark stuff. It’s got to have funk and it’s got to lift and challenge the listener in some way; and I usually don’t like music that you want to hang yourself to. (laughs) There’s enough bad shit going on in the world anyway.

There’s something in that approach to the sound of club music that I find is really indicative of Swedish Techno, Electro and House from your generation and era. Was there something in the water there during your time coming to the fore that you believed laid the foundation for all these amazing producers and music to exist?

New styles of music is usually contributed by two things: drugs and technology. Music has always been informed by the drug of choice and at that time it was ecstasy. The nineties was fueled by it and it was reflected in the music. Then all the boxes in the 80s that sort of flopped sales wise would started to get heavily used in the 90s because they were cheap. The MI business also got wind of this. In 1995, the 303 (Roland bass line synth) and the 909 (Roland rhythm composer drum machine) were starting to get more expensive and so companies like Roland released products that latched on to this new found popularity, like the MC303 and so on. As for Sweden in particular, I believe some additional factors were at play: a well funded school system that had music education on the curriculum, and an economic upturn in the 80s that enabled a lot of kids to have access to home computers.

You touched on legacy there with the Roland machines, and thinking about Elektron today, I don’t believe there is a live- or studio setup that doesn’t have an Elektron machine in the mix. When you guys started doing the Machinedrum and such, did you ever think it was going to have this legacy?

Yes. The Machinedrum and the Monomachine were quite niched when they were released. The Machinedrum was released during the height of the laptop frenzy. Very few people bought a drummachine that costed about as much as a laptop itself, the timing was actually horrible. But that made it special too. After a while, laptops weren’t as cool anymore. In comes Octatrack.

I remember my friend getting a Machinedrum back in the day for like $1000 (still cheaper than used 909 even back then) and it just seemed like a revelation. A year after getting it he still barely touched the surface of the possibilities of the machine.

Machinedrum and Monomachine sales weren’t great but they slowly became cult instruments, because they were very special and some big producers and acts started using them, like Autechre and Sophie. The units were kind of expensive, and the word was that they were hard to use. My opinion is that they are the easiest things to use. For example, Sophie was an excellent producer and sound designer and she used the Monomachine in a way that made it sound like you’re rubbing your hands against a balloon or something. Insane sounds! She was the last true renaissance producer to use the Monomachine, and it’s thanks to her they are $3000 now. (laughs)

Proving the fact that it and machines like Octatrack are some of today’s legacy machines and you helped create that.

Yeah, with the Octatrack there’s really nothing like it, except for a somewhat intricate computer setup, and it’s still going to be around for a while I think.

Back to present however, is there anything on the horizon for you that you are excited about?

I do have a festival on the Åland islands. It’s called Kokong. It’s the third year we’re doing it and it will be held on the 2nd and 3rd of August. I’m from there and we’re a small team that is trying to create well curated and specialized electronic music festival that focuses on ambient and experimental electronic music, and then later in the evening it turns into House, Techno and Acid. I’m also about to re-release my old Electromechanix catalogue, it’s about 50 tracks in total. I did 9 vinyl releases from 2001 to 2003 and then I have some unreleased tracks to go along with that.

Any musical highlights for you at the festival?

We only book fantastic acts of course, but TM404, Tinman and the Åland duo Havsmörker gets me extra excited. Havsmörker are awesome and they are also my colleagues in this festival. I did a remix for them that DVS1 is currently playing quite a lot. So if someone wants to come and explorer Åland, have some local pancakes, and listen to some electronic music, August 2nd and 3rd will definitely be the time. The webpage is www.kokong.ax.

Spending a night with our newest residents Mona Blanchard, Axel FU and Dara Woo as they get in a groove with Jaeger’s Tuesday night concept

The dance floor is pulsating to some two-step rhythm like a single human mass. A disassembled vocal interrupts in quaver stutters echoing over the heads of the audience. It’s an unusually warm day for April; arms and legs exposed to the cooling elements. The sound pressure drops with a metronome-like countdown for 16 bars and then with an almighty thud, a kick drum breaks free, moving through the crowd like a sonic tsunami. There’s a physical surge as people bunch into the tight space of Jaeger’s courtyard. It’s hard to believe it’s just past midnight on a Tuesday.

Axel FU (Aksel Aasen) conducts the crowd through the song, massaging the best out of the tracks with some subtle eq nudges. Alongside him Mona Blanchard and Dara Woo wait in the wings for their turn at the helm of their weekly club night, M.A.D; a concept which takes its name from the three DJs at the centre of the night. Tonight it’s certainly living up to its name.

Inaugurated in January 2024, M.A.D is the latest Tuesday concept on Jaeger’s calendar. Its origins lay in the monthly Wednesday night, Frensday, started by Axel and transposes the central theme of that monthly club night to Tuesdays, with Jaeger as the nucleus.

During the day Axel is Jaeger’s bar manager, and Dara has been employed in the bar at various stages of its history. “It’s evolved  from the dance floor to the bar and from the bar to the dance floor again,” and today she is also the assistant bar manager. Both  Axel and Dara have DJ’d regularly at Jaeger and it was at Ola Smith-Simonsen’s (DJ Olanskii and head booker at Jaeger) insistence that they created the night, to “freshen (Tuesdays) up,” according to Axel and to ”bring in a young crowd” according to Dara. They enlisted the help of frequent Frensday guest and actual friend Mona Blanchard and set off establishing the Tuesday concept in what was one of the harshest of winters in living memory in Oslo. 

M.A.D follows a history of concepts that have always found different solutions to what is probably one of the most difficult nights to pull off on a club’s weekly programming. The common consensus, including Dara’s, is that Tuesdays “suck” as a club night, but there is still potential there. It requires something “interesting” to draw people in and more importantly bring them back, but even with the club night in its infancy, Axel can already “see people coming back, and a lot of different people coming back.”

This latest Tuesday is the culmination of all these efforts coming to fruition. Axel is at the controls, and the energy is frenetic. “It’s easy to maintain that energy if that crowd is there,” he remarks later. There’s a sense of hedonism in the air, the unbridled enthusiasm of youth that a lack of “grown-up” responsibility brings with it. The music is frenzied and uninhibited; each DJ follows in the sonic footsteps of the last, without necessarily stepping on the other’s toes.

It’s taken the trio of DJs since the start of the concept, back in January, to find each other musically. While their “biggest challenge” is still going back to back, Axel feels that they are at a point where they can at least ”reach each other halfway” with Axel sandwiched in that middle position between Dara and Mona, musically speaking. “We are quite different in our range of music and groups, which is really interesting,” explains Dara. They’ve all played together at some point in the past, but as a trio, these Tuesdays have been a baptism of fire. 

While one would assume DJing being a common thread between them, there’s an even stronger connection through their love of going out, listening to other DJs, and being in that environment.

Mona, a French/Norwegian moved to Oslo “to experience this part of my culture” six years ago, and fell in with a group of friends where music was the “big link” and DJing was ubiquitous amongst them. It’s through that extended group she met Axel and eventually Dara. Dara, who had ”started to learn how to play ten years ago, but never got to practise, ”has been a fixture on Oslo’s intimate scene, both working in it and being a part of it from the dance floor. 

Both Mona and Dara had similar experiences post pandemic when they focussed all their efforts on DJing. Mona had been furlough at the time of that first Frensday, while Dara,  exasperated from pursuing a nine to five, poured her efforts into the thing she knew inherently; after all “it’s more fun to be a DJ.” 

In what has become a common theme since the covid catastrophe, the M.A.D generation is leading the charge in Oslo for a new wave of club music enthusiasts. It’s as if the lockdown has programmed a permanent F.O.M.O with people like Dara and Mona seemingly constantly on their way to a dance floor. 

Mona “need(s) to see people everyday” while Dara always has “some birthday or some friend playing out” even if she’s not playing. Both would “rather go out” than sit at home and the dance floor often beckons in those situations. Mona says she gets her “energy from being around people, and being around people means going out to dance.” Axel is the more reserved of the them, but will still “go out to listen to friends play” and when he’s not working or playing himself, he’ll be at Jaeger listening to one for the guest DJs coming through town. 

Has this laid the seed for some kind of scene to exist in Oslo? Big friend groups, many of which include DJs hosting all sorts of parties around the city, seem to have gathered momentum in the last year. Many of them were the ones taking to the forest at a time when the venues were still heavily restricted. Today they seem to be dominating the club spaces around town. 

“It could be a community,” suggests Mona “but it’s almost too big to be a community.” With so many of them constituting DJs and each with their own concepts, it appears more fractious than any kind of scene. For Mona it’s a way to compartmentalise her nightlife habits. It’s more about “understanding the events and choosing” which one you’ll attend than any kind of sonic signature. A generation that’s had every style, genre and region of music at their fingertips, music is not as reductive as it used to be, and their tastes have far reaching and overlapping zones of interest. It’s thoroughly represented through the three individuals behind M.A.D. 

Mona’s high energy impulses, Dara’s tunnel-carving visions of the dance floor, and Axel’s sprawling tastes, converge in an chaotic tapestry of club music, with no central theme to really speak of. I pry them for any kind of umbrella term, but I’m only met with some vague assertions that won’t exclude anything. 

“We’re really different,“ suggests Mona, and “what brings us together is not the kind of music we play, it’s more about this project.” We’re also good at going out of our way to find music that matches each other,” adds Axel. “Here I’m being challenged a lot by trying to find these guys musically” while Dara suggests it’s about always “navigating towards the middle.”  

At its heart it’s always about “ discovering new music” according to Mona, and this can take the form of new releases and undiscovered gems from the past. Whatever they do is based on finding that connection with the dance floor. It’s “not alienating a crowd,” according to Axel, but they also understand that the crowd they’ve started cultivating are not going to enjoy any “easy listening” music. They might draw the line at “Skrillex remixes” themselves, but if “somebody were to play it and it works…. Then that’s cool too.” 

Every week they “learn something” according to Mona and “it’s always about this night working out.“ And here it becomes about more than just music. From social media’s prevalence – “it’s a free work tool, that would be dumb not to use” –  to the finer details of the arrangement of the dance floor – “ I go into floor manager mode before my set” – they go over every aspect of the club night, to make it a success. 

Dara and Axel’s experience behind the scenes are crucial, in that they notice “patterns” in everything that they can utilise. Everything from the settings on the heating lamps to the layout of the tables on the fringes of the dance floor plays a role in a sense of inclusivity from the night. “Just working here you pick up on things,” explains Dara. It follows her into the booth where  it’s “helped a lot in the last two years” in establishing her role as a DJ too. 

It’s hard to quantify that standing behind her as Dara takes the controls from Mona. There’s the slightest of resistance between the two tracks Dara settles into her stint, venturing into the distinctive deep trenches she likes to carve late at night. The fevered crowd finds a new pulse, and the frenzied excitement moves into a harmonious wave ebbing through the night. The rest of the night progresses with the intensity waning little before the curfew bells rings. They’ve found that rare groove of successful club night, and it sounds like they are getting into their stride.   

We celebrate the 17th of May this week with a some of Norway’s finest and most stellar selectors

It’s probably he only time and place where traditional dress meets the club dance floor. As the sounds of brass bands dwindle into the air and the various breakfasts settle, we swing open our doors at 12:00 to welcome one and all to our 17th of May celebration at Jaeger.

Skatebård, g-HA & Olanskii, Anders Hajem, Henrik Villard, Perkules, Monojack, Simon Field, Nordiks, Jean Eudes, Mulo, Schmooze & Brus, Synne,  Dara Woo, Ornella and of course MC Kaman & Kash serve dance floor tunes… and hot dogs throughout the day and night. 

Starting in our courtyard and moving into the basement as dusk creeps closer, we maintain two floors of unbridled House, Disco, Boogie and more for the annual event. Bouncing bass and stepping grooves under a sunny sky go on till late with residents and guests under Norwegian flags.

Here follows the full schedule and you can find more information on the event page:

Gården

12:00 – MC Kaman & Kash 
15:00 – Anders Hajem + Henrik Villard + Perkules (Boring Crew Records)
17:00 – Monojack + Simon Field (Basement)
19:00 – Nordiks + Jean Eudes + Mulo (French Voyage)
22:00 – Skatebård
00:00 – g-HA & Olanskii

Diskon

22:00 – Schmooze & Brus
00:00 – Synne
01:00 – Dara Woo & Ornella

ID:20

Josh Ludlow and Ben Lewis from Make A Dance answer some questions via email as they get ready for Oslo this Friday.

Make A Dance (or the acronym M.A.D if you prefer) are part of a musical wave of artists, labels, producers and DJs that have come to the fore pafter the pandemic through a sound that can only be described as post-club music. Drawing heavily on the earliest sound of House, Techno, Electro, and Acid, where all those things were still in their infancy, people like Make A Dance’s. Josh Ludlow and Ben Lewis have taken club music back to its proto DIY roots.  

Possibly informed in a pandemic culture sans-clubs, it’s a sound that harks back to a time where all those genres and styles were a little more fluid and less rigid. It easily extends beyond the dance floor, where a whole generation was introduced to club music outside of its intended context. 

For music that thoroughly adopted the form-follows-function philosophy up until only recently, labels like Make A Dance and producers like Josh and Ben have reintroduced the hedonistic pleasures associated with this music. There’s  a joie de vivre for the dance floor and frenetic fervour that even transcends any physical space. 

They made an early impression with their breakout single, “I need Somebody,” garnering the attention of all time greats like Cinthie and Laurient Garnier out of the gate. Its appeal was likely cemented in those fundamental building blocks of House music where a soulful vocal fills the gaps between kinetic machines. The stuttering introduction and a glistening sonic pallet updates the sound for a modern audience, but its charm is already timeless. 

While that record laid the foundation for a Make a Dance production duo to exist it also instituted a label of the same name, which today has evolved into two labels and a family of artists that extend the sonic signature of the duo that started it all. Today it can go from foaming Acid to shimmering Electro and it’s split between the main label and its M.A.D edits subsidiary, perpetuated by the duo behind the label and their friends. 

They’ve already amassed a dedicated following and between their records, DJ skills and events they are the total package. They’ll join us at Jaeger this Friday, so we hit them up via email to delve into their origins and some of the ideas that informed everything they do.  

Hello Ben and Josh. Tell us about how you met and the creation of Make A Dance.

We met through our EX girlfriends (Big up the Ex Girlfriends!)  The seeds were sown as we instantly bonded over music. A few months later a chance and impromptu back 2 back laid the foundations of the partnership and then Covid sealed the deal with us being in close proximity during the lockdown. 

Individually, what were your paths to electronic dance music and what are the major differences between you two in terms of taste in music?

Josh: Mine was Metal – Drum & Bass – Breaks – House – Balearic Wonderment

Ben: listening to late night radio in my room and being exposed to drum and bass was a big one for me. Then some early albums I bought in my early teens were ‘Moby – Play’ and that fatboy slim album with all the bangers – both got me very excited about sampling and the endless possibilities. 

How did it coalesce into Make A Dance when you started working together? 

MAD: As mentioned before, we had time to kill during the Lockdowns, and when we could intermingle we would have multiple day long sessions writing tunes together. On a whim, Ben had the idea of pressing up a 12” with the fruits of our labours and thankfully for us every bedroom DJ had money in their pockets and time on their hands to dig and it sold out. The rest, as they say, is history.

You are based in London. Was there anything happening in the scene over there that influenced the timing of starting the label? 

There were friends of ours, Jive Talk, Krywald & Farrer, Semi Delicious that were already pressing up white labels so that was definitely a bit of an impetus. It’s been great as we’ve all continued building our respective projects, collaborated and in general supported each other. We like the camaraderie 

Today, Make A Dance is a production duo, a few labels, and a club night. Besides it all revolving around the two of you, what is the central theme (sonically and /or thematically) that ties it all together?

As we wrote in our M.A.D manifesto at the beginning of all of this: It’s all about the love of the dance, and that’s always kept in mind. The only real rule is that we play out what we sign and that we like the artists as people as well as for their traxxx.

Are there any other record labels or artists that were an early influence?

So Many! From the early days, things like Fabric Fridays, Ed Banger, 2many DJs, Plump DJs etc

You went from establishing the concept to quickly garnering some attention from the scene. Why do you think it appealed to people immediately and what do you contribute to this early success?

I think people responded to the playful DIY nature of it. We also have managed to release constantly from the very start, sticking to our simple bare bones aesthetic. With such saturation in the dance scene and in life in general, it’s important to be consistent with whatever your craft may be.

“I need somebody” was the first track and it was a breakout with the likes of Cinthie and Laurent Garnier singing your praises. Tell us a bit about the making of it and how it connected with the origins of the label.

The final track you hear was version 20 something of attempts, thankfully we had time on our side as it took absolutely ages to finish. We can’t take that much credit for it really as it’s based around the amazing Keisha Jenkins vocal from the original. I guess you could say Make A Dance has Aunty Keisha to thank for our early success!

Did you know you had a hit on your hands there before releasing it, and how did it inform the sound of the duo and the label going forward?

We had no idea other than a feeling that we liked it. We had no gigs due to the time it was written so we had absolutely zero dance floor feedback. It would be interesting to see a world where artist’s/producers never received feedback on their work and just released music for themselves …how would music have progressed?

You mentioned the DIY nature of your music. Your music always seems to draw on house/electro/acid’s earliest origins, but updated for today. What is it about that epoch of club music that remains so consistent in your opinion and how do you contextualise it in a modern dance floor? 

Good question. I think we have to be careful not to be too derivative, our music of course borrows heavily from the period we most enjoy which is the late 80s early 90s. Probably the only reason it sounds at all new is because we use a computer to make it haha.

I see your M.A.D edits as an extension of the philosophy of those roots. What planted the seed for that sub-label to exist?

We just felt it was important to make a distinction between the main label and the edits as they are so different. The edits will only ever be limited run and vinyl only (unless we get rights to release digitally). It’s a very fine line to tread releasing edits, and probably warrants a bigger ethical discussion in 2024. 

The tracks you chose to edit aren’t always the obvious Disco things however. What do you usually look for in terms of a track you want to edit, and how do you generally approach the editing process as artists?

Usually it has to be something that we’ve never heard edited before and secondly it has to work in our sets. Other than that, anything goes.

And when you ask an artist like Lex Wolf to submit something, what do you look for in those edits? 

Lex seems to have a clinical problem where he can’t stop making edits, and the other problem is that they are all amazing. We usually sift through an enormous selection to get each edition. With all our edits EP’s we have a loose theme of play listing each EP like you would a DJ set, with a warm up track, a groover, something peak time and something WEIRD.

What about the artists you’ve released across both labels; are these people you have had a relationship with before and what are the essential ingredients for a Make A Dance artist and a record?

It’s really varied from release to release, it’s more that we have a personal connection with the music and this always has led to getting on with the artist. We’ve found that people who make like minded music tend to be like minded, it’s such a direct form of communication in that sense. Of course there are exceptions to the rule…

Which came first, Djing or production?

Josh: Production

Ben: DJing

You’ve played places like Fabric recently. Where were you playing before the label and how have you had to adapt to playing bigger venues? 

Thankfully we are still playing in smaller rooms, and long may it last. We’ll leave the big room stuff to the professionals. 

We both had projects for years before M.A.D so due to that, we quite quickly started playing at places like fabric in London which is mind blowing. That relationship has been a huge part of our story and something we’ll always be grateful and proud of. Fabric was the formative place for both of us growing up.

Everything you do I imagine is to perpetuate that Make A Dance sound and mood, but on a dance floor ,context is always essential. What are the essential elements that you try to relay, especially when you play a venue or city you’ve never played before, like Jaeger?

Watch the act before, be prepared for anything and hopefully we can start under 120bpm as that’s where you get the most horizontal hip action and a lot of our favourite records reside. That being said, we love to slam it too!

Are there any specific highlights in your record bag/usb-stick that you are looking forward to bringing to Jaeger?

Josh: Yes! I’ve been loving playing Lextended Vol.2 – it just keeps giving. Also hoping to play some WAX. I’ve only gotten turntables recently and it’s fully reignited my love for DJing.

What else is on the horizon for Make A Dance in all its various guises that you’d like to share with everybody?

Lots and lots of releases lined up, some special collaborations with other labels, many parties and finally a range of clothing.

We caught up with Why Kai ahead of their LP launch at Jaeger to talk about their debut album and the history of the project

Jazz and electronic music have been curious bedfellows in Norway. Artists like Bugge Wesseltoft, Nils Petter Molvæar and more recently Hilde Marie Holsen and Stain Balducci, have been exploring the borders of these genres. It has developed a rich history in the confluence of musical styles in the region in a way that is very uniquely Norwegian.  

The latest addition to this legacy has been Why Kai, the solo project of session pianist, Jazz musician and club music enthusiast, Kai von der Lippe. Together with drummer Elias Tafjord, Why Kai has been a staple on club stages including Jaeger, and has recorded a few seminal EPs since establishing the project. At that convergence of the dance floor and Jazz, Why Kai lives closer to the loop-based phenomena that dominates club music, plying their craft in the physicalíty of their instruments. 

Fingers dancing over keys while percussive elements permeate with transcendental grooves, Why Kai’s music is made from the technical ability of accomplished musicians but thrives on the dance floor. As a live band it’s as appealing as a visual spectacle as it entices in the sonic realm and for the few EPs they’ve released it’s something that they’ve echoed remarkably well in the recorded format. 

They take this a step further with their debut LP, “The Tourist” with Kai enlisting the skills of Elias in a more dominant way in the recording process. It sounds like Why Kai performing in your living room, and some familiar songs from their live repertoire evoke images of the duo on stage through the record. 

A sweeping narrative in sound transports the listener through songs and vignettes that relay some hidden plot through its 12 songs. Between keys and drums the tracks are instantly familiar if you’ve heard Why Kai on stage before. Leaving enough room for the pulse to take root, songs develop in organic, and often very technical ways that encourage deeper listening. 

On a weekday in Oslo, we caught up with Kai and Elias in a cafe in Grünnerløkka to find out what lies beyond the obvious in their debut record and the history of the project ahead of the official launch of “The Tourist” at Jaeger.  

Kai, you mentioned this is a solo project. However, the few times I’ve seen you play live as Why Kai, it’s always Elias on the drums. Is it still a solo project?

Kai: It has become more of a duo project, and then we sometimes play with a bigger band live, depending on the setting. On the recordings, it’s me making the music and Elias creating the drum parts, especially now on this album. It’s a blend of electronic drums and acoustic drums. 

Elias: We always start with a base of electronic drums, but now we’ve started experimenting with acoustic drums. When we play live, I always use effects on the acoustic drums and combine those with the electronic drums. 

Who programmes the electronic drums?

E: That’s Kai.

K: But the drums are important. Without the acoustic drums it would have been static. 

E: It also makes it quite different from other electronic artists, because of the acoustic elements; like the drums and the piano.

There is something quite visually appealing to seeing somebody actually play the drums in the club setting. 

K: It’s so visual and such a whole body experience.

You’re both quite accomplished musicians and you’ve obviously studied music at a high level. Is that how you met each other?

E: We actually found out that we’re from the same neighbourhood recently, but we only met at Foss, the music high-school. I think the teacher saw us as the Jazz guys. As we got older, we started dancing a lot together, going to Jaeger a lot on Tuesdays and Saturdays. We found we had this common love for electronic dance music.

Did you have a Jazz background before going to high school?

K: Both of us have parents who are Jazz musicians. I started with classical piano lessons and then moved from that to playing with a jazz teacher at Kulturskolen at Grønnland. 

E: I grew up with my dad touring a lot when I was a kid. So, when my mom couldn’t handle me, I went on tour with my dad. He was a tuba player that played in this traditional world Jazz band. 

K: You had the drummer of that band as your teacher.

E: Yes, and my teacher had the drummer before him as a teacher. I’m third in the line.

That’s a dynasty! What kind of Jazz were you exposed to at that early age?

E: I was more of a New Orleans traditional Jazz kind of a guy, because that’s the stuff my dad played. He was also involved with some African- and Asian musicians. It was a blend between world- and New Orleans Jazz.

K: The early stages, I was also a product of what my dad listened to and played. Which was the Bill Evans and Keith Jarret style of Jazz piano. 

So, not too experimental?

K: No. When I started at high school I got into Bugge Wesseltoft and Nils Molvær and clubby jazz from the nineties here in Norway. When at university, that‘s when I really started experimenting with freeform Jazz, but that’s true for both of us I think. 

E: My sister is also an electronic noise musician. Getting that from early on as well, put me on that path. 

What brought you guys together and how did the solo project arrive?

K: We had another trio, playing club music. It was a collective thing and more showy. 

E: It was almost like a rock show, with us going; “fuck you, we’re playing club music!” We had silver tights as costumes with hair and makeup. The other person was a raver/clubber, and we thought we had to make this music that we listen to all day. 

It sounds a bit like LCD Soundsystem or !!!. Is that what you were listening to?

E: We hadn’t dived into those groups yet. 

K: It was more like Techno and Deep House. When making this music it was a mix of the fact that we can play it, and it gets more show-based. 

In terms of going from the three-piece to Why Kai, what was the major change in the music, besides the fact that you were missing one person. 

K: I went abroad to Copenhagen to study, and they were very focussed on what is your sound, what’s your music. That’s when I started making this music, and that turned into the first EP. Coming back to Norway, I started thinking about how I would play it live. Unlike the other project which had the live element as the main focus, Why Kai was more about making a record, and then afterwards thinking about how we’re gonna play it live.

Why is this live aspect so important to you?

K: The whole project is about organic played music meets static electronic music. It’s very natural to play live with live musicians, and we come from playing live. We’re not so much studio rats. 

E: We’re Jazz cats. (laughs) 

Were there any particular objectives in creating a sound for Why Kai?

K: I listened to a lot of Norwegian composers that were not in the electronic music field. I saw similarities in some of their compositions and electronic club music, in the way they were built up. They’ll have a groove going, with interesting elements evolving on top. Most of the club music I listen to is very minimal, based on the loop. I wanted to bring the development of the compositions in Jazz to club music.

Not to disparage electronic music, but do you ever feel that you have to dumb it down a bit as accomplished Jazz musicians, or can you incorporate those more complex ideas from Jazz into this music?

E: Yes, of course. The whole harmonic and tonal world Why Kai moves in, is very influenced by Jazz. It might be a bit subjective, but I feel when you start a Jazz solo, it’s very much like Techno music; you have to build up a room. It’s the same principle in electronic music, that the audience can just sit there and enjoy the flow of energy. 

K: Of course there are elements like playing situations to consider. If you’re playing late night between DJs, for example, you can’t have too many slow, low energy moments. We will compensate for that. And on the other hand if we’re playing for a Jazz festival to a sitting audience, then we’ll have to adapt the music again. 

If the context of a Why Kai concert can go from a Jazz festival to a nightclub, is there a specific audience in mind when you’re creating the music?

E: No, but it’s for the dancing audience.

K: At the same time, I don’t want to tie myself down to one particular audience in the making of the music. I try to just follow what’s on my mind.

There is something to the recorded material that relays the way you sound as a live band. Is that a consideration when you approach the recording process and specifically something you had in mind for ”The Tourist”?

K: Yes, I usually make it without playing as a band. On this new album however we have some parts that were recorded as jams, that we chopped up afterwards. And then we’d improvise over that again. But most of the songs are based on a production setting.

E: What we did there was improvise around an idea. There were perhaps some boundaries. We’d probably used 20 seconds of 30 minutes of improvisation.

K: Most of the melodies, which were composed, were also born from improvisation. 

Why an album and why now?

K: Because it was finished, I guess. (laughs) It was a long process. The music was composed over a year ago. We started a label for electronic music, so setting that up and learning that process happened at the same time.

Is it any different from the first EP, because it sounds like it was made around the same time as the EP?

K: Some of the tunes are a bit like the first EP, but then I wanted to move away from it too, so some of the tunes are quite different in my opinion. 

Do you feel that you’ve found something with this album that perhaps wasn’t there at the start of the project?

K: I’m not entirely sure. What the project will be in the future, isn’t dependent on this album. What I wanted to create – and it’s the same for the first EP – is that I didn’t want to use too many electronic sounds, and if I use them, I want them blended with acoustic sounds. I would chop up improvised samples from bass or prepared guitar and make a groove from that to get that organic feel. 

Do you find there’s always a kind of challenge in incorporating electronic sounds in acoustic environments and vice versa?

E: At least in the live format; to blend these things to get the way we wanted the sound to sound. They are sonically different and if something is wrong it takes so long to fix it, and it almost removes the original idea completely. It’s way different than just hitting a drum or a piano; where you’ll know what to expect. 

I feel it started from a perspective where the acoustic sounds were the boss, and the electronic bits were added, but now it’s slowly turning. Electronic sounds are so much more piercing. The machine is the boss. At the same time I realised it’s us that have to make the pre-sequenced things groove, it’s not those things that make us groove.

What I really liked about the album was this narrative that follows through it including these little musical vignettes that bridge certain songs. What was the idea behind that?

K: I had this idea of the whole album going into one piece, so the groove never stops. The songs are at different tempos, so some of those “vignettes” are accelerating or decelerating. 

E: We went into the studio with an idea, which is kind of bold, because you can always slow down a track in the production, but we actually played those with the click track going down in tempo and then there’s no turning back from that. Kai worked it out beforehand. 

K: And, in some vignettes, speeding the tunes up after the recording. The tonality changes when you speed the song up. So, we had to calculate what that tonality would be in reference to the changing BPM. 

E: There was a lot of maths going on. 

Do you think alot about sound-design in the recording process?

K: Yes for sure. To some extent, to not get it to sound like a specific instrument. A lot of the melodic sounds are a mix of some synthesiser and a prepared piano. 

Are there some other musicians present on the album, because at some stage I hear some double bass?

K: Yes I asked some friends that play bass to play these notes and do some weird improv sounds, and then I would chop it up afterwards.

E: The last single, “Creator of the Salt”, that’s that idea.

How do you translate that type of thing back into the live context again?

K: This is what we’ve had some problems with. In some sense many of those chopped sounds are the sound of the project. It’s pretty hard to replicate the same sort of idea live. 

But it will still just be you two playing live at jaeger for the album release?

K: Yes, but for Jaeger, because of the club setting. 

We discuss the creation and rise of Toy Tonics and the scene from which it was born with its creator Kapote ahead of the Toy Tonics take over at Jaeger

One of the most recognisable labels, both visually and socially, Toy Tonics has been a staple of record shops and DJ bags since that first Hard Ton record back in 2012. Born out of the Gomma label, Toy Tonics took the sprawling sonic universe of that label and focussed it towards the dance floor. 

It soon surpassed the expectations of founder and contributor Mathias Modica (aka Munk aka Kapote) who would channel all his efforts into the subsidiary, and eventually close down the parent label.  

Today Toy Tonics is known for its sonic identity as a dance floor label that impresses a musicality that goes beyond the repetitive loops of club music. A healthy stable of artists including COEO, Black Loops, Cody Currie, Sam Ruffillio and on occasion Kapote, relay a dance music born from the most physical exertions and cultivated in the metric language of machines. 

Between its base in Berlin and its origins in Munich, Toy Tonics undercuts the prevalence of Techno in the region with a unique approach to House music. Through their artists and extended family they’ve made a serious impression on an international audience over the course of their existence. 

Today, a Toy Tonics record is one of those records you simply take to the listening station. There’s an instant recognition there and a satisfied expectation that appeals to many. 

It’s an extension of the tastes and impulses of the man behind the label Mathias Modica and a very personal and individualistic sonic portrait of the modern dance floor. With a Toy Tonics takeover at Jaeger on the calendar, we caught up with the man behind the label and club night to talk about the meteoric rise of the label; its sonic identity; and the regional curiosities of running a House label in a Techno city.  

Recently, Techno has been awarded unesco heritage status in Berlin. As an artist and label operator, erring on the side of House (for the sake of simplifying), while working from a scene with closer connections to Berlin, what are your thoughts on this?

It’s quite funny;  isn’t it? They should ALSO have given this to Detroit, Chicago and Düsseldorf; the cities where techno as far as I understand it, was born. 

Düsseldorf because all techno basically is rooted in that mechanic, four to the floor, robot aesthetic that KRAFTWERK invented in the mid 70’s.

Chicago because there they turned the electronic dance music that the Italians created in the early 80’s into that aesthetic that was the basis for early house music and that later became the foundation of what the guys in Detroit turned into that was known as techno.

Berlin people in the early 90’s adapted that and made it bigger and created labels and clubs ( as well as Frankfurt and Munich people).

But culture is fluent anyway, and so it’s hard to say where a certain style comes from or who should get the applause or prizes… Techno and early house would not exist without the Japanese machines and synths,. so Tokyo probably could also receive UNESCO awards.. :)

What have been some of the difficulties and/or advantages in releasing House music in a region that is dominated by the harder styles of electronic music? 

I am Italian and was raised in Munich. As you might know the basis of house music is (Italian) disco.. . and also Munich was one of the 3 disco capitals in the late 70ies. Moroder, Donna Summer, Silver convention, Freddie Mercury have been living in Munich and created what was known as “the disco sound of Munich“. Munich was the capital of discotheques with more clubs than any other city in the late 70ies they say (in europe). So Disco and House music (that comes from disco) is in my blood and part of my culture. As techno comes from house music, it’s not far away.

Then the fact that Berlin is full of techno and trance clubs but not so many house people made it easy to grow here. It’s a fact that if everybody does the same thing, it’s not easy “to be special“ :) 

So when we started to make our Toy Tonics parties in Berlin 5 years ago, it went very fast from an audience of 300 people to 800 or 1000 people. And now we have a huge audience. We are in all the relevant clubs with our parties and that diverse, organic dance music we stand for. We are regulars at Panorama Bar and we do a lot of events in former techno clubs like OXI, Griesmühle or Funkhouse.

When we spoke to COEO, they also mentioned that the “Giorgio Moroder/Donna Summer/Musicland Studios history” in Munich might have something to do with the richness in music from the region. What are your thoughts on this, and do you think it helps with the fact that a label like Toy Tonics got such a foothold there?

Yes as I said above: when u grow up in Munich as a DJ and dance music lover you grow up with a lot of older people who have crazy record collections or have been partying with people from the Moroder clique or run record stores of former DJs that used to play record in these legendary places. Or you have DJ teachers that tell you about the disco times or explain how to play records in a real “disco way.“ I mean; Munich and New York club culture was in many years quite a parallel affair. So a lot of my DJ teachers used to go to Mancuso’s Loft or hear Larry Levan playing and they handed down these points of views on the way to “read a dance floor“ or “create a vibe.“ 

Would Toy Tonics have had the same success if it originated from Berlin for instance?

Toy Tonics was basically launched from Berlin because most of us live there, including me, who’s lived there for the last 10 years. I have been DJing in Berlin since I was 22 years old.

Berlin wasn’t always a techno town. In the years between 2002 and 2012 the key clubs were places like RIO, SCALA and others. Indie dance and a combination of Rock, Hip Hop, Disco and other styles was the cool thing. Everything was very colourful, including the clothes. 

The new wave of techno and trance started in 2012. It’s a revival, basically techno is a retro music from the 1990’s and it had  a big comeback after 2012. Now techno and trance is a mainstream pop phenomena with commercial festivals and DJ stars who get 200.000 euros.

House and indie dance are still small compared to that but soon this will change :) Like in the early 2000s, when techno and rave culture went underground again. And instead indie dance and house became bigger. In 1998 everybody wanted to be a raver, and the love parade attracted 1 million people. In 2003 there was no love parade anymore and nobody wanted to be a raver. Instead DFA records, London Nu Rave, Daft Punk and the French touch were the cool thing. Times are changing right now again.

Toy Tonics is very much an institution in Munich and the label is very much linked to the area, with mainly artists from that region signed to the label. What was the landscape like in the beginning for the label, and how has it developed since?

Actually it’s not like that, the only Munich artists we have are COEO. Munich has changed a lot in the last few years and it’s a technological city now. Apple and Google have their European headquarters there. That’s why I left the city 15 years ago and now live in France and Berlin. The Toy Tonics artists come from London, Italy, France, USA and Brasil,  Amsterdam, But most live in Berlin with me.

Your own history in music is about as diverse as the city itself, between your aliases Munk and Kapote, the labels Gomma and then Toy Tonics. What was your introduction into the world of electronic music and what informed your own eclecticism?

I come from a family of musicians. My parents brought me to classical concerts and jazz at an early age. I studied jazz piano but I was also singing in hardcore bands. I tried to be a rapper and produced electronic ambient stuff at an early age, so this eclectic approach has always been there. 

As I explained before, being in Munich and being Italian means you have dance culture in my blood. So in a certain moment it made sense to connect my love for good music of any type with the DJ culture and try to create my own thing.

With Gomma you really stretched the purview of electronic music, and the connection with the dance floor would be tenuous compared to Toy Tonics. What consolidated for you in terms of musical ideas by the time you created Toy Tonics and established the alias Kapote? 

 Around 2014 when we started Toy Tonics we realised that there will be a massive new wave of dance music based on the 4 to the floor aesthetic. As Gomma was an extreme, wild style label where we did everything from avantgard industrial hip hop (The Rammellzee) to freak folk (with the Franz Ferdinand side projects) and proto house (headman) or electronic experiments. With Toy Tonics we wanted to create a label that basically does only dance music. It’s based on high quality house- and disco culture, based on the funk of afro American and Italian dance music culture.

It’s not often you see a sub-label become the dominant label, but that’s a little bit of what happened with Toy Tonics and its parent label Gomma, I feel. What caused you to shift your main focus to Toy Tonics over the course of its existence, and how has it been informed by what was happening around you?

Everything has its time, and I always look to the future. I don’t like nostalgia or being retro. So I thought it’s fresher to close Gomma in 2015 and concentrate on new things, Toy Tonics (with a new crew of artists and partners) and Kryptox. Our sublabel for bands from Berlin.

What are the origins behind the name Toy Tonics?

It’s a fun way to write TEUTONIC, which is an old way of saying, “ the people who lived in the region where Germany is now”. 

Tell us a bit about that visual aesthetic that is so instantly familiar; where did it come from and what is the idea behind the unwavering nature of that visual aesthetic?

I am surrounded by artists and graphic designers. Many of my friends are artists, older ones with big careers and lots of success as younger ones who studied at art academies or were part of the Berlin underground scene. As I love art (and alternative design ), I  always thought I wanted to include this into the label. We also do fanzines, poster and t-shirt designs that we sell on our webpage and exhibitions. 

It’s fun to create a whole musical and visual universe that stands out. We did this already with Gomma records between 2002 and 2015 and now we do it again with a new team.

At Toy Tonics there is still this insistence on musicality in terms of artists playing instruments, but it’s always in perfect harmony with the insistence on the groove for dancing. What was the thinking behind this and what do you think it brings to any kind of sonic identity for the label?

 I think the best DJs and most interesting electronic producers are the ones who also play real instruments or have been playing in bands and concerts. You simply have a different knowledge about music when you learn piano or guitar when it comes to writing a track or song. You work with chords… and chords create emotions and vibes or if you are a drummer you make totally different beat patterns with drum machines.

So most of the DJ producers I look for on Toy Tonics have this kind of background and I am sure that makes a big difference. People who dance to our music or our DJ sets maybe don’t know about this background but they FEEL it.

Is it a conscious decision on your part to find artists that fit that sound or are you lucky enough to just be surrounded by these artists?

It’s a natural flow. I meet people or I’m introduced to people and then we hang out, we DJ together or talk about music and then things happen. 

Do you ever find yourself in a situation where an artist you really want on the label has submitted music and it doesn’t fit the sound or is perhaps not just not quite there and what do you do in a situation like that?

All kinds of things happen. Some people seem to fit and then others don’t or are not obviously perfect for us, but later we realised that we are a perfect match :)

As an artist that releases his own music on the label, how do you approach music you want to put out for the label?

I don’t release much music. I’ve probably made 1000 tracks in the last 20 years that have  never been released. I prefer helping other, younger people to make good music and in many of the Toy Tonics releases of other artists I have been helping or co-producing. Maybe this will  change, and I will release a lot of kapote music in 2024 :)

Is there some kind of critical consideration as a label owner that goes beyond what you do with other artists releasing on the label?

I am never happy with my own music, so I don’t do much. I prefer playing the piano alone at home. 

Toy Tonics is very much a label born from the nightclub dance floor. I believe there have been some situations where the introductions to new artists for the label have been made on the dance floor. How does what you hear out on the dance floor and your relationships with the nightclub inform what Toy Tonics is?  

If you go into pop music history you see that EVERY pop music started as a DANCE music. Dancing is the most natural thing to humans besides talking and making love :) So it’s super natural to make a music label that creates mainly dance music. Because GOOD dance music can also be music to listen to and the nightclub aka the dance floor is the place where general trends in music can be born. From the waltzes and Mozart’s minuets to Rock n Roll, Hip Hop or Garage Rock, that was all music made to dance to before it became “popular radio music“.

I imagine the Toy Tonics club nights are an extension of that. Besides bringing over artists from the label, what do you hope these nights try to convey to other audiences in other regions?

People should meet each other, talk and dance together, make friends and then fall in love, kiss and make babies. That’s all I want. 

Third Attempt introduces the band and picks the five performances and artists that has inspired this new evolution in the project.

Third Attempt is evolving again. As a solo artist Torje Fagertun Spilde’s Third Attempt project has already amassed a large discography, and today he’s no less than a consummate performer. He’s released albums that have enamoured and have transformed those tracks into live performances that move across dance floors with toe-tapping grooves.

Third Attempt is no stranger to Jaeger’s stage, nor is he unfamiliar with playing with others like Bugge Wesseltoft.  Now he’s ready for the next phase of Third Attempt, as he debuts the Third Attempt band at Jaeger this Friday. Leading up to the showcase, we caught up Third Attempt’s Torje  to find out a bit more about this next evolution and some of the live acts that have inspired his own live performances. 

What was the inspiration or idea behind putting the band together for this event?

Since the move from Tromsø to Oslo I’ve been on the lookout for somebody to play with on the regular. I’ve wanted to set up something like this for quite some time. Many of my tracks are either heavily sampled or recorded with real instruments. So it always made sense to engage in something more band oriented, besides the clubby stuff. Also after a great live round with Bugge Wesseltoft and Kristoffer Eikrem in 23, I found myself more and more inspired by the format. 

My childhood friend Jonas (drummer) reached out to me around a year ago, having moved back pretty recently from the east. He was eager to play and I accepted. I really have to give him most of the credit for shifting this concept into gear. We’ve seen each other progress since we were kids, so it made perfect sense. Didn’t take us long to get into it. 

After a few successful sessions, Jonas got Elias on board (Guitarist). Which completed the trio.

I usually am a bit uptight when it comes to performing. But these guys have really loosened me up a lot. It’s always a real good time when we jam together. I’m happy to say I’m really look forward to playing this friday!

Give us a short introduction to the other two members of the band.

Jonas and Elias met at UIA (Kristiansand) studying together. They both have a degree in music, and studied under big names like Jan bang, Øyvind Nypan (Jazz-legend) and Karl-Oluf Wennerberg (A-ha), to name a few. Recently graduating with impressive track records. Both are working as professional session- and live-musicians, Jonas has among many things worked with both local and national pop-artists. Elias is currently also active in his Norwegian metal-band called Våde. 

What will be the fundamental difference between this performance and a solo third attempt performance besides the obvious fact that there are more people on stage. 

This group is first and foremost exploring Third Attempt tracks in a brand new, organic setting. With more open arrangements and room for improvisation. Live elements make the tracks come alive in completely different ways. I guess you could say it’s a less clubby angle, more concert / show oriented. Still maintaining the recipe though. Spiking the energy with live drums and guitar, with a special nod towards funk, soul and disco. Visuals included! 

We asked Torje to pick Five  live acts and their concerts that have inspired this project. 

OMA Hip Hop Instrumentals (Live in Tokyo)

Torje says: Impossible not to link the entire performance. World class performance in familiar and unfamiliar hip hop instrumentals. Sounding great in a band setting which is rare in this genre. 

The hip-hop instrumentalists, OMA has been a social media phenomenon for their unique interpretations of Hip Hop classics. From the Golden Era to the post 2000’s pop hits,  OMA strip the tracks down to their instrumental components, where the samples return to their original state through the musicians. They put their own spin on it, but there is also something to the tracks they choose to interpret. All the MF Doom 

Glass Beams – Mahal EP

Torje says: Ninja Tune’s latest addition. Mystical, funky and hypnotizing funkyness. Really like the outfits and overall aesthetic as well.

One of Guardian’s “One’s to watch” this year, Glass Beams is Australia’s latest hyped export. Western sounds playing with eastern dialects, Glass Beams relay something exotic and mysterious in their musical approach and it’s only affirmed by their own mysterious visual aesthetic. Appearing behind face shrouds and playing instruments that look like they were born from Ursula K. Le Guin novel, the oblique band is an exciting curiosity.

D’angelo – Chicken Grease @ The Chris Rock Show

Torje says: Extremely funky. Good times overall. Probably in the top TV performances

The living enigma D’Angelo during his peak Voodoo period, before descending into obscurity and becoming a recloose essentially. Always shrouded in mystique, the reluctant sex symbol showcases his incredible performing talents for this rare archival footage from the Chris Rock show.

Little Indian – Live

Torje says: Nils is a visionary and a big inspiration. I have seen him live multiple times. In my opinion, this live version surpasses the original. 

Serene Jazz, punctuated by some trip hop rhythms and disembodied vocal samples. Nils Petter Molvaer combines that Norwegian tradition of advanced Jazz sonics with contemporary electronics in bringing something unique to the world. It’s a longstanding tradition personified in its latest phase by an artist like Third Attempt. 

Daft Punk – Around the World / Harder Better Faster Stronger

Torje says: Grew up on this duo. Alive 2007 in general is a great record. I think this is a creative mashup of all their hits. Huge energy. If I had to pick one it would be this. 

Probably still one of the best electronic live acts, Daft Punk were one of the first a dance music artists to take their music to arena- and festival stages. The robot-men know their way around a sequencer and synthesiser in a way that seems they are plugged into them, and during the Alive period they had found a way to manipulate them in a series of live shows and an album that brought a new dimension to their tracks. Here they consolidate two of their best known songs for an energetic peak time delivery. 

Semi Delicious and Lifetime on the Hips boss Demi Riquisímo talks about establishing his labels and more ahead of his visit for Bypåskefestivalen.

Demi Riquísimo and his label Semi Delicious thundered on to the scene back in 2019, and has since cultured a discernible sound that has garnered a lot of attention and praise in the club land. Its origins as an exclusive vehicle for Demi Riquísimo has blossomed into a cabal of familiar- and new artists perpetuating the sound of the label and has even spawned another label in the form of A Lifetime On The Hips. 

Built on the DIY ideologies of the roots of club music the sound of the label reflects that with dusty synthesisers and jittery drum machines touching on everything from acid to Techno and even early Trance prototypes. It’s a reflection perhaps of Demi Riquísimo’s own origin story as a Detroit born, London-raised record collector, but goes beyond that with a no-nonsense “if-it-ain’t-broke” attitude.

At its most functional the music is reserved for A Lifetime On The Hips with both labels adopting the vinyl format in their designs. While Semi Delicious is the flagship label, its sister is “all killer no filler” strictly focussed on the dance floor. It’s receiving the same kind of recognition as its parent label since its inception last year and with Demi Riquísimo at the helm perpetuating its ethos and sound, Semi Delicious, its sub-label and artists are gathering a lot of momentum. 

Demi Riquísimo (not his real name) is something of an enigma. We know there was some kind of DJ and production career before the moniker, but it’s clouded in the past and the way in which he’s established the new alias and labels, suggests an experienced history in this field. We are lucky that he’s obliged to answer a few questions for us ahead of his visit this week to Jaeger, so we could unearth a little more of the man behind the label and the ideologies. 

I understand from other interviews that DJing came first for you. What was it about the craft that drew you to it?

Yes DJing definitely came first for me. I was very intrigued by vinyl and a friend had some belt driven decks that I enjoyed having a go in my teens. When I moved to Bristol for university I soon got glandular fever which meant I wasn’t going out but I managed to save some money to buy some decks and a batch of wax. I practised non-stop. About 6 months later I did my first club gig. 

What kind of inspiration and/or instruction did you get from what was happening around you in Bristol?

When I was there it was very bass heavy and I was very much into jungle and drum n bass. This translated into my DJing and record shopping. I also started running nights with this sound pallet but as the years went on I started to incorporate other sounds and genres into the events and later on in my production. 

Your label Semi Delicious started concurrently as a vehicle for your own releases. How did it (and does it) relate to what you are doing as a DJ; do you see the label and your music as an extension of your sound in the booth?

I feel running the label is all about control about what you want to release and when you want to release it. I like to release music in the moment that I’ve personally finished recently or signed recently from other artists. I think this way I’m able to translate playing current releases in my sets. So many cases with other labels I would get music signed that came out 2 years later and by the time it got released I’d never play it at all. 

I know you studied production, but what was your relationship to making music before your studies?

Most of my friends I lived with in Bristol were quite big gamers which never really appealed to me. I lost my creative output after leaving school as I used to do a lot of art work to pay my time. So I downloaded a demo version of Reason 4 music production and really enjoyed it so I bought a copy and just got really stuck in. I think at this point my shift from DJing to producing became apparent in my spare time. 

I’ve read you started Semi Delicious out of a necessity since nobody in your extended music circle wanted to put your tracks out. What was it in those first original releases that made you want to put these out into the world?

I just really believed in the music I was producing. A few artists said it wasn’t for them when sent to them in the demo format. But the same DJs were giving the tracks five star reviews and requesting the vinyl when it was delivered to them in promo form. It’s funny how we judge our feedback on the way music is sent to us. 

What do you usually aim to achieve with your music before you set out on a track and where do you draw influences from outside of music? 

I normally start with some kind of sample idea and build around that. Or I turn on all the gear and have a jam. Sometimes going in with an idea is helpful but for me not all the time. Just triggering some weird sounds is enough for me sometimes. 

As Semi Delicious expanded to include more of your music and other artists, what were you trying to establish with the label in terms of a sound or a collective ideology?

For me the label is just about releasing good dance music and records that will still sound good in ten years. That goes for my music and others. The second ethos is creating a community of artists and friends where we can all grow up and rise together.

How would you describe that sound today and has it evolved since the initial releases?

I believe the sound is alway evolving and it would be too hard to describe the sound. If  you listen to the releases over the years and from the different artists so much of the music is very different and has its own identity. So yes for sure the sound has evolved since the initial release and will continue too.  

Last year you set up A lifetime on the Hips as a sub-label which in your words is “strictly all killer, no filler.” Why wouldn’t these tracks fit the Semi Delicious profile?

They would fit for Semi Delicious. The difference between the two labels is semi delicious is more eclectic so some of these big killer tracks would be accompanied by other types of music. 

What’s it like operating, not just one, but two vinyl labels today; What are some of the challenges you face and why this continued commitment to the vinyl format?

It is tricky and the costs always go up not down. But I feel as long as the demand is still there and the music is still strong and getting good feedback I’ll always be passionate to release on the format that is so close to my heart and reminds me of first becoming a dj. 

Do you think there will ever be a time when the format will not be sustainable anymore?

I thought yes to this 10 years ago but now it’s more popular than then. I feel this is due to everything becoming too accessible in the way we consume music in the last 10 years. I think people like to put the value back into the music they’re investing into. 

Besides your own label, what are some of your more recent acquisitions that are currently your go-to weapons for the dance floor?

I’ve always been a big fan of the label Tessellate and The Trip and their music. Love on The Rocks is a label I’ll always love and play music from as well. 

And lastly can you play us out with a song in anticipation of your visit to Jaeger?

‘Square One’ by Kosh is a track I’ve been playing in every set of late

The lineup for our annual Bypåskefestivalen is now confirmed with some familiar faces and new concepts joining the city blowout.

We leave the white powder to the mountain and take up residence in the beating heart of the city. It’s Easter and while the rest of the city hits the mountains and slopes we’re making our stand in our urban enclave of bass. The annual Bypåskefestivalen returns with our usual coterie of residents and guests taking over the long weekend at Jaeger. Double Trouble, Schmooze and Brus, Helt Texas, Flux, Frædag, LYD, Footfood and Moving Heads take residents over the course of the week with guest appearances by Skatebård, Demi Riquísimo and much more joining our residents across the two booths.

Our latest Sunday concept Moving Heads and the guys behind Schmooze & Brus and Flux mark new additions to the Bypåske concepts with each bringing their own unique take on the clubbing landscape to our two floors, from the airy heights of uplifting House music to the determined underground and platonic shifting rumble of Techno. Familiar guests like Prins Thomas, Skatebård and Footfood stay the course in 2024 with international visitors Shonky, Demi Riquísimo and Den Anden Side breaking up the local roll-call.

See the entire lineup here and find more information about the festival here and the individual events here.

27.03 – Prins Thomas + Isoebel + Skatebård 
                BCR: Anders Hajem + Henrik Villard + Perkules

28.03 – Helt Texas: Shonky + Normann + Ole HK
                 Schmooze & Brus: DJ Stuk & Salamanca + Max Lok

29.03 – Frædag: g-HA & Olanskii + Demi Riquísimo 
                 Flux Collective x Den Anden Side: Bjerregaard + Matriark + Johannes Astrup  

30.03 – Nightflight x Lyd: Nora Pagu + Olle Abstract + MC Kaman & Kash

31.03 – Footfood: g-HA & Olanskii + diskJokke + Vinny Villbass
                Moving Heads: Casablanca 303 + Tonchius & friends + Hetty & J André

We fired off some questions to Munich/Berlin-based duo COEO as they head to Jaeger for Schmooze and Brus this Friday and talked about origins, Munich and their keenness for Djing.

Florian Vietz and Andreas Höpfl are COEO and they have been making music together since their teens in Munich. They started making an impression in the age of the music blog, and their tracks like “Get Down” hit an immediate nerve with their deep, luxurious sound capturing a zeitgeist that dominated the dance floors at that time. 

As the time went on their music matured, but never losing touch with that youthful charm that they’ve cultivated early on, as they folded elements of Disco and Jazz into later productions. Their long standing relationship with Munich-based record label Toy Tronics, have provided a consistent platform for releases from the duo with labels like Razor and Tape and Shall not Fade also flocking to their music to break off a piece of COEO for themselves.

Their latest record “Rush Hour” finds the duo in an energetic furore, charting a course for bigger rooms. An uplifting melody bounces between tireless beats as strings smooth out the arrangement. The duo’s history with 90’s Hip Hop and a legacy of Georgio Moroder and Donna Summer in Munich have coalesced around a distinctive sound for the pair, built on the foundation of those earliest releases.

Their work in the studio has built bridges to the world‘s most sought after DJ booths and as DJs COEO are equally adept, garnering a reputation today as one of the most enigmatic DJ duos out there. They’ll arrive at Schmooze and Brus this week and we took the opportunity to find out more about their early days, their relationship with Toy Tonics and the future of COEO.

Hey guys and thank you for taking the time to talk to us. I’ve read some interviews and I know you were friends long before COEO. What was the catalyst for you to start working on music together?

Florian: When you are young you are full of energy. We wanted to be creative and start our own project. Everything you see on TV or hear on the radio is so far away, but when you start listening to underground hip hop or electronic music you realise that this is music by young people and for young people and you can be part of that scene. We wanted to be like our role models and I think this was the catalyst of starting to make music.

Andreas: And also our acquaintance with a crew called Scrape Tactitions, who were very successful in the turntable championships- the ITFs, International Turntablist Federation- played a big role for us, because it also got us very involved with DJing and the possibilities that turntables offer.

Were you working on music individually before then, and how did you find yourselves adapting to each other in the studio/creative endeavour?

Florian: No, we haven’t had any solo projects before and couldn’t even play any instruments when we started our duo. We were 15 when we bought our first turntables and DAWs for sampling music. In the beginning it was a slow autodidactically process and more like a learning by doing thing. But we were growing with our own tasks. By the time Andy was studying audio engineering and Florian learned to play piano. In the studio it never looked like Instagram producer videos where people are jamming together. Working in the studio together can be really annoying if the second person sits next to you and has to listen to 150 kick drums you can choose from. We prefer to work on ideas on our own and then finish tracks together. It can be really helpful to hear someone else’s opinion. :-)

As I understand it you are based in Munich for the most part. Munich has this incredible House music legacy. Tell us a bit about the scene there and how it shaped the start of your career.

Andreas: Of course, Munich was a great influence. When we went out at night, we were always soaking up the music and the atmosphere at the clubs. For its size Munich always had a more than adequate range of clubs that played house music. In the past we had magic nights in clubs like Die Registratur, Erste Liga, Awi and Kong, nowadays we love to go to Charlie, Goldener Reiter and Blitz- just to name a few. But at the moment we have to attend our own shows so we don’t show up there that often anymore. Moreover I moved to Berlin.

Florian: But also Munich based labels such as Toy Tonics and Public Possession give a lot back to the scene. They give artists a platform to create art, they throw parties in museums or off locations, sell fashion in their stores and thus gather a lot of young talented people around them. Many house Djs like Max NRG Supply and Rhode & Brown have radio shows on Radio 80K which is Munich’s most important community radio. We also love Benjamin Fröhlich’s Permanent Vacation label which has an incredible output of tasteful contemporary house music.

I feel that the city has always been this dark horse on the scene, bringing more provocative artists like DJ Hell and Skee Mask to the fore, as opposed to Berlin for example. What are your experiences with the scene there compared to the rest of Europe and what makes it so unique in your opinion?

Andreas: Good question, maybe because of its Giorgio Moroder/Donna Summer/Musicland Studios history Munich has always had a great sense of self confidence and has not looked to the left or right. This could be the reason why it has developed and preserved its own style until today. In general it makes no sense to compare cities like Munich & Berlin, or Paris & London, as each city has shaped its own culture, and that’s a good thing as it ensures a high level of diversity.

What was it about House music that particularly appealed to you, and is it something that has always been there for you both as a group and as individuals?

Florian: I remember getting tired of Lil-Jon-esque Hip Hop in the 2000s. I loved midschool 90s Hip Hop, but the presence of mainstream hip hop made me search for something more different and more real. Being a kid in the late 90s I only knew house music as pop projects in the charts. As I grew older I discovered house music again from a totally different perspective. In the beginning there is the Charts-Dr-Alban-house music, but finally you understand and share the values of this whole movement. We quickly fell in love with 4-to-the-floor music.

With the Techno scene being the prevalent thing people associated Germany with, what does it take for a House act like yourself to make an impression and have you witnessed a change in attitudes since coming to the fore?

Andreas: Of course, techno always had a big presence in Germany, and of course it still does today. That was probably one of the reasons why we were first successful abroad and only later managed to gain a foothold in Germany.

When it came time to make your own music and leading up to your first single “Get Down” what was it solidified for you in terms of the sound of COEO?

Florian: Before that time we were experimenting a lot with music like Ramadanman and have never been fully satisfied with the result. With releasing Get Down on Globelle we thought this is the sound we want to make for the rest of our lives. From today’s perspective we think that it was not our best production. Especially technically we would make a lot of things different today, haha. 

I remember that track hitting a nerve with the blog community at a time when blogs had such a strong influence. What are your memories of that time in terms of how that track was received and what did mean for you going forward with the project?

Florian: It was a special time when the possibilities of the internet were explored and some nerds put their knowledge about music on the net. I remember that we listened to or read some blogs like “beatelectric” several times from the first to the last post. Every now and then I catch myself going to old blogs we loved and hoping that they will be continued, but unfortunately many of them are no longer existing. 10 years ago these sites were a big part of the scene and super important to get attention as a small artist. And of course we were proud of being featured on these pages and getting a lot of positive feedback.

Those early tracks are luxurious adventures into the deeper realms of House music, and it came at a time when Deep House was really the sound du jour. Was there anything in the air for you at that time which moulded the sound of those first releases, and what is your relationship with those early records today?

Andreas: Indeed, we were strongly influenced by and loved Deep House music at that time. We still like our early records, but I think we have been listening to our own releases too many times, haha. After playing it a thousand times you are no longer feeling it the same way. And that’s why we are always a bit critical about our music. But this is okay. ;-)

It was not long after that, that you released your first track via Toy Tonics, in a relationship that lasts to this day. I’ve heard the story of how you met some of the people in a club in Munich, but what made you want to release music with them?

Andreas: We have been fan of Mathias Modica’s (Kapote) music long before he founded Toy Tonics. We loved his output as Munk and saw him play a few times in Munich. Gomma was his label before he was running Toy Tonics. After we found out that Mathias started something new we paid a lot of attention to the new label and quickly realised that our music is similar to the music Toy Tonics is releasing.

They already had some success with a couple of Hard Ton releases at that point. Was there anything in their sound that you felt coincided with what you were doing and did you feel you had to adapt to the label at all?

Florian: My impression is that both the label and we have been in some sort of a discovery mode at that time. We didn’t think we had to adapt to the label that much. We were just hoping that they liked the music we produce.

Listening to a record like Feel Me (2014) and then Music for Friends (2021) the fundamental elements are still there, but there are elements of Jazz and Disco that have taken more of a foothold in these later records. Is that something that has matured in your own music, and is it something that matured alongside the influence of Toy Tonics?

Florian: Jazz and Disco have always been essential for us. We grew up with 90’s hip hop and house music that sampled a lot from the disco era. This is also how we got in touch with music from the 70s and 80s and we still love it. But I guess our sound always corresponded with the Zeitgeist at that time and the years before covid have seen a huge Disco revival on dancefloors in Europe. We loved it and that’s why our productions were a little bit more organic than in the beginning. Toy Tonics was going through a similar development and of course also had a big influence on us.

There’s more of this Disco / High Energy sound in your latest release, Planet Earth. Tell us a bit about this release and what were the sonic goals you were trying to achieve with this one.

Andreas: With this EP we set ourselves the goal of making a dancefloor record that covers different aspects of a club night. Fast or slow peak time tracks, but also tracks to start an evening with or to play at a later hour. We wanted to show a facet of ourselves that you don’t necessarily get from us when you go on spotify and listen to our top plays, which give the impression that we still specialize in disco edits, haha. Here the focus is on showing a little bit of the range of what music we like and play in our sets.

Besides these new elements, what do you feel has been the greatest evolution in your music in your opinion between something like Feel Me and Rush Hour?

Florian: Feel Me was heavily influenced by Leon Vynehall’s remix of Kevin Griffiths’ Acid Splash. In the early days you try to produce and sound like your role models. Sometimes it works and you get a result you are happy with that sounds like the original. Sometimes you end up somewhere else. This can also be fine but also means that you can’t exactly realize what you plan or imagine. I think this is the biggest difference to nowadays. We know exactly what kind of music we like, what kind of music works on the dancefloor and what synths or drums we have to use to make a track sound like this or that. This is the evolution. With the experience we have nowadays we can realize our ideas easier.

Your staying power has been impressive, especially at a time when social media and the internet creates such a volatile atmosphere for music’s relevance. What do you put down to that consistency?

Andreas: One thing for sure is passion- we honestly love what we do. Another thing is that we simply love every kind of music and we don’t limit ourselves to a certain genre. If you get bored of the same sounds I think it feels natural to try something else and move on.

As an artist it is good if your music continues to develop. When we were kids we didn’t understand why A Tribe Called Quest’s The Love Movement was produced by Jay Dee in the beginning. It was no longer sounding like the sample Hip Hop of Low End Theory or Midnight Marauders. But after a while we realized that this was the sound of that time and they were taking the next step. 

Nowadays we love the album and understand why an artist sometimes changes its sound. Maybe you don’t follow a “How to build your own franchise”-guideline when your sound doesn’t sound the same over the years, but for us it was never primarily about the money. We want to produce what we feel and what feels right for us. In the beginning it was deep house, then we were producing a lot of disco edits and disco influenced house music. Now our sound is becoming a little bit more ravier again and we welcome Italo and Prog House elements in our productions.

Your touring schedule as DJs has kept you pretty busy these days and I suppose like all other artists at the moment, the releases are just a way to get you into DJ booths. Do you guys feel that is the case and has DJing taken a centre stage for you in recent times?

Florian: Yes, indeed, Djing has taken a centre stage for us. We have even found little time to work on new output in recent years, but this is not necessarily a problem for us. We really like what we do. And we are very grateful for what we call our jobs.

What is it about DJing that scratches that creative itch for you?

Andreas: If you are on the hunt for a special records for ages, you finally hold it in your hands, play it and the people on the dancefloor go crazy, it is one of the best moments you can Imagine. 

Is it something that you assume is an extension of your work in the studio or do you feel it’s something completely different and does that ever feed back into your work in the studio?

Florian: Of course, it always affects our productions as well. We want to make music that (also) works on the dancefloor and makes people feel good and ecstatic.

How do you feel you compliment each other musically in the DJ booth and is it the same in the studio?

Andreas: Over the years we have become a very well-rehearsed team, maybe because we talk a lot about music we discover. 

Your sound as artists and DJs is something I believe resonates with what we do here at Jaeger. For the uninitiated, what can they expect when you visit?

Florian: People can expect a high energy journey that ranges from classic house to progressive house with some percussive breaks and excursions to disco.

And lastly, can you play us out with a song?

Andreas: Nanda Rossi- Mil Coracoes (Max Hammur Edit)

Dandy Jack speaks ahead of his visit this Saturday for Det Gode Selskab‘s monthly club night at Jaeger. We talk early days the future and his next record on Det Gode Selskab’s upcoming VA.

Martin Schopf has been at the confluence of electronic music for as long as Techno has been around. From the obscure experimentalist to rhythmical wizard, he has garnered success at various points of his career in many different guises going by his alias Dany Jack or the many variations of that moniker since the early nineties.

At the height of his popularity he and compatriot and friend Ricardo Villalobos ushered in a new and wholly unique era for Techno as the minimal tag appeared on the scene. Releasing records alongside Ricardo as Ric Y Martin or as a solo artist, Dandy Jack became a household name in record bags and DJ booths.

He’s released classic records in today’s terms on the likes of Perlon and has worked with everybody from Atom ™ to Matthew  over the course of his career.

Best known for his adept hand as a producer it was a world away, and again not really, from the DIY beginnings of the industrial electronic movement he first encountered in Berlin back in the eighties; where he as a young Chilean seeking refuge from a dictatorship started developing his artistic voice.

Today, he calls Geneva home. It’s a “very calm city” compared to Berlin, he says over a telephone call, “but good for making music.“ He is still very active on the music front, and his next release is on its way. The track, called Divine in Chile, comes courtesy of Det Gode Selskab’s next compilation Jack’s Favourites #3.

It’s an explorative Techno creation that goes as deep as the mariana trench, while a female vocal entices with its siren-like charm. Dandy Jack is in full effect here channelling those always-present latin-infused influences through his enigmatic grooves. There’s always a hint of experimentalism that follows his music, but it’s curtailed from spiralling out of control by the magnetism of the dance floor.

It’s this release we’ll be celebrating this upcoming Saturday for the next instalment of Det Gode Selskab at Jaeger and we get in touch with a chipper Martin, preparing for his upcoming set.

Dandy Jack: I’m really happy coming to Oslo, to see my friends.

Mischa Mathys: It’s not your first time playing here. Do you remember the last time?

DJ: It’s been a while. The last time was with Sonja (Moonear) 3 or 4 years ago.

MM: Are you and Sonja still together?

DJ: Not as a couple, but we’re still friends. We live in the same city, and we take care of our daughter together.

MM: And do you still collaborate on music?

DJ: We are not collaborating on music at the moment, but we are working together on the label, Ruta5. Sonja is quite busy, so I take care of almost everything, but we put together parties and everything else to do with the label.

MM: I see there are constantly new releases coming from you, not just as an artist, but also producing other people’s things. Are you in the studio every day?

DJ: Yeah, every day. I’m doing three things: I’m making music for me; I’m producing music for other people; and I’m teaching. I also organise workshops, I’m travelling quite a lot and lately often to Ukraine.

MM: Are you teaching production?

DJ: I teach how to mix down, and how to use compressors and mastering. Everything with Ableton, basically. I think I have a good knowledge on how things should sound.

MM: They couldn’t ask for a better teacher. You have over 30 years of knowledge in the field of production. Do you feel that you have to disconnect as an artist in order to do the other stuff?

DJ: This is perhaps a problem. I can have too much influence on my students and those people that want to be produced by me. In the end, it sounds like I did it. I become something like a ghost producer, but that is also OK, I don’t have a problem with that.

MM: And then there’s also the artists you put out on Ruta5.

DJ: I try to integrate a lot of other people, but when you take somebody on to the label, you also take on the responsibility. That’s more difficult.

MM: You mentioned you’ve signed artists from Ecuador and Japan, and you’ve worked with a Venezuelan girl too. That’s quite a global reach.

DJ: Ruta5 was born in Chile so I get a lot of requests from South American artists. It’s not frequently that I hear something interesting, so I’m also open to accept artists like this Japanese girl too. I always have a personal relationship with the artist and the goal is to create a friendship. Recently this young Russian woman who wants to release on my label; that for me is incredible.

MM: You don’t think this might be a bit controversial considering that you work in Ukraine as well?

DJ: I don’t like to politicise this thing, because people are people. She is not a Russian, she’s just a human being to me. A lot of Russians are also victims of their situation. I’m talking about young musicians. The next generation of young musicians, they just want to express themselves, and they can’t leave their country. I can relate because I also lived under a dictatorship in Chile and left the oppression and torture. You can’t open your mouth, otherwise you end up in jail. It’s horrible.

MM: I actually wanted to ask you about your time in Chile under Pinochet, because seeing the world as it is now, it’s gotta be quite relevant to your own experiences?

DJ: It’s a really frustrating situation at the moment. The illusion that humans could change is not happening. I have a feeling that we still need some generations to make a society work with establishing new interesting values, because the values today are down. It’s horrible what is happening now. Wars and people killing each other like in Gaza, it’s a horror trip.

MM: Let’s rewind to when you left Chile under the dictatorship for Berlin. What was Berlin like during that time?

DJ: We were all really young and enthusiastic. There was a lot of hope, thinking we could change the world. It was a very creative moment.

MM:This was the 80’s and I want to ask you about Sub Rosa, the first project specifically.

DJ: I was 16 years old.

MM: That was more industrial to what you are known for today.

DJ: It was inspired by Throbbing Gristle. It was pure industrial music like Cabaret Voltaire. These guys were inspiring, and I had the capacity to value this music. Many people didn’t understand it. I grew up during a time when people were listening to rock music like Santana. When I listened to On the Run from Pink Floyd the first time, I was 8 years old, and I was shocked by the depth and the possibility in music that makes you travel. This was the fascination in electronic music for me.

MM: Did you always have this association with the dance floor in terms of this type of music?

DJ: The dance floor came much later. In the beginning I didn’t agree with this Techno movement from Detroit. I found it a bit boring. It was depressing to experience this wave of electronic music coming into this world of electronic music, which I considered much more open. It was too simple for me.

MM: So what changed?

DJ: If it wasn’t for Ricardo Villalobos who said; “Martin, stop refusing and come to a club with me and dance to a boom boom boom, ” I wouldn’t be doing it. Back in the eighties, we had this inner conflict in our group, but in the end I accepted it.

MM: Was it that atmosphere in the club and listening to the music with other people that changed your mind?

DJ: Yes, it was about me leaving my arrogance at the door, and then I understood the complexity of the simplicity. I realised a dance track can also be interesting.

MM: People don’t always realise it’s not just about programming a drum machine. It’s about a groove and without it, the machine is just a metronome.

DJ: Yes, and I also had my latin influences to fall back on, like cumbia. Latin American music is rhythmically more complex than Techno. I had to find a way between both; the complexity of the rhythm combined with the industrial sound.

MM: As you started combining these sounds, at what point does it become second nature to you and you start putting records out?

DJ: In the beginning we were just copying tapes. James Dean Brown was a bit older than me and he was already connected to people from the 80’s industrial stuff. He had four tape recorders at home and he was running a tape label. We started making tapes in the beginning. The first record I made  was a project with Tobias. At that time he was called Pink Elln. He made the first pressing of a single that we did. It was a 45 and we distributed it by hand.

MM: Working in Berlin, as somebody from Chile – an outsider – was it difficult getting your foot in the door and into the scene there?

DJ: Yes, it was super complicated. In the end, me and Tobias, we split with another person in the group because he wanted to continue in the industrial stuff, and me and Tobias were making more “commercial” stuff. We got a contract with Sony music. If you listen to that music today, you understand it is far from commercial. It was an interpretation of commercial music that we had in our head when we were 23. Everything was new, and nothing was established.

MM: And then you hit a nerve and people like you and Ricardo Villalobos ushered i n this new era for Techno music. What was key to that success?

DJ: We had the opportunity to grow up in a moment when everything was fresh. There was also this mix between the moment, talent and the mission. You need all three elements to do what you are doing and then it obviously inspires a lot of other people. We were not trying to make a repetition, we were trying to make something out of nearly nothing. Everything came together in terms of what was happening with electronic music and the industry.

MM: Considering your early music and what you’re doing now, do you think you were ever pigeonholed during the Perlon era?

DJ: I was doing so much more stuff than what was released; thousands of tracks I did in the moment. I have the impression that my inspiration is not always the same. I like this phenomena that music looks like a camera. We live in a frame of time that is really small. I can still live from the ideas  developed ten years ago and it still sounds amazing.

MM: Let’s fast forward to the present. We have to talk about the next Det Gode Selskab release. Do you remember making Divine in Chile?

DJ: Yes. This girl (vocalist on the track) comes from Hip Hop. She’s a young girl from Venezuela and I met her on the street. She sings and raps really well and her approach to music is, she wants to be famous. When it came time to record the vocals for this track, she came with her own vocal producer. I played her 5 – 10 tracks of mine and this one, Divine in Chile, was the most harmonic one. For me it was an experiment, and I’m quite happy with the result.

MM:  Was it always intended for Det Gode Selskab or was it just a result of what you had on  hand at that time?

DJ: At the moment when they asked me, this was the best track I had to give them.

MM: Is that a request you get often; to make tracks for other labels?

DJ: Yes people ask me to make a track for them, but I don’t do it very often. I did this because Det Gode Selskab are my friends and I like to support them. I usually keep it for myself and turn it into four tracks, and put it out on my own label.

to be continued…

At the end of 2019 things couldn’t have been worse for Niilas, but then an album, a Spellemann and a new defining sound ushered in a new era of success and creativity

The winter of 2019 was a strange time for Peder Niilas Tårnesvik. He had just broken up with his girlfriend of 7 years, and then a double tendonitis in his wrists and then an eye infection exacerbated the situation. Just when life looked its bleakest and things couldn’t get possibly worse for Peder the pandemic arrived too and shepered in an unprecedented time for our society and more turmoil for the artist called Niilas. “It felt like my life had crumbled to pieces in a matter of weeks,” he says over a telephone call in a raspy voice. 

Things started looking up however. “At the exit of that long and dark tunnel, I had a closer relationship with making music,” he continues. Back in 2019, as he was working his way through that “fairly extreme” experience of a relationship ending, illness and the pandemic, he found solace in the music he was making and as he forged a closer relationship with that music some things began to click for him.

Niilas had been making and releasing music since 2014 and had even found some early success, but there was always something missing. “I got a lot of wind in my sails early in my career and I was comparing myself with Kygo, Røyksopp and Cashmere Cat; all these really big stars.“ It “almost destroyed everything,” however, as Peder used these artists as a watermark in his own career, an unattainable goal in reality for an emerging artist only at the start of his career.. “I put a lot of pressure on myself to become mainstream successful.“

Tracks from that era like “Ocelote” are uplifting sojourns through tropical hues of synthesised mallets while restless beats move listlessly from phrase to phrase in continuous evolutions of the rhythms . They are crafted meticulously and clearly touched a nerve within the zeitgeist,  but capitulating to what was happening around him only left Peder “really frustrated with the music scene.”

Peder kept releasing singles and EPs however, racking up the plays and the streams, and even though there was a relative hype around him and his music, he would never come close to those millions of streams and plays he sought. The frustration only intensified as a result and he kept “stumbling into creative walls, not finding my place in the music scene or finding my sound.”

Niilas performs River of Noise live at Jaeger

It would take the experiences of the winter of 2019 for a sonic identity to emerge for Peder. When he began putting the tracks he was making together, the red thread that would form the foundation of the album would reveal itself. Instead of chasing those unattainable reaches of success, he simply succumbed to the music. “After that process of letting go of all the expectations and comparisons; that experience really helped me in transitioning into the artist that I have now become.”

“Pieces fell into place” for Peder and his artistic identity in the album, because it solidified the sound of Nillas, where there was definitely a “before and after.” It brought something innately personal to the fore in the process and he found himself delving into the deep recesses of his psyche in something that laid buried in a collective history. He hadn’t really explored these recesses much in the past but within the context of this new music he was making a latent cultural heritage revealed itself in the artistic endeavour. “It has a lot to do with integrating the Sámi aspects of my identity,” he explains.

Peder is Sámi; a direct descendant of the indigenous people of northern Norway (Sápmi) and today their cultural heritage is polluted in the muddy waters of Norway’s politics of forced assimilation and of the discrimination the Sámi people have endured since the creation of a Norwegian state. Many people have lost their cultural identity and for Peder it was about redefining that in his music as he started to consolidate the themes and concepts around this new era of Niilas. 

It wouldn’t be easy though. “Since I don’t have the Sámi language and the traditional Sámi joik; I was struggling a bit figuring out how the experiences of coming from a Sámi family and coming from up north in Sápmi, how can that work in the electronic landscape.”

If it sounds abstract, that’s because it is, especially in the context of electronic music, but there is something peculiar to the music on “Also this will Change”. It taps into some natural instinct and an immersive sound quality. Synthesisers and samples gallop in and out of some vague idea of a time signature, following “circular way of thinking about time and structure within music.” Peder likens it to walking a mountain or forest path; “Even though the path is the same and the person is the same, there are always a lot of variables. It’s a lot about shifting perspectives between macro and micro.” 

It’s impossible to ignore that exchange between the natural world and the music, as field recordings and the burbling nature of the music make some direct associations with the Sámi’s own concepts and ideas of nature. It goes as far to speak of similarities between many indigenous traditions from other parts of the western world. At a recent event in Iceland, Peder  was struck by the musical concepts he shared with other artists from other “indigenous communities” like Greenland and Canada.” They particularly resonated with the “seemingly common ideas of connecting with nature;” in what seems to be a universal ideology in a culture that lives off the resources of the world around them. There is often a natural sympathy and a calm balance with nature in these cultures. 

This is something that definitely feels like it’s in the air at the moment with the winds of change blowing throughout indigenous worlds. From TV shows to movies, music to visual art, there has been notable activity from indigenous artists making their mark in popular culture at the moment. This cultural wave has largely fallen on this next generation’s shoulders as they, like Peder, try to grapple with a cultural heritage they might have lost through decades, if not centuries of discrimination.

Peder is not trying to be “overtly political” in his music, however. “I wasn’t bringing up this thing as an active choice,” he explains. “ In retrospect, across the whole Sámi community, people from my generation are taking their Sámi heritage back, and for my parents’ generation, dealing with a lot of the family trauma they were exposed to, and figuring out what to do going forward. And for my grandfather’s generation, they are also dealing with on-hand experiences of Norwegian society mis-treating their rights.“

“At the time it just felt that this is something I have to do right now, and I’m not sure why.” It’s easy to see it today in the context of the shifting opinion of a cultural wave moving across Scandinavia, but back in 2020, when Peder released his debut LP it wasn’t like he was tapping into this wave and even if you know nothing of his cultural heritage the music is still there without its reference points.

While, in the background there is this cultural heritage and the artist making the music, the nature of this stark electronic music, often without vocals, doesn’t insist on it. As Niilas, Peder folds in an eclectic palette of references in his music. From broken beats, to four to the floor  House music, to ambient constructions, he makes land on each musical island as he journeys toward those uncharted territories of what Sámi experimental club music could be. He’s used recognisable tropes in popular dialects of western electronic music as stepping stones towards this goal. He’s a product of his generation and like his peers his “artistic upbringing has had a lot to do with finding an immense amount of music from all over the world” through the internet.

From Flying Lotus to Biosphere, these have all informed a broad sonic landscape of influences. In the past, Peder, in search of a musical community online, was trying to harness all these influences and musical touchstones in making a connection to the “strange phenomenon” of the “deconstructed club music” community. Through the ideas of that community, Peder had created all these “fake rules that you found for yourself online” and promised never to make a four-four track. Armed with this set of rules and chasing the success it never really manifested for Peder in the way he’d imagined and he soon realised that this  “can be really destructive for the creative process.”

“I just let go of all of these rules and realised that making a House track is not the end of the world. When you let go of trying to have too much control over the material, the artist within shows up.”

Racking up a further three (“and a half”) albums in the same amount of years, Peder has cultivated an artistic sound that seems to be endlessly creative and the results speak for themselves. In 2020 he won the Spellemann prize for “Also this must Change,” an honour that validated his new sonic identity and “was a big confirmation that I’m not just making it for myself, but other people are actually listening to it.”   

It put the wind in the sails again, but this time there is some substance to it, and after following his debut with “Stepping Stones” and an ambient indulgence called “Hydrophane,” he closed out 2023 with his most recent album “River of Noise,” a record that has been lauded as much as his first.

River of Noise doesn’t mark any kind of departure from his debut or the albums leading up to it, but something broods beneath the surface. Tracks like “5th floor” almost completely dissolve themselves from any natural associations but you can still find those cultural touchstones in the names of the intro track or the quaint fiddle coursing its way through “Pyromid.”

The album is the penultimate step on an evolutionary ladder that finds Peder moving into slightly different territory. “Through the last 4 albums, I’ve been going through what the Sámi experience has had on my music and now it feels like I’m not dealing as directly with those Sámi influences, but working with those colourful dance tracks. They don’t have to be part of this heavy concept.” He’s already finishing up a couple of tracks in this vein, but at the same time he’s just finding enjoyment in the act of performance, whether playing live or DJing. 

The Spellemann is there on the shelf, but the ultimate validation for Peder these days is that “connection to the audiences. People get something from the music. That’s where the juice really is, it’s not getting a superficial award – but it’s easy to say when I’ve actually won it.” (Laughs) 

* words by Mischa Mathys

We discuss the prevalent appeal of Olav Brekke Mathisen and Sideshow Jøgge’s N.A.O.M.B with Snorkel’s Olefonken and Snorri as the album gets the reissue treatment from the label and an official release party at Jaeger this Friday.

There are albums that live outside of their time. For a multitude of reasons, they never truly get the recognition they deserve. They might even inform a zeitgeist, and still not garner the same kind of distinction that their peers enjoy. It’s almost like they’re designed for obscurity, cultivating a brief dalliance with their audience before disappearing from view. Like a one-night stand at a star-crossed intersection it’s a fleeting encounter destined for wistful nostalgia. 

There are those however that never forget that encounter; hold onto it for a lifetime as a memory of sonic perfection they strive their whole career in an attempt to pay due diligence. Snorkel records’ Olefonken and Snorri are those kinds of people and Olav Brekke Mathisen and Sideshow Jøgge’s NAOMB is one of those albums. 

NAOMB or Nugatti all Ova me Butty came out over twenty years ago. It was a record that made an indelible impact in Oslo’s space race towards a “Nu” era of Disco at the time with artists like Prins Thomas, Lindstrøm and Todd Terje at the helm of the ship. While the aforementioned went on to great heights, Olav and Jøgge broke off at the first stage, making a contribution that was brief, but no less significant. International media outlets like Jockey Slut were quick to sing their praises, but as their one and only LP, and very little else in the form of music to follow from the pair, they kind of slipped into obscurity, at least in the music scene.  

Jøgge would become an actor, and Olav set his sights on writing, neither to ever venture into the world of recorded music ever again. You could argue if they had kept at it, NAOMB would enjoy the same kind of reverent awe as those first Prins Thomas and Lindstrøm records and as an album there is no reason it couldn’t still hold its own alongside some of Oslo’s more revered albums. Analogue synthesisers and grooves made for dancing bounce through 12 tracks, and they’ve hardly aged. The timeless nature of the sounds and their breadth of their musical dialect provide a touchstone from almost every decade of “dance” music; from progressive funk of the 70’s; the post-jazz inclinations of eighties and even right up to the French staccato of late 90’s House, it’s all there and it’s survived remarkably well. 

While the duo’s inactivity in the music scene might have certainly played a role in the album being largely forgotten there are still a few musical diehards like the people behind Snorkel, that will endeavour to shine a light where necessary. After a chance encounter with the pair, NAOMB gets the reissue treatment and what they’ve done is installed it in its rightful place in the Norwegian canon of music. As the label prepares for the official release party at Jaeger and the duo prepare for their accompanying live show, we got in touch with Snorkel and hopefully Olav and Jøgge to find out more about the origins of the record and its significance today. 

How did you meet Olav and Jøgge?

Initially, we were just kids trying to keep up with the cool of what our older brothers and their friends were listening to at that time, and Olav and Jøgge was one of them, so we were lucky to see them play live several times and thought they were cooler than a popsicle! And against all advice, we later took the plunge and actually hung out with our boyhood heroes. Lucky for us, they turned out to be two loveable guys! 

Has N.A.O.M.B always been on the back of your mind as something that you want to re-release, or was it triggered by the chance encounter?

N.A.O.M.B had always been on the back of our minds ever since we heard it at high school. It’s like the plague – you can’t get rid of it even how much you try – the only difference is that you don’t want to get rid of it either. It’s like a black cup of joe on a moonless night! 

That said, Snorkel wasn’t initially conceived with reissues in mind, despite our deep admiration for labels putting in the work to unearth exceptional music. However, two albums left an immense impact on our musical taste: dibidim’s debut album “Riders” and Olav Brekke Mathisen & Sideshow Jøgge’s “N.A.O.M.B.” If you plot these albums on a spectrum, everything in between shapes the Snorkel sound today. This release is the final token atop our totem pole, the foundation for everything else to come.

What was it about the record that endeared you to it in the first place? 

When we first laid ears on the record, it was like the musical equivalent of finding a hidden stash of chocolate in the vegetable drawer – delightfully unexpected and rebellious!

What were Olav and Jøggee’s reaction when you told them you wanted to reissue it?

It seemed like they didn’t believe us at the beginning. It was probably only when we started showing up at their doorstep that it dawned on them that we were serious! Now that it has become a reality, they have showered us with joy and gratitude, something we find peculiar and surreal to grasp, considering that for us, releasing this on our own label is a dream come true!

Did they tell you what was behind that title and the acronym for “Nugatti all Ova me Butty”? 

Oh, we never mustered the courage to ask! Some mysteries are better off remaining unsolved, you know? 

The record would have come out originally at a time when there was so much focus on Norway and Oslo specifically for what would be coined as Space Disco. Was it as well received as some of the other records coming out of Oslo at that time?

Even though “NAOMB” has been tucked away like a hidden treasure, unlike the more well-known Norwegian Nudisco classics of its time, it managed to catch the ears of influential DJs such as Doc Martin, Gerd Janson, and the late Andrew Weatherall, among others. Ironically, we used to be the secret-keepers, now 20 years later yelling from the rooftops about its triumphant return! 

It’s a timeless sounding record and it’s aged magnificently well. What in your opinion has contributed to its longevity?

Well must be that secret sauce – lubricating nugatti all over your butty!

Was anything changed in terms of music or post-production for the reissue and what were the reasons for those decisions?

The tracks “hasjbox” and “fluffy the vampire” are included on vinyl for the very first time, which they weren’t back in 2003. And also the whole album ends with Olav’s stunner “take to the sky” which is a really nice prick over the I, as we say here in Norway!

The original LP was never released on vinyl I believe and Snorkel is very much all about the analogue. What was the biggest challenge putting this on vinyl, and do you think putting out like this, in a format that it was never intended for, brought something else across on this record?

The biggest challenge was to get the boys to remember anything from 20 years ago. Where are the original projects? Do you have any back up disks etc. But then again the first song is called “hasjbox” so yeah, you see where this is going!

Is this going to be the start of some new music from the duo or is it destined for one-night only?

Going through the old disks uncovered a treasure trove of forgotten gems. As we are working on Snorkel’s new 12” series, who knows? We might just get more from OBM & Jøgge in the near future…

In our exclusive interview with rising Norwegian House music star Meera, we talk origins, influences and the impact of her breakout single.

Meera’s name is on everybody’s lips at the moment. Every club concept and DJ in Norway has been trying to lure the DJ and producer to their nights. DJ booths from Ibiza to Oslo have welcomed Meera alongside older peers like Black Coffee and Simon Field. Her star has been consistently rising and her DJ talents have been a serious demand following the trajectory of her break out single “Music for Humans.” 

With some early support from the likes of Black Coffee again, Damian Lazarus and John Digweed – to name only a few – Meera started to shake the world’s dance floors through some of the world’s most influential selectors over the last year.  She’s followed the success of that record with two equally strong releases in the form of “Telefon” and “Clean the Turbines,” solidifying a sound for the young artist early on.

Between rhythmical foundations that err towards non-western traditions and euphoric melodic expressions that touch hedonistic heights, Meera has cultivated a unique sound forged on the foundations of House music. She’s emerged as a solitary figure with her productions hard to define and as it extends to her DJ sets, equally divergent from anything going on around her. 

After making her debut in Oslo and at Jaeger last month for Simon Field’s basement event, Meera returns to Jaeger’s booth this Saturday for Olle Abstract’s LYD. As much as we’ve followed her progress ver the last year, we know very little of the emerging artist and with her visit looming we caught up with her via telephone for an exclusive chat with Meera.  

Where are you at the moment?

I’m at home in Stavanger.

I read your biography and it mentioned that you grew up with your dad blaring music everywhere. What kind of music was he playing?

It was a lot of Hard-House, classic House and a lot of Hip Hop too. 

Does he come from a DJ background too?

He’s been DJing since the eighties.

And that was your musical education?

It was my introduction to DJing. 

How long have you been Djing? 

I’ve been DJing since I was fourteen, so 12 years ago.

Has there ever been any sonic influence from your dad, because I remember when I was 14, my taste couldn’t have been further from my father’s?

I mostly play my own music. 

So you didn’t start by playing the records that were just around at home?

I started playing digitally with Serato and stuff on the laptop. I didn’t start playing vinyl until two years ago?

Are you finding some classic gems in your Dad’s record collection today?

I do sometimes, but there is just so much music.

Was it always electronic music for you?

When I was young I was mostly into emo and rock, so a lot of My Chemical Romance and Linkin park, that kind of stuff.

How did you arrive electronic music from there?

I think I discovered Daft Punk and it snowballed.

Which Daft Punk era was this?

It must have been when the “Around the World” video was on MTV. 

At that point, did you change your whole attitude towards music and it became only about electronic dance music?

I was pretty into it, but I was incorporating French House with Rock and Hip Hop; everything I liked. I have always been appreciative of all kinds of music. 

I know Stavanger has had some really good DJs that has come out of it, but was there anything like a scene there that could cultivate your interests early on?

There was a small community of DJs starting up. We had this open-deck night at a bar that I used to go to, it was a cocktail bar. I would go there with some friends and it was pretty open to everyone.

How did it develop from there. Did you go into production from there?

O no, I started producing when I was 10 years old. I was already making music.

You were making music before you even started DJing. So was the point to get that music out there so people could listen to it?

Not really. I just thought both things were fun, and I did them independently. 

One doesn’t really effect the other?

When I was DJing at 14, I was mainly playing EDM and that kind of stuff and he music I was making, was more like Filter House, Garage and Drum n Bass. It was very different.

What was the route to the first release, “Music for Humans” because you must have been making a lot of music up to that point?

I did self-release an album and three EPs, but mostly it’s been only for me. I have this Soundcloud profile of really old tracks. It’s not something I advertise, it’s just out there.

Is it similar to the more recent stuff?

Not at all. 

Considering how big Music for Humans became after its release, is it something that you anticipated when you were making the track? 

I don’t really remember making it. I just sent it to the people VOD (Vinyl on Demand) and they really liked it. 

Did you expect it to be so well received, not only by the public, but by your peers; people like Black Coffee and Damian Lazarus?

No. I just thought it was cool that VOD was interested and then it just kind of blew up in a way. It’s been pretty surreal seeing huge DJ support and playing the track and the EP. 

That also led to playing to places like Ibiza. Are you still playing in that cocktail bar in Stavanger? 

Yes, I still do once or twice a month.

There must be a huge difference going from something like that to a Black Coffee night in Ibiza.

It’s pretty jarring.

Do you feel you have to adapt to that kind of crowd?

Not really. When I DJ, I play what I want to hear so it doesn’t change a lot.

After “Music for Humans,” came “Telefon” and “Clean your turbines” and there is a distinctive sound that emerges between those three releases. Was there a conscious idea to establish a sound for yourself or was it just because they were made around the same time?

The time difference between those tracks is pretty huge. I think it was just the direction the tracks ended up going in. I didn’t consciously try to make them sound like each other.

Well it’s very unique since you have these Latin- and African rhythmical motives under pinning these melodic, ethereal on euphoric synths. How did you come upon fusing these elements in your music?

It’s just a result of me drawing from the all the music I like.

How did the African and Latin elements specifically arrive into your palette?

Keinemusik and pablo fierro kinda drove my interested in seeking out more non-western music. That’s when I really got into that sound, and since then I’ve been listening to a lot of African Rock and Disco from the 70’s and  80’s. I discovered artists such as itadi, polibio mayorga, la solucion, and mulato astatke who have all had some kind of impact on my sound.

After these three releases do you have anything coming up, that you’re excited to talk about yet?

I have my collaboration with Danish trio Tripolism coming on Friday, that will be on Ultra. And then I have an Ep coming on Crosstown rebels in late February. Then I also have one coming in black book records in April or March. 

Are they all kind of similar to the sound you’ve already cultivated through the first three releases? 

The next EP is going to be kind of similar and the other two are going to be a bit different.

Thank you for talking to us Meera. We’ll see you in the Dj booth next. 

I’m really looking forward to playing at Jaeger again. 

We caught up with Henriky via Berlin to talk about his music, Quirk, the Gode Selskab, his formative years, queer clubbing in Berlin and Bikini Wax ahead of his stint at Jaeger for Lokomotiv

From the suburbs of Oslo, via the UK ato eventually Berlin; and through Garage and House to minimal, Henriku’s path to the wax has stopped on many different elements of club music to get to his debut record Rush/Fantasy. While he never set foot in a club before leaving Norway, and with little input from anything he was hearing at home, Henriku has waded through a curious path in music. His associations with Quirk and Det Gode Selskab run deep, as the building blocks on  which his own approach to the minimal landscape has taken foothold. 

It was at one of Det Gode Seslkab’s boat parties where the seed of ambition was planted towards a career as a producer. After a stint at university where he studied the production art, he found his calling in the sonic landscape of those peers before embarking on the next chapter of his career at Quirk where he found a kindred spirit in the label’s founder Alexander Skancke. After a few collaborative releases via that label, Henrikuu released his first solo record “Rush Fantasy” via Det Gode Selskab records in what could only be described as fate.  

Henriku’s tracks  like “I wanna party” are club tracks with a purpose and a sense of frivolous fun that engages as much as it propels. There’s a sense of infectious enjoyment that courses from that track all the way through to a track like “Pillow Talk”, taken from “Rush Fantasy”. 

A DJ that operates in the extended minimal landscape, Henriku is a regular fixture in Berlin’s booths like Hoppetosse as well as some of Oslo’s booths like Jaeger.  (He even played at the very first Helt Texas.) He’s been coming back more often recently as his star continues to rise back home in league with his efforts in Berlin. He maintains a very close relationship with the Quirk family and together they’ve started to carve out a sonic identity based on the minimal sonic landscape and imbued by a queer vision of a minimal scene. 

We caught up with Henriku via phone call just as he was about to head out for a shift at the iconic Bikini Wax to talk about his music history, Djing and the queer scene in Berlin, as he prepares to return to Jaeger for Lokomotiv’s Romjulsfestivalen takeover. 

What have you been up to this weekend?

This weekend I played Iat Sisyphos, playing back to back with Alexander Skancke, my good and beloved friend. We played from 05:00 – 09:00 on Sunday morning. It was lots of fun. 

Are you playing every week in Berlin at the moment?

Unfortunately, no. I only started playing club gigs about a year and a half ago, with the first Quirk night. It still goes in waves for me. Some months I have plenty, some are a bit slower. November has been quite well. The week before we had a Quirk night at Hoppetosse. 

What is the atmosphere in Berlin like at the moment for DJs? I can imagine there are quite a few DJs out there at the moment. 

For the time being it’s quite alright. Personally, I think it’s a matter of point of view. A lot of people view the amount of DJs as competition, but I truly believe there is space for everyone to be creative and have success. It doesn’t have to come on other people’s terms. Yes, there are a lot of people, but there are also a lot of opportunities. That’s why the city attracts so many DJs. 

Are there new communities cropping up as well, or is it pretty much each man/woman for him/herself?

I think it’s both. I’ve found my community in Quirk. It makes the process of creating so much more fun, when you are building each other up, rather than stepping over each other. 

I always thought Quirk was Alexander Skancke’s label. Is the community, artists releasing on the label, or is it like a collective?

For the time being we are a total of five people that have released on the label, but mostly it’s just close friends at this point. It’s more like our friend circle. It’s artists who have released on the label, but it’s also broader, like the regular faces we see at our gigs, and good friends. We  are friends who like a similar kind of music and a core vision. 

From what I heard, it does seem like the label has a sound and it’s very much emphasised by the different releases and artists. How did you find your voice within the label?

Absolutely. Alex and I didn’t meet until 2019, and before we met we actually had a similar background in terms of the minimal sound, but from different points. Alex has been in the game a lot longer than me. He went through his minimal phase, went to sunwaves and then moved to Berlin, while tapping into those early nineties influences. And I have walked a similar path. I was obsessed with UK garage – that was my entry point – from UK garage I moved into House and then I moved to Berlin where I really got hooked on minimal. I went to Sunwaves where I got more hooked. From there I opened my horizons back to the roots of House and Garage and started exploring more Techno sounds. The red thread of minimal remains. That’s what makes the Quirk sound cohesive, if you will. Most of the people that are involved in Quirk at the moment, share these points of reference. 

It’s interesting that you mention UK garage as your entry into club music.  It’s not something you would associate with Norway at all. What led to that introduction?

I had a couple of friends from my gymnasium who did a year abroad in York, England. I visited and that’s where I had my first club experience. It was a funny mixture of commercial hits and UK Garage. The UK Garage and House Garage sound resonated with me and I needed to find more of it and find out what this was. 

Was this also the start of DJing and making electronic music for you?

I went back to the UK after this and to the Leeds festival where they had these camps that would play Garage and Bassline. And after I got home from this festival, I realised I need to be more in touch with this rather than just listening to it. I really wanted to start producing, but I was talking myself down saying; “no I don’t have any musical background, it’s way too late for me.” I tried DJing instead, and I bought my first DJ controller.  

I enjoyed it, but I realised it wasn’t enough. I looked into software for producing music, and thought I might as well try. I taught myself the basics through You Tube tutorials. By the end of that year, I managed to put together some tracks, and they were something. (laughs)

It was also at this point that I just finished gymnasium, wondering what I would do with my life and it was actually my dad that came across a university in Berlin that had a music production course. 

I’ve read an interview with you, where you mentioned you never actually went clubbing Norway. Is that correct; did you have no connection to the scene here before you left for Berlin?

Yes, that’s completely right. I had one friend who really enjoyed it. She had great taste in music and we reconnected when I was around 18 years old. She had already gone to a few raves and parties and showed me a lot of really cool stuff. At this time most places had an age limit of 21 so it was really hard. Before I reconnected with her nobody had wanted to go out with me. Luckily I linked up with her and the last party I had gone to was Det Gode Selskab boat party. I remember leaving that party, thinking there’s something really special here and it would be so cool to do something like this someday. This sparked something in me that really sent me on a mission to Berlin.  

I guess the Garage influences fell away when you moved to Berlin?

That is exactly what happened. Coming to Berlin and hearing Techno for the first time at Berghain and Griessmühle … The Techno scene was very different. Garage influences weren’t easy to find.

I wanted to ask you about something you said in another interview. You felt that there was a lack of queer representation in your scene in Berlin. Even in Berlin?

Yes, even in Berlin. There is a gap in the market. I am very curious about starting something up with some friends. Maybe if I find the time and energy. For the time being, it’s very locked in with contemporary Techno. Hardgroove is very big and so are those fast-paced sounds. There are some slow-paced sounds based around House music, because there is always the panorama bar to the Berghain. In terms of the minimal sound you’ll find at places like Hoppetosse, there’s not much going on for the queer folks. 

So it’s dominated by a straight audience, or the straight industry side of things?

It’s a combination of the two. There are definitely queer people that enjoy the music, but perhaps they’re not always the most inviting places for queer people. It’s not like there is any alienation, because there are still queer people showing up. In Berlin it’s very extreme in terms of the safe spaces these queer parties provide. Living in Berlin and experiencing that every weekend you get a bit spoiled. I  just think there should be a safe space for queer people to enjoy minimal music as well. I also think there is something to the fact that queer people are seeking High-Energy music. 

And you never got sucked into the hard and fast Techno that places like Berghain and Griesssmühle were doing?

I actually enjoy it on occasion. This summer I went  to a lot queer parties and spent some time with friends in Berghain as well. I think it’s fun as long as it’s groovy. I probably won’t produce it myself, but in terms of having a fun time, I can absolutely enjoy it. I need some ups and downs in the energy. What I miss in that scene is a story-line. 

When it came to the music you are producing today and in the context of Berlin, what was it that pushed you in that direction?

It was during my time at university. I made two really close friends in Sammy Lewis and the other one was Trent Voyage (who has also been releasing on Quirk.) As we were getting to know each other we saw we had a similar vision, and that was very influential on all of us. We went out and got a lot of input together; a lot from Griesmühle and Hoppetosse was a second home. 

It was really born from the club; what you were hearing in the club was directly influencing what you would do in the studio?

Absolutely. I see myself as a club kid, figuratively and then sometimes literally as well. There are influences from other kinds of music, but club music is what I do. 

It’s interesting that you mention club kids, because when I listen to your music, and the stuff you made with Alexander, you get the sense of having a good time. “I want to party” is probably the most on the nose example of that. 

Exactly and that is also one of the core values of Quirk; we don’t take ourselves too seriously. We just want to make fun, engaging music. Bringing these vocals in like that song, is part of it.

I’ve found there are often vocals in your music and adds to that sense of engagement. What do you look for in vocals when you add them to your music?

A lot of the vocals are my own recorded music. It brings a lot of freedom, in terms of the vibe or what I want to say, literally. I am also a huge fan of samples, when it comes to bringing in a vocal sample, it’s random. My sample library is big, but usually it’s about playing around and finding something that suits the sonic landscape of the track. I feel like the meaning almost always follows the act, and drives the direction of the track. 

When you  are using your own vocals is there usually a theme to the lyrics or is it all in the spur of the moment?

It’s often a combination. If I have a loop that I’m working on I might start writing things down on a piece of paper. I don’t have a strict formula. The ”I want to party” track for instance was on the spur of the moment. It started as a joke. Alex gave me the microphone and we were both hungover and the energy was a bit low. Alex was rolling his eyes, but also laughing. So I made a build out of it and played it back to Alex. 

Yes, you do convey that sense of having a good time, not just with that song but others too. We talked mostly about working with Alex at this point, but this year you brought out your first record of original material for Det Gode Selskab too. 

Yes, this was the first track I released on my own. I already had a few tracks on the digital compilation with Det Gode Selskab, but for the time being I only have one solo record out.  It came out on the 17th of May by accident. 

Did working with Alexander influence anything in your own music?

Yes, absolutely. It’s hard to say exactly what, but this aspect of jamming around, playing things on a keyboard, and finding a groove rather than programming things. I love to sit with a mouse and click things in, it’s a super fun process and I will continue to do it, but I will also incorporate some live jamming. It adds a little bit of soul. 

Alexander also introduced you to Bikini Wax, I believe. And now you work there?

Yes. I’m on my way there in an hour actually. It’s such a cosy atmosphere which I really enjoy. I was a long time customer for a long time and to be surrounded by records all day, and getting to learn new stuff about the history is such a privilege. 

What kind of influence has that had on your DJing?

It definitely has affected  the way that I look for new music. I’m listening to new music all day, so I’m trying to think long term in terms of which records I buy and also how they fit in my collection. 

Are you a little more hesitant because of the prices of records these days?

Of course. It’s not only that though it ‘s also about space. There are always records on the floor these days. 

We caught up with Hilit Kolet from Shanghai to talk about her musical history as she prepares to make the journey to Jaeger’s sauna again.

Hilit Kolet is a rarefied talent for these times. She has all the credentials: A job at an iconic record store; a classically trained background; legitimate studio experience; a knack for crafting dance floor cuts; and a sincere appreciation for the music above all else. She’s been celebrated by the radio jocks; lauded by her peers; played in some of the most influential spots; and remixed some of the best there is, yet her approach comes from a unique sincerity that is at odds with current trends. 

Her musical output is considered and her style as a DJ bristles with that eclectic attitude that only a record store employee has. She’s already established a reputation as a DJ’s DJ, built on the foundation of an avid music collector and enthusiast, born from her days behind the counter at London’s Black Market Records. Hers is a diverse collection of musical touchstones, coalescing around the expansive House and Techno music universe and when it comes to a dance floor, there are few who know it better.

Her breakout single “Techno Disco” via Defected topped all kinds of charts with successive releases only re-affirming her abilities and her sonic diversity. She’s remixed and been remixed by the likes of Terry Farley and Mike Dunn and her edits, like that of  Laurient Garnier’s “Crispy Bacon,” lives in infamy alongside its predecessors. 

While the piano provided the springboard for her musical education it’s the records that have provided the most significant impetus for Hilit’s musical adventures and as such there is only one place she appears most at home; the DJ booth. 

Last year, we had the pleasure of meeting Hilit for the first time and after a session for Øya Natt, we’re pleased to have the UK DJ and producer back  at Jaeger. Hilit Kolet arrives on the Sunkissed ticket this Saturday and we took the opportunity to probe the DJ and artist more about her interesting background and some of what is on the horizon for the artist. We find her  in Shanghai on the eve of the release of her remix of Why We Dance for Terry Farley & Wade Teo. 

Hello Hilit. It’s a pleasure to meet you. Tell us where you are at the moment and what you’re listening to? 

Hey, nice to meet you too. I’m currently in my hotel room in Shanghai having played last night. I’m listening to a new remix I’ve been working on, which is coming out early 2024, and also to a new beat I’ve started on the plane. It’s slightly different to what I’ve been making lately and I’m thinking it could make a nice collab with a vocalist I’ve been chatting to. Or I might just delete it and start a new idea, dunno.

I read that you were still doing piano recitals by the time you started getting into electronic music and DJing. What was the main catalyst in terms of artists, tracks,  albums or genres as you switched over?

Yes that’s right. My mum was working as a piano teacher all through my childhood, she was teaching children on our beautiful grand piano, which took up most of the sitting room… I spent all my afternoons on the sofa watching the lessons, and when I was about five, I started becoming somewhat of a disturbance, telling students to ‘go home because it’s my turn to play the piano with mummy now’ hehe. I ended up training at the local conservatoire, doing the full thing, 4 times per week, including recitals and playing with the orchestra and all. I discovered electronic music at around 12 or 13 years old, back then I was listening to early Kenny Dope, Cajmere, Marshal Jefferson, Deee-Lite, Xpress 2, Yello, Steve Pointdexter, Leftfield – Leftism, Laurent Garnier, Robert Hood, Todd Terry’s sax album, Chemical Brothers, Daft Punk – Homework, Pet Shop Boys, Yazoo, Basement Jaxx, a real mix. 

It took me a few years to completely ‘cross over’ but at one point I did. Classical music was a great way of processing pain and challenging emotions, but it was mostly about a heavier spectrum of feelings. Now, I discovered that music was also a way to express joy and passion and excitement, and it was really refreshing and somewhat liberating too.

How does that early musical education influence what you do today and what was the main challenge in going from traditional musical training to electronic music intended for the club? 

That’s always been an interesting subject for me, because I think that in many ways, having had a traditional, classical music background was counter-productive when I first started experimenting with music production. With DJing it was very helpful for sure – all those music theory and music literature lessons I took as a kid have trained my ears really well, and it made mixing intuitive and easy, but producing my own music felt different: it was too ‘sacred’ almost. 

It took me a while to work out that this was a direct repercussion of the strict Eastern-Europe mindset they had at my conservatoire: sheet music only, Chopin, Debussy, Schubert, Beethoven, memorising your chords, learn 26 pages all by heart. The teacher nearly fainted when I asked if I could try some jazz or improvise a little for a change…

And of course, producing music, especially electronic music, takes a lot of improvising and a ton of letting go – of music theory and of all other “rules” too. I do feel like I’ve come out the other end though. I’ve taught myself to give in to “happy accidents” as oftentimes they make the best bits. Plus, life is messy anyway right, so art should only follow suit.

You spent some time working at Black Market too. Besides being surrounded by that kind of music all day, what did you take away from that experience?  

Working in the shop exposed me to musical scenes that were not on my radar at all, like dubstep and drum & bass – two genres the shop played a pivotal part in nurturing – and while they’re still not my go to’s, looking back it was certainly nourishing for my overall musical diet, and it was also a good exercise in keeping an open mind musically. I do think that as a DJ and a selector, it’s important to develop a sonic identity, or a ‘sound’, but it’s also important to remain curious musically and to try and break out of your own echo-chamber.

How has your taste evolved during and after your stint there and are there any records from that time you refuse to ever part with? 

Well I was working there over a long period of time, 7-8 years, so ultimately my taste would have changed a lot during that phase anyway, but one thing I do know is that my understanding, my ability to map the underground dance music landscape, labels, artists, scenes and how they brewed, was nothing comparable before and after. Records from my time at the shop that I will never part with – there’s so many as I’m not parting with any of my records hehe, but here are a few: Mr. G – Space Bassed, Cassius – Youth, Speed, Trouble, Cigarettes (Radio Slave Remix), Rolando – The Afterlife, Theo Parrish – Falling Up (Carl Craig Remix), Alden Tyrell – Touch the Sky (which actually features MD on the vocals), John Tejada – Now We’re Here on Kompakt, Luke Solomon – Space Invaders (Andomat 3000 Remix) on Rekids, Jon Cutler feat. E-man-  It’s Yours and so many others.

Were you DJing before Black Market? 

Not really, not professionally anyway. I was always collecting records and I was really into radio. I was 12 when I decided I was going to be a radio DJ and a music journalist, mainly so that I could get my hands on promo copies, and later on because I wanted to help others discover the music that I felt (and still feel, most of the time) was saving my life. So that’s what I did, while exploring and studying both electronic music and clubbing as cultures. It was very obvious that it was my ‘thing’ in life, but for some reason DJing in clubs was never something I had on my list. 

It was only when offers to DJ came in while I was working at Black Market that I thought, “well maybe I should give it a try, after all, I always go out hoping to hear the records I discovered this week, I always think to myself, mmm I would play this record with that record…”. Literally everyone around me was like – “thank you! Finally!” and I felt really odd and a little silly that it made so much sense to them, but never even crossed my own mind.

What was it about DJing that first intrigued you and what does it mean for you in terms of a creative outlet that you wouldn’t necessarily get from producing and/or playing the piano? 

It’s an obsession. If I’m into a track, I have to hear it again and again, and the only way to get it out of my system is to listen to it on a really big rig, a few times, and dance to it…. Ha. I think it’s the same for most DJs? I can only guess. I’m limited doing that at home (even my daughter tells me off!) so it’s kind of a necessity.

DJing has always been this fleeting thing, subject to contemporary tastes and impulses. What remains sonically consistent in your DJ mixes for you? 

Lately I find that I need equal measures of groove and drive in a track for me to get into it. I can’t have all groove or all drive. A funk injection is good, also a touch of sex appeal. I also like my music raw, or with a raw feeling if you know what I mean. Yes I go through a lottttttt of tracks before I find something I dig.

I believe you have some experience working in a studio too. Is there something to working in that environment that changes the way you approach the creative aspects of making music? 

Yes, I owned a high-end recording studio with my ex-husband for nearly a decade and that’s where I also picked up production. It was stuff of the dreams, a 64-channel Neve desk, one of the largest synth libraries in the world, all of the plugins you can possibly think up, same for sample libraries, and it was so much fun, but it was also really distractive.

These days I’m mostly in the box in my smallish but cuteish home studio, with the odd 909 or SH-101 thrown in, but I get ideas down much quicker this way – and isn’t music mostly about ideas – as is all art? 

I mean, you can’t make a bad idea better just by using the latest plugin, and it’s also not about the number of analogue synths you’ve invested an arm in, or how many channels you crammed your project with… It’s about having a vision and a certain feeling you want to put across, or at least that’s how I see it.

Your next record, ‘Hot Mess’ will be coming out next year and I had the pleasure of hearing the tracks. What were some of the ideas behind that record, and how it came together on Rekids?

Oh you have, I’m glad to hear this. The starting point for ‘Hot Mess’ was the decision not to use any loops, so it’s a 100% programmed drum machine werqqqout. I made the first version of the track on a pretty intense day and I remember thinking, wouldn’t it be great if I somehow managed to capture how I was feeling at that point AND get rid of it at the same time… Very quickly I had this relentless groove going, and I then felt it needed a raw, emotional vocal to give it contrast. It took quite a few versions before it was finished. I was working with the vocalist remotely over a few sessions and playing about with arrangement and mixdowns quite a bit because I’m a bloody annoying perfectionist, but I think it was worth it. When Matt Edwards said he wanted it for Rekids I couldn’t be happier. I’ve been following Rekids since day one and absolutely adore everything they do.

And Mike Dunn is on the remixes and brought some of that Chicago flavour to it.  What’s your relationship with Mike and what were your first impressions of the remix?

I met Mike at a festival in Croatia a couple of years ago. I think by now you’ve probably realised I’m a massive Chicago house fan and of course, I’ve been collecting and playing Mike’s music forever, so to have him remix my music is simply incredible. I love the deep groove spin he put on ‘Hot Mess’, it’s so different to my original and I think that’s exactly what makes a remix interesting.

I guess edits and remixes like this next one for Terry Farley and that infamous Laurient Garnier edit keeps you busy too. How do you usually approach these tracks, especially when you’re handling a legend like Terry Farley’s work?

Edits and remixes are two very different creatures as far as I’m concerned. I’ve done quite a few edits over the past couple of years of ‘classic bangers’ (as I like to call them) that I wanted to play out but felt needed an updated finish, both in terms of sound as well as arrangement. I’d try and pay respect to the original while put a little spin on it, but mostly I’d just aim to make a modern version of the original that sits well within my DJ sets. That’s what I tried to do with Laurent Garnier’s techno anthem ‘Crispy Bacon’; Laurent loved it and played it and so did Carl Cox, Patrick Topping and others. It still amazes me that Laurent then decided to release it on his new album’s limited edition boxset… What an honour. 

When it comes to remixes, I think they could potentially hold more room for creative freedom, so that a release package offers the remix as a different flavour to the original. With those, I would try to find a hook or a few hooks that really clicks with me, sometimes use another distinctive sound off the original, and mostly have my own drums and sounds on top. That’s what I’ve done with my remix of Terry Farley & Wade Teo’s track, which is out this weekend on Rekids. And yes Terry is a total legend and a bit of house dad and mentor to me, which I’m super grateful for.

A lot of energy in that one. I assume playing a track you’ve made out is never too far from your mind when producing music?

Absolutely, I first and foremost produce music I want to be playing in my own sets, it’s how I got started with producing. 

There are a few of your contemporaries that have capitulated to the 3 min track to appease the Spotify algorithm, but both this remix and Hot Mess are well over 5 min. What are your thoughts on dance music producers following that trend and where do you draw the line in your own music in terms of appeasing an audience?

The 3 minute edit is usually an additional version a label would ask the producer to cut, with radio and streaming in mind. It’s something I can understand from a business point of view but having to butcher an arrangement you’ve tweaked again and again for the dancefloor is far from fun… Which is why it’s a relief that labels like Rekids don’t ask for these versions.

You’ve said in the past it’s all about the crowd and the night for you. This will be your second visit to Jaeger. Any idea how this night will go?

I’m looking forward to it so much! I absolutely loved visiting and playing Jaeger last year, I was so impressed with everything about it, from the amazing system to the acoustic treatment of the room to the oak smell to the double-headed mixer to the crowd and of course with Ola and the team. This time I’m back with a ton of new music I’ve made over the past few months, including a couple of brand new tracks I’ve not played out at all yet, so I can’t wait.

And lastly, can you play us out with a song to set the mood? 

Of course, here’s my new remix of Terry Farley & Wade Teo feat. Kameelah Waheed ‘Why We Dance’, which is out on Rekids this weekend:

Hilit Kolet is on Instagram and Spotify

We meet up with Oslo’s newest musical arrival and Badabing artist, Casablanca 303 to talk bout his musical history and more in a Q&A.

Alejandro aka Casablanca 303 is really settling into his life in Norway. “I really like the music and the nature,” says the Colombian artist over a coffee in Gamlebyen. We’re walking distance from his home, where he also has his studio, and he talks in excited terms about the artistic and “bohemian” community that thrives there. 

While little is known of his career outside of Norway to us, Casablanca 303 comes from an established background as a DJ in South America, and has been making waves in Bergen and Oslo since relocating here with his Norwegian partner in 2018. It was in Bergen he first got his “foot in the scene, assisting at concerts, parties and even raves.”  

There he found a welcoming community, none more than with the Mhost likely crew, who operate their labels and event series out of the city. It was with them he would release Perspectives, his first record in Norway, before moving onto Oslo and finding a new home for his music through Vinny Villbass’ Badabing Diskos imprint. 

That EP, Lucid Dream / Estereograma established the name Casablanca 303 in Oslo too and as he prepares for his first live show since the release at Jaeger, we caught up with the artist and DJ to talk about his music history and more. 

What was your involvement in music before moving to Norway? 

Back in the days I was working as a tour manager for a festival in Colombia for some international artists and that gave me some connection to the US. I played some clubs in Miami and also met some producers. But I was in that moment, still defining my sound and what I really liked. 

Miami really? There is an incredible underground electronic music scene that we still revere with the likes of Miami bass. What was your experience of the city?

Miami has a lot of layers. If you land in South Beach, you get the commercial, overcrowded pop scene. You have other things that also happen in the city; underground stuff in terms of art and music Miami has other sounds. Every city has these mass-consumption parts and then other more bohemian / hipster parts that are more open to underground sounds visuals. 

What was Colombia like; is there a healthy underground electronic music scene there?

Yes, Colombia has a lot of everything. You have a lot of layers of music. There are those artists that want to explore more of the caribbean- or roots music of Colombia and transform it into electronic music. There are two artists that I know that have played at Jaeger actually, and they are into that thing. Mítu is one Colombian band and they employ some afro rhythms and vibes with an underground electronic music. I couldn’t call it House music or anything like that. It’s just electronic music and it works. We also have artists like Felipe Gordon, who are killing it internationally. He’s younger than me and it’s so cool to see him blooming. 

How did you make the transition from being a tour manager and working in the scene to making your own music and releasing records?

Much before I was a tour manager and working at festivals, I was Djing and gigging. I was playing all over Colombia and the Caribbean. I also played in nearby countries like Ecuador and Peru.  

Would you say you were a successful DJ back home?

Yeah, back in the days. It’s easy when you have some of your friends own the best clubs. I was playing regularly. I’ve been DJing since 2010 more-or-less.

That must have been quite an adjustment, being at that level and then playing for what I can only assume is much smaller audiences and a smaller scene.

Since moving to Norway, I’ve been playing some. Mhost Likely in Bergen got me some gigs, and here in Oslo I have found some collectives in my niche, mainly House music, Disco and balearic; sub-genres of House- and electronic music. I don’t play as often, but I’ve started  transitioning from Djing to being a live performer. That’s my main goal, I just want to play my own music. 

Do you find it more fun than Djing?

In some way, yes. I really like to play instruments. I am  a former guitar player, and I’ve been playing since I was 11. Even though I don’t play the guitar much in my productions, my music starts from the guitar, and then I translate it to synthesisers and music software. My music is all about improvising, and that’s what my live performance is all about; it’s my music and then I do some extra things on top of it. 

I was going to ask about the guitar, because I noticed the guitar in your music, and I could tell there’s some background in playing in bands from what I heard. Is that the first thing you did in music?

Yes, when I was 17 and 18 I played in a Death Metal band. I’ve never been a radical person when it comes to genres, so when I wasn’t playing in the band I was playing Rock n Roll or Jazz. The same has happened in electronic music. I focus on certain things, but I’m really open to genres. Even pop music, good pop music isn’t bad.

How did you get into electronic music from there? 

I think metal had something to do with that. There were some Scandinavian bands that were transitioning from certain sounds of death Metal into more industrial territory, incorporating beats. I started liking the synthesisers they were playing and realised it was danceable. 

What was your first engagement with pure electronic music, like House or Techno?

I think it was when Groove Armada played in Bogotá. I was at the beginning of university, around 2006 and there were a lot of electronic music artists coming to Bogotá. Another artist that came over was Armin Van Buuren. We have something similar Russefeiring – when you celebrate the end of school – and some promoters take a chance to bring some big artists and promote some parties. 

From DJing did you take some time to develop your own music before you started releasing music?

While I was DJing, I had already  started producing, because I had some experience with the bands I was in. I was also finalising my education, so I didn’t have much time to produce my own music. At first it was all in the computer, but then I started getting some analogue gear, because I wanted to just plug it in and record the synthesiser, like we would with metal. It took me a while, but I would say that I only started recording electronic music, a little before moving to Norway. 

Was Visions your first record?

Yes, but before that I made a cover version of a popular Colombian artist. At that time I was captivated by Deep House and its melancholic sound. 

Yes, it reminds me of something that might have appeared on Life and Death or a Stephen Bodzin record. I noticed however that by the time we get to the Perspectives EP on Mhost likely, there’s a change in your sound. Would you agree?

Yes, definitely. It’s also the transition of me moving to Norway. 

Ok, was it a direct influence of moving here? I thought I might have heard some Scandinavian Disco influences in there, but I didn’t want to be presumptuous. 

Yes, I started to dig more into Disco and House music. I wanted to experiment a little and I was influenced by what was known of Norwegian music in South America which was Space Disco. Even though I don’t do Space Disco, I take some elements from Space Disco, from artists like Prins Thomas, Todd Terje and Bjørn Torske. I really like their eclectic style. 

And this was around the same time you started working more with hardware?

Yes. There is one piece of gear I’ve always wanted, and that’s the Moog Voyager synthesiser. I bought it here  in Norway second hand and that was one of the best days of my life.  The guy that sold it to me lives in Årdal which is close to Sogndalfjøra. It was so cool driving through that nature to go and buy this synthesiser. This synth, whenever I’m blocked creatively, I stop producing and just tweak this thing and suddenly  a sound would emerge. That happened with my last EP (Lucid dream / Estereograma) for Badabing. 

Besides the synth, were there any ideas that laid the foundation for that record?

I’m trying to produce this House music sound, but trying to give it personal space. I don’t consider myself a pioneer,  I just take the things that I like and mix it up and turn it out. 

Are there any artists or influences that you aspire to when you put these things together as you say?

Absolutely. I used to like what KiNK was doing before. He is really good, because he captures a lot of genres that I like, from piano House, jazzy House, a little bit of Techno and breakbeats. It’s insane, he can play whatever he wants. He mixes his knowledge of music to play and perform and that’s something that inspires me. Also my friend Felipe Gordon; he is another person that performs his instruments and that’s what you hear in his music.

 

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Talking about performing your instruments, is that how you usually start your composition process with a piano line?

I usually start with a groove, like everybody else. I start with some percussion and then I take the synthesiser or guitar and provide some bass-lines. I also like to play with samples and manipulate them to create strange melodies. In that EP for Mhost Likely, I re-sampled myself and reversed some loops and created some foundations and textures. 

You’re playing live at Jaeger. Will that be your live debut in Oslo?

I tested it out at Musikkfest this year, for Olle Abstract at Dattera til Hagen. He was the first person I met of the legends here from Oslo. He was so welcoming and he played my tracks in his monthly podcast. That pushed me, and sometimes you need that. 

Part two of our roundtable conversation with the Flux Collective talking about and looking toward the future of the scene ahead of their event this Friday.

In a mere 2 years, Flux Collective has established a profile in Oslo’s club community that rivals even some of the most established Techno concepts around. Going from the forests in summer to the clubs in winter, they’ve garnered a dedicated following in Oslo’s clubbing community, which is starting to reach tendrils in the rest of Europe carried on the wings of the label.

Aside from their own solo efforts as DJs, artists and live performers, each member of the collective takes on specific roles within the organisation, which runs more like an enterprise than a community. It culminates in a multi-layered approach that covers each aspect of club culture and is currently looking towards new avenues that will take them into more abstract regions. 

Last week, we talked to them about their origins, their thoughts on the Techno scene and more. In part 2 of our extensive Q&A we cover the future possibilities of the collective; their move from Oslo’s forests to the clubs; and how a pandemic opened up the floodgates for this new scene.  They’ll be releasing Metamorphosis n this week to celebrate 2 years of Flux, with a dedicated event in our basement to mark the occasion. 

Mischa Mathys: Andrea, you mentioned something earlier about the explosion of Techno. That concurs because what people were calling Techno here was essentially Tech House in my opinion and then suddenly there was this huge demand. Before that there was maybe Void and a few very niche DIY concepts doing this kind of sound, but then suddenly exploded. What do you guys think was the catalyst for that in Norway?

Andrea (Anémi): I just think that Norway has been hanging behind. Techno was a new thing for many and people were excited about it because the scene has been made mainly around minimal, or Tech House. The new kind of sounds that arose really had younger people talking about it. 

During the pandemic everybody was feeling suppressed. A lot of young people, especially the people who hadn’t been able to go out in the clubs, even though they had come of age, had been angry and disconnected. I feel that’s why Techno flourished, because it’s these people playing underground music and making home raves or home parties.

Henrik (Skodde): Because so many new people were discovering underground music and just calling it Techno. I was playing every favourite I had as a child. So we can play Techno, Hard Trance, and Trance. Nobody cares but everybody cares, because people are very accepting. Not right now, but at the beginning.

Andreas (Skodde): One thing that’s really cool about the Oslo Techno scene right now – and we have a lot of communication from outside of Norway–  the scene is different because if you host a party in Berlin, it’s only one sound the whole night. In Oslo you can get Breakbeat, hard Techno, Psytrance, Ghettotech; you can get everything in one night. The Oslo scene is completely different from anywhere else in the world right now, because of the forest raves. A  lot of the DJ’s don’t even know about these big artists, they just know what’s going on in Oslo.

David (Bjerregaard): I have an idea and it has to do with politics. If we look at the rest of Europe, especially central Europe, Norway is very conservative when it comes to partying. We have a lot of rules and we have very strict rules regarding drugs as well. For a long time Techno and the whole scene was frowned upon by clubs because they didn’t really dare host these kinds of parties; because they would get a lot of pressure from authorities. 

Mischa: Yes I remember a stint here at Jaeger where we couldn’t even promote a night as a Techno night. 

David: But I’d say that in the last five to ten years the cops are also much more lenient. It’s more liberalised with taks of legalisation and so on. So that combined with the covid shutdown, reset the attitude to a lot of people who run the clubs. They saw there’s a huge demand for this kind of music, so it became a renaissance for this music.

Gaute (Naboklage): But why is there such a demand for this music? 

David: Well, there was always a demand. It was gate kept and then it was shut down for a year and a half. And then after that, they were like, “okay, let’s give it a shot” because they kind of forgot how it was. I had never been to a Techno party in Oslo before covid. I’m sure they existed but to me it was completely unknown.

Gaute: People keep telling me that we had parties before. I never saw it. People would say, don’t think you’re doing anything new. 

Mischa: People in your age group?

Gaute: No older people and they’re like, “oh you think you guys are doing something new we had parties before.” You probably did, but not at the same scale. They didn’t have 500 people. 

Skodde – the young people, who were not used to clubs, were so free at the raves and suddenly they came into the club and if you were dancing too hard or had your shirt off someone would tell you, you can’t do that.

Andreas: Henrik and I have been in the Techno scene for 10 years. We were in a friend group where everyone listened to Techno before covid. We went to Berlin, we went to Amsterdam, we did all these things because there was nothing happening here…  And when there was nothing else happening, the forest raves happened. The people came to the forest and did the thing. There’s a reason why people like Techno and listen to it and when you go to a Techno party a certain amount of time because that’s the only place you can meet friends, of course you’re going to enjoy it. 

Gaute: A lot of people who hadn’t gone to Techno things before, went to it and they were exposed to something new. For Norwegian people if there’s something that’s a little bit different their default thing is just to be like, “no, this is weird.” But because of this lockdown, people allowed themselves to be more open-minded and then at some point it became trendy.

Henrik: Because the raves were the only opportunity to go to a party, people actually got to experience or rave music, in the way it’s supposed to be listened to, not through a set of headphones.

Gaute: At the same time if a 20 something kid and his friend just throws a party, they really can play whatever they want, but if you play a DJ gig at a club, there’s a lot more expectation.  There’s this very rigid structure for what you do and what you play in this time slot and if you fuck up, there are no more club gigs. 

So you have this incentive to conform to whatever they’re already doing at a club. Whereas if you’re just throwing a party with a friend for fun during covid, then you’re like “ok fuck it, let’s just play whatever.” You can play for as long as you want, and you can do whatever you want. This allows people to experiment and do a lot of fun stuff that never would have happened in a club and this kind of opened Pandora’s box.

Everybody groans in agreement. 

Mischa: Going from the raves to the clubs as a concept, what have been some of the biggest challenges?

Gaute: The crowd is really different.

Andreas:  It’s really the bouncers.

Gaute: Also the opening times. It’s so hard with the people arriving at the club, a bit before 1am and then they leave around 2am. Maybe they stay until three. You have two and a half hours, whereas for a rave you have eight hours of curated music. 

Andreas: Also our crowd doesn’t like clubs actually. That’s the hardest part because the young people, who were not used to clubs, were so free at the raves and suddenly they came into the club and if you were dancing too hard or had your shirt off someone would tell you, you can’t do that.

Mischa: So getting your people to the club is not going to be easy, right, so, how do you motivate them? 

Gaute: There are limits to what we can do, but we do what we can with what we have. Something I’m really upset about is that Norwegian music events are all funded through alcohol sales. If your music isn’t inclined to sell alcohol then it’s a lot more difficult to do events at nightclubs.

Andreas: That’s actually why we’ve moved more and more towards Jaeger and ditched a lot of the other clubs. I really like the vision of Ola because he’s really into the music. 

Mischa: You guys are still doing the raves on top of this, so why do the clubs at all. 

Gaute: The logistics are extreme; It’s like doing a 30 hour shift.

David: It’s weather dependent… Because you can’t do it in winter. And it becomes a little watered down if you do it every two weeks in the summer. There’s no way we’re able to do it anyway. 

Gaute: … and there’s the police and there’s a bunch of idiots doing drugs. If you have 150 people, close people that you know can behave, then it’s fine. But once it’s 500 to 1000 people, then the odds of one person doing something stupid is quite high. It’s really frustrating because if we were allowed to set up the infrastructure to do it in a responsible way, then we would. We have to keep everything super low key. If we ideally could communicate with the police and maybe an ambulance or something, but you can’t do that because then they’ll just shut you down. 

Andreas: We also want to do things as legal as possible. 

Gaute: Because we want to run a label and we want to live off of music and then you can’t just do illegal shit.

Mischa: Is that something that could still be realistically achieved in the current music climate, living off music, especially as a collective?

Andrea: I think it has to be a combination of different things. We have some interesting ideas on how we want to go forward with Flux. The label has been doing well but it will take some years to get it all around.

David: And the parties fund the label basically. 

Gaute: We do a lot of stuff for free if not everything. 

Andreas: We only got 3000 NOK each this year. You can’t bet everything on one horse. You need to do several things and that was our vision from the start.  

David: We basically don’t take out any fees from our own parties and we spend everything to either make better parties or to book artists, to build our network of connections. For instance, we took some of the people that we had here (Jaeger) this summer, to the forests. Then the rest goes into the label. 

Mischa: So, you are trying to start a community outside Norway as well?

Gaute: We want to export the Oslo scene to the world. 

Andrea: And it’s happened naturally because of the label; the people whose music we released, are the people we’ve been talking to and invited to our parties. 

Gaute: They’ve played our stuff at the famous German club. 

Mischa: How do you find out the artists that land on the label, especially outside of the collective. 

Andrea: You just have to be a big nerd. I just have a radar and pick up on what’s around. 

Mischa: Do you specifically look for anything in terms of a sound, and do they have to represent something like a Flux sound for you?

Andrea: I have some plans for the next few releases. We actually have been releasing quite a lot for just being able for two years and we have released a lot of Oslo-based artists, because we wanted to support local artists. From that our sound has just been growing, but we are going to have fewer releases and more curated releases. 

So we are putting more effort in the production. At the start, it was more like, “oh, I like you, you should release on our label.” Haha. This was so cool though and I am happy for all the releases we have had with all these amazing people. We have evolved a lot since then though and I am excited to work on new curated releases. We have a lot of attention in Europe actually and all around the world, which is really cool, being a small label.

Anemi – We want to take people through a journey, also on a deeper level.

Mischa: Is there a confluence between the artists on the labels and the ones you book for the events? 

Andrea: Hmm, we have booked artists we wanted to collab with and artists who already have released music with us, but it doesn’t always have to be an agenda with them. It’s just that we dig their music and their persona somehow. 

And originally we were going to do a lot more art, but it’s coming next year. We’ll be doing more events focused on visual- and conceptual art. 

Andreas: We want to work with modern art and experimental visual exhibitions with light and sound.

Gaute: An audio visual space for events, where it’s not just blasting music with a strobe, but more like an installation; a whole production. 

Andrea: We want to take people through a journey, also on a deeper level.

Henrik: This is really important to do here in Oslo, because of the short opening hours clubs and we’d like to not just play the night shift every week but build an experience.

Andrea: We’ve just been doing so much, playing every weekend and we have just been growing steadily towards the thing we actually want to do; which is the combination of a lot of things. 

Mischa: Do you think that after the pandemic and after you set your own standard in the scene that there’s a lot more people coming up, copying your formula

Andreas: Yes. I think it’s a compliment 

Gaute: I want people to come to  our parties and be like, “fuck, I could do this better” and then I want  to go to their event and be like “shit, this is better, we have to be better”. If they play the exact same songs and do the exact same thing, that’s pretty lame, but if they do something different but better then that’s amazing. We should inspire each other to improve our own unique things.

Andreas: Because we have the connections with the clubs and the bookings, we have actually helped a lot of the competition getting into the clubs.

Andrea: Flux has always Invited a newcomers and up and coming artists and will continue to.

Henrik: I do feel there are more different collectives and more concepts under the umbrella of Techno music now than there used to be for House music, just three or four years ago. 

Andreas: The scene supports each other much more. Even people I thought didn’t like us, when I get to talk to them, they do and vice versa. The Techno scene in Oslo is really kind of nice to each other and supportive.

In part 1 of a 2 part Q&A session we talk to Flux Collective about Techno’s current trajectory, the creation of the collective and how they arrived at Techno, individually.

It feels like we’re teetering on the precipice of something in Techno. Social media is a constant stream of DJs playing to crowds of thousands when it’s not showing queues outside of some of the world’s leading techno clubs.There are tutorials on YouTube about dressing appropriately for club nights and even mainstream TV shows are making references to Berghain (or “Ber-gain”). 

It’s prevalent, and its popularity has surpassed nearly every other electronic dance music category, but as it continues to reach tendrils into popular-culture, it’s diminishing its underground affiliations in the process. 

As something grown from the subterranean caverns of disused power plants and dystopian motor cities, where musical laymen re-appropriated machines to create futuristic noise, it was always supposed to be a counter culture. Its continued acquisition into mainstream culture however has seen the tawdry side of music business and popular culture eradicating much of those original values and DIY ideologies of the genre. What we’re seeing now is similar to what happened at the turn of the century for Techno, when big rooms and festival stages saw it divided.

Yet again, factions are starting to emerge with one group exploiting its current popularity for their own success while another has turned on its heels, taking the music back to the underground. The Flux Collective consider themselves part of this latter group. 

A collective of producers, artists and DJs, the Flux Collective host events, they release records and they facilitate a community for Techno enthusiasts in Oslo, even when there are no places to host them. Their raves in and around the city’s forests have left their mark on the next generation and alongside the likes of Ute Klubb and Monument they have helped establish the next era for Oslo’s Techno scene. Between the events, their label and the artists involved, their efforts have made a formidable impression in the 2 years they have been around and they keep pushing the boundaries of the music and the scene.  

Together, Andrea, Andreas, Henrik, David and Gaute have been a force in Oslo’s underground since their inception and in a short time they’ve managed to carve out a significant portion of the clubbing community for themselves. Their label continues to go from strength to strength and the latest compilation, Metamorphoses marking their 2 year anniversary will only go to cement their staying power. They are a hard group to pin down as individuals with each bringing their own set of skills and personality traits with them, but as a group they are cohesive (even if they might not always agree with each other.) 

As they arrive at Jaeger to celebrate their birthday next week, we sat down with all five of them to talk about their history, their thoughts on music and the future of Techno. Our conversation was broad and extensive, so we decided to break it up into two parts. Here follows part 1. 

Mischa Mathys: Where do you guys find yourself at the moment with a version of Techno that is going harder faster? 

Henrik Ottersbo (Skodde): From my point of view, I see a lot of similarities to what happened exactly 20 years ago. We had Techno and Trance in the late 90s here in Oslo, and some were moving towards a more commercial; doing the Tiesto thing while others kept to the original progressive Trance and Techno vibes from Tresor. And I feel like we are on the same path right now. 

Mischa: You think it’s going to move underground again?

Andreas Ulstein Granum (Skodde): Yes! 

Henrik: Yeah, I feel our sound is going to be more underground, with the other people going in a more commercial direction. 

Andreas: Hard Techno right now is basically EDM.

Gaute Holen (Naboklage): The biggest Techno DJs, their instagram is just super professional videos of festival drops. It’s so far removed from what we’re doing. 

Andreas: It’s just the same rave stab in every song. (Mimics the sound) It’s the same as EDM basically just at 150 beats per minute. 

Gaute: I think we’re trying to experiment and do different things. As the hard Techno is a lot more popular, I feel like we are bored of hearing everyone play the same everywhere. So we’re just trying to keep it interesting for ourselves by experimenting. Right now it’s more glitchy and weird.

Henrik: …and more groovy…

Andreas: … and not that hard, with more baselines.

Gaute: There’s also Hardgroove, that’s really popular. 

Mischa: Yes that seemed to come out of nowhere and it’s based around the Ben Sims label, but isn’t quite that either.

Gaute: Yeah, exactly, but now it’s taking off and happening in parallel to the Hard Techno thing but it’s fun.

Andreas: She (Andrea) was the first to play Hardgroove in Oslo after covid, right when clubs opened… and now she doesn’t.  

Andrea Emilie Eriksen (Anémi): Haha, yes. I had a phase where I played Hardgroove and other genres as well. I have evolved my sound pretty heavily since I started playing out. It’s a continuous journey where I feel I am finding myself more and more and that reflects on the music I play and vibe with at that moment. Same with Flux. We are not following any rules.

Mischa: We’ve been using the term Techno, but in the context of Flux, it seems like it’s more of an umbrella term, for what is essentially machine music made for dancing. And anything from Breaks to Ambient can fall under that umbrella for you.

Andreas: Other people are labelling us as Techno, but we’re always trying to say we’re an electronic music record company. If something is in a state of Flux, it is constantly changing. That’s our core – We always want to develop and not be labelled as any one thing. 

Mischa: So put a name to it.

Andreas: Electronic underground music. 

Andrea: Experimental electronic underground music, maybe.

Mischa: And if you were to describe the sound of this to a layman?

Henrik: Weird, groovy, witchy, experimental, industrial.

David Bjerregaard Madsen: Not that industrial. 

Everyone shouts out in protest.

Andrea – We are open for new artists and new sounds and you don’t have to be Techno, just be something that is unique or something that is really good. 

Andreas: You (Henrik) think industrial is the thing that you think of Tresor in the 90s, but industrial now is just hard Techno.  

Henrik: Yeah, thank you for the correction, I’m an old man in an old man’s body. (laughs) But yeah, also some psychedelic can fit in there.

David: Psychedelic soundscapes with Techno drops. 

Andreas: I think some commonality in where we’re heading now,  is textures and layering. Almost like a cinematic approach to producing music. 

Andrea: We are open for new artists and new sounds and you don’t have to be Techno, just be something that is unique or something that is really good. 

Gaute: And it shouldn’t be completely new, but something a little bit different from what you heard before. It’s better that it’s different and bad than it being really good, but exactly the same….

Andrea: …boring.

Andreas: For the audience too, it’s boring to just follow trends, and do the same as anyone else. In our production right now, Henrik and I (Skodde) are really into the groovy stuff but we’re still into the raw Techno that we came from. It’s much cooler to sound like nothing you heard before then like just ripping off everyone else. 

Mischa: Henrik, you were talking about being around for that period in the early 2000’s when Techno turned to the underground again, and I believe Andreas called you a boomer at some point. Are you the elder statesman of the group?

Henrik: We’re the same age. I grew up with a mother and father listening to Trance music. And also a friend of mine introduced me to a record called ravermeister. It’s a compilation with Trance, Trance-Techno, Hard Trance, everything from 1995. When we started listening to this record, we were four years old so by the time I was seven I wanted to become a DJ. 

I started to produce music before DJing, because Djing at that time was a lot more difficult to get into. It was all vinyl, and giving two record players and a mixer to a seven year old was too expensive. 

Mischa: Is that the case for all of you, did you all get stuck into this free from a young age?

David: For me at least. I’ve always listened to electronic music, maybe not as long as Henrik, but since my mid teens. But DJing, I only got into it four years ago, because I thought it looked cool…

Everybody laughs

… and then I just bought some equipment. I actually enjoyed it more than I enjoyed looking cool. I also had never been to any raves. Right after getting into this, I organised raves with my friend. This was right when covid happened and as it happened, we were like, “oh well, everything is closed, so we might as well put a rave together.” I did that for two years and then I got in touch with Andreas, who I knew from high school.

Andreas: We’ve known each other since 2008 or something. He was my friend’s little brother’s friend. He was just a guy I picked on.

Mischa: Andreas, you were doing raves by the time David reached out to you?

Andreas: I was doing a lot of music stuff. I organised Hip Hop parties, House parties, a lot of stuff. I started off with black metal actually. I really really like metal, that’s the thing I listen to the most.

Mischa: Andrea how did you get involved with Flux, amongst all this testosterone?

Andrea:  Haha. I try to break it up with some feminine energies. We (Andreas) met here (Jaeger) actually, seven years ago, on the dance floor. 

Andreas had already played out for a while and was a bedroom producer then. He teached me how to mix and that just became our hobby at home.To Mix and listen to music. We started Flux Collective in the pandemic and we did some raves together the summer of 2021 which kind of just escalated. We also did one with David who also was doing his own raves. Same with Gaute; everybody was just doing the thing out in the forest. We had no plan with ending up here you know, it just happened as we went on doing the stuff we loved and just followed our hearts. Flux first started out as a rave-series, then a label and club-series shortly after closer to the fall/winter of 2021.

Mischa: So the idea for the label has been there from the beginning?

Andrea: Our first release was 2 or 3 months after we started out. It was Skodde’s first release. 

Mischa: What were you doing before Flux, Henrik?

Henrik: I used to play at Villa, as Good Mood with a friend of mine. We worked together for five years and at some point I wanted to do more Techno and he wanted to do more House.

Naboklage – And then all the people who were organising raves met by showing up to each other’s things. 

Mischa: Gaute that sounds similar to your story. You were in Toalettkollektivet (which had a residency at Jaeger), which was doing House music originally, and then both you and Leo (foufou malade) moved over to the darkside. 

Gaute: Yes, we had a bunch of events here. At some point I said; ”right now, I don’t listen to any House music, I don’t want to play house music anymore.”  And then Leo and I started something called Tempo instead, which was the polar opposite of what Toalettkollektivet was; No rules, do whatever you want, just like back in the old days before they invented all these sub genres and it was like; “let’s go to a rave and there will be music.”

Mischa: This was before Flux?

Gaute: Yes, and originally the first Tempo event was supposed to happen before Flux was a thing, but ended up happening around the same time as when I released a record with Flux due to restrictions coming back. The second Flux release was my release. I joined as an artist, but I helped out with a bunch of stuff too.

Andrea: We were in it together from the start, actually. Attending all of the events together, hanging out. 

Mischa: So was the idea behind Flux to merge all these satellite things you were doing separately?

Gaute: Exactly. 

David: It was Andreas who picked his favourites. 

Gaute: …Stole people from the other crews.

David: It was Andrea who had the idea though. It was August or September 2021, that’s when she made the instagram page. I didn’t really understand what it was all about and then a few months later I got it when I joined officially. 

Andrea: It was just a natural progression, all of us working together. It was just meant to be, you know. (laughs)

Andreas: The thing is Andrea has the ideas and I’m a bit of a doer; I like to get shit done. So when she tells me she wants to do something, I would have already called everyone I know, we’re starting tomorrow and she’s like; “that wasn’t what I said.”

Andrea: Things happened quite fast and the culture was really booming. After the pandemic it was sensational, freeing and magical to hang out in the woods and dance and listen to music. 

Mischa: Stepping into forests as the pandemic shut everything down, was there some competition out there?

Andreas: We actually didn’t know the competition until after covid. 

David: The competition is much bigger now than during the pandemic. This summer has been really heavy and it’s been hard to get people to pull up to your rave because during the pandemic, you go to one or two, if you get to know about them or you don’t go to any at all. Now it’s fucking everywhere.

Gaute: People didn’t really care about who was playing or who was throwing the party. And then all the people who were organising raves met by showing up to each other’s things. 

Mischa: I guess you could avoid stepping on each other’s toes when you know each other. 

Gaute: Exactly. That’s something I feel we’ve been trying to do. For example; Earlier today, some guy messaged me to ask if I was going to do a rave next weekend. We try to coordinate.

Andreas: The communication is really good and we’re like, everyone knows each other. 

Gaute: We help each other, we rent out shit to each other. We lend stuff. It’s super nice. 

Ivaylo talks openly about the end of his personal relationship and how Lab Cleaning Jams rose from those ashes as the DJ, producer and label manager embarked on this new phase of his life.

It all came crashing down for Ivaylo Kolev one day in 2023. As  he sat in his car, faced with yet another unsurmountable responsibility on the back of a year of unrelenting upheaval and turmoil, the dam finally burst. The sleepless nights and unceasing worry had nowhere else to go, and manifested in the only way possible as tears welled in his eyes. After his partner and mother to his three children abruptly left him last year, he’s been caring for his three children alone while facing a tumultuous legal battle with his ex-partner, the kind you only see in hallmark movies. 

In the past, Ivaylo could channel those emotions and anguish into music, but this creative outlet had laid dormant during the last year as all his energies focussed on the life-changing situation at hand. “I wasn’t able to make music, mentally,” says the Bulgarian DJ from his home in Asker, Oslo. Sitting in his light and airy dining room, things aren’t exactly looking up yet, but Ivaylo’s disposition is surprisingly upbeat. He has always been nothing but candid face to face, and that stoic personality forged behind an iron curtain and cultivated in the cultural inclusivity of a dance floor, has been nothing but amicable.    

“I still see the connection; That’s what Lab Cleaning Jams is all about, it’s just jams, just music.” 

When it comes to music Ivaylo’s dance card has never been anything but full.  He is a familiar face on Oslo’s DJ circuit, playing almost every weekend and the man behind the Jaeger Mix concept amongst others. He is also Jaeger’s logistics man and the face of the club when it comes to our visiting DJ guests. And when he’s not doing those things, his the label manager for Prins Thomas’ Full Pupp. You might also remember him from his label Bogota records. 

Downstairs in his basement studio in Asker, a few physical copies of the last Bogota release line the shelves. “I give them to friends,” says Ivaylo when I refer to the remnants of the label he has declared defunct. Will he ever revisit that label I ask, knowingly. “No, That boat has sailed;” comes an immediate reply. “Everything is personal for me, how can you work with art and not be personal?” 

Bogota Records is particularly personal and had a specific connection to his ex-partner and as the relationship broke down, he abandoned the project. It’s taken him the better part of the year to come to terms with the end of that era and forge ahead with the next phase of his life, but whatever he is going to do, it won’t include Bogota records. That’s why I’m here, talking to him in the basement studio. He is on the verge of ushering a new epoch in his music and it will be called Lab Cleaning Jams. Named after his monthly mix series, the concept has now turned label and by the time you read this he would have already released the inaugural record in the form of a 3-track digital release, pragmatically titled Jam 1-3. 

Down in his basement studio he plays me a few snippets from this and a few of the future releases. Boblebad has the honour of the next release after Ivaylo and the first track from them he plays is instantly recognisable as Boblebad’s distinctive disco-infused jacuzzi Jazz.  There’s some similarities to Ivaylo’s own productions but by the time he gets to Boblebad’s second contribution; an erratic jittering piece that looks towards some acoustic IDM interpretation, the connection is severed. The contrast is obvious, but Ivaylo disagrees. “I still see the connection; That’s what Lab Cleaning Jams is all about, it’s just jams, just music.” 

Ivaylo skips far ahead into some unfinished pieces from his own catalogue. Immediately there’s a correlation between these pieces and the first two tracks he just put out via Lab Cleaning Jams.They’re all different to anything that has come hitherto from Ivaylo. In the case of the Jam sessions, Ivaylo forgoes the dancefloor-friendly sequenced sounds for some acoustic elements. A cymbal splashes, a double bass rumbles, keys jingle and even a saxophone tweets sweetly in tonally adrift Jazz improvisations. 

For now, most of these tracks are still ”just edits” and while some might take a day to finish others “might be two weeks” away from completion. In one of the most recent creations a reggae vocal sample suddenly appears through a din of upbeat piano and it’s completely unexpected. Where did that sample come from? “I don’t know,” replies Ivaylo. “I have so many samples and I don’t know where they come from.” He’s been amassing a sample library of note since he started making music in 1996 and it can go from his earliest musical indulgences behind a drum kit in various Jazz-fusion bands between Bulgaria and Norway to a year’s worth of sessions recorded in a bachelor-pad-turned-studio back in the early 2000’s. “I literally have everything,” he says through a grin. “The only thing I need to play is melodies.”

After digitising everything back in the day, he only needs to dip into this sample library he’s amassed. Most of the time he’ll only add a bass line or melody and while this is something that has been consistent in his creative process for as long as we’ve known him, there is a subtle difference in the type of samples he’s started using in this new era for his work. 

There’s an organic touch which becomes immediately evident when you listen to Ivaylo’s first outing, Jam 1. The beat skips between conga and hi-hat, while a sine wave punches a hole in the first step of every bar as a kick drum. When a Rhodes piano joins the melée in staccato stabs we’re in Funk and Soul territory and any reference to Ivaylo’s more functional intuitions are laid to rest. “I want to work with musicians, I want to work with real music,” he explains of the ideas behind the new tracks. 

“If you listen to the music from before it’s darker – Now I feel free. ” 

After a long period of being in “a dark place” with the sudden change in his life, he felt that he needed “to listen to live piano and live bass”. It was like starting from scratch, with a new point of focus, coming together around this new label and nudging Ivaylo’s music into a different direction. These new pieces are lighter than anything that came before them, with a spring in the step of the rhythm and a buoyancy in the melodies. He realises that his situation during the period leading up to the eventual turmoil  “kept me in a dark place. I had to run as fast as I could to the light and my light is the music. If you listen to the music from before it’s darker – Now I feel free. ” 

I sense there might be another reason that this music has shifted so dramatically from the kind of tunnel vision-functional demand of club music. As somebody that works behind the scenes in the club scene in Oslo, Ivaylo sees all sides of the DJ booth and what he’s seen in club music over the course of the last year has only dissuaded him from those dance floor inclinations. 

“When it comes to club music, I’m bored. I’m bored of the music because it’s the same, I’m bored with people that make something different just to be different, but end up sounding the same as all the other ‘different’ things.” Ivaylo misses the “art” of making music in a period where everything is dictated by industry and business. “It’s obviously not because of the music, it’s because of the mechanism behind everything” and when everything is so “artificial”  Ivaylo finds it necessary to adopt a more “organic” approach in the music he is making now. 

It’s something that has spilled over into his DJ sets too. “I’ve come to realise I’m not a good DJ…” he says pausing for me to make the obvious argument before he continues; “when I have to play a 2 hour set. You have to create your vibe, and that takes time.” There aren’t many opportunities to do this today especially amongst younger audiences that crave the immediate and perfunctory right from the start and lineups feature a host of DJs packed into a 4 hour lineup in Oslo. Ivaylo “worried about the younger generation,” particularly at a time when “everything is divided” as it is, but he has enough skin in the game and enough years in the DJ booth to bide his time and work through it.

Between the changes in the industry and the changes happening in his personal life, Ivaylo found a life-line in this new label. Where most in his situation, specifically those that work in the club music atmosphere, could have easily sunk deeper into the vices that inherently follow club culture, Ivaylo did the opposite. He’s stopped drinking and smoking after 30 years and spends most of his free time making his own yoghurt and jams while tending to the sprawling garden we look over from his dining room window. 

I’d like to think this is reflected in the new music he is bringing out and he thinks that’s because whatever he does in music and his label he needs to stay “loyal to my personality.” He thinks it’s just about being “honest with the music” and that has afforded him some aspect of freedom a year later.  If Ivaylo’s honesty in music is anything like the candid personality sitting behind the artist, it will certainly shine through Lab Cleaning Jams and the music he is making now. 

Funk for Forest do everything for the groove. Born from the lineage of Funk that transcends their collective years at times they channel a music legacy directly to the dance floor today.  The fleeting lineup, which can grow to ten people, comes from a long line of Norwegian live acts who fuse Funk, Soul, Disco and more obscure genres into accessible dance floor cuts. From the upbeat Frank Znort to the futuristic fusion of Flammer Dance Band, Funk for Forest joins an impressive lineage of live dance bands in Oslo’s history.  

Cultivating a sound that skirts the fringes of black American music, but updated and honed to accommodate a dance floor where the DJ reigns supreme, Funk for Forest brings a new dimension to timeless- and future classics. Their references are eclectic and engaging as they create live edits from familiar pieces, channeled through their distinctive musical proclivities. 

Funk for Forest are unique today as they’ve approached their craft solely from the stage. At a time when  bands arrive fully formed with at least one record and a label deal, Funk for Forest have opted for the more traditional route as a live band first. Rumors are abound of some recorded material on its way, and Funk For Forest will undoubtedly soon hit their stride in the recorded format too, but for now they are a live band in every sense of the word. 

We caught up with the band via email to talk about this upcoming performance at LYD this Saturday, some influences and we got to know a little more about the emerging band. 

Hey guys. Can we start with a roll-call; Who’s in the band and what do they play?

The ensemble changes slightly from gig to gig, but for the upcoming show at jaeger the band consists of Elias Løstegaard on bass, Elias Tafjord on drums, Jesper Fosdahl on guitar, Viktor Ognøy on percussion, Thomas Antonio Debelian on percussion as well, William Foreman on keys, Eira Elise Øverås on trumpet, Mikkel Brekke on trombone and Jeanette Offerdal on saxophone. 

What brought you all together and what was the music that you initially all bonded over?

The band was started by Jesper and Elias with a wish to have an arena where we could play the music we loved the most, that being funk, afro-funk, disco, club music and all other iterations of the funk-genre. We just reached out to the best people around, and people we knew got a kick out of the same music as us. Turns out crowds also love groovy music, who would have known. 

The Funk element in your name is pretty self-explanatory, but how does the forest factor into it?

The name is a slightly corny pun playing on the environmental activist group Fuck for Forest who most memorably, in lack of a better term, fucked on stage at Quartfestivalen 2004. Initially the name was just for fun, but we also try to be a band with a focus on sustainability. Not flying to gigs, putting some of our payments from gigs in environmental funds, buying second-hand stage outfits and other things like that. A good example is that we are making some merch for our Halloween gig at Jaeger, the t-shirts are made here in Oslo and the profit from the merch-sale goes to Regnskodsfondet. 

It’s unusual lately to find a live band that is not already fully formed with records and a label behind them. Why have you opted for the alternative route?

Funk for Forest was always designed to be a live experience, so it made sense to just start playing and having fun with the project. Our hope is that crowds recognize how fun the show is, so we opted for a sort of word-of-mouth approach. It just felt the most natural to us, and it takes away the pressure so we can have full creative control. 

I hear a lot of familiar pieces, reworked, but you’re not exactly a cover-band either. How would you describe your live show for the uninitiated?

We take a lot of inspiration from DJs and the club culture, so that’s what we try to be; a live, 8-piece band that acts as a DJ playing you the grooviest edits of the music we love. Some of the tracks we play are truer to the originals, while others are more complete rearrangements. We always try to create the “Funk For Forest”-edit, it’s more fun for everyone that way. A big focus has been on making the set flow together, with seamless transitions between the tracks so that the party never stops. We also try to command less attention than your usual band would, so that the crowd can focus on each other and enjoy the grooves. We want to see you dance.  

What do you look for in the songs or the elements that you incorporate in your live show?

If we think people would dance to it, That’s always the main priority. We also look for material we can make our own, or we think would work well with the ensemble we’re rocking at the time. And it always has to be groovy.

You guys play a lot of music that’s older than most of you. What is your relationship with this music and how is it generally passed down to you all?

Everyone in the band has some level of music-education, so a lot of it has been introduced to us from fellow musicians and the environments we were taught in. We also love the music we play, and there has been a lot of digging through catalogs trying to find the perfect tracks. Our love for funk has been expanded a lot through working with Funk For Forest. 

Besides the obvious Funk influences like George Clinton, what are some of the less obvious touchstones for Funk for Forest?

As mentioned earlier, we take a lot of inspiration from house and disco. Todd Terje and Dimitri From Paris are huge inspiration to us in that area. We also love older funk ensembles like Average White Band and disco acts such as Roberta Kelly, as well as more modern funk-and-disco-harbingers like Orgeone, Cory Wong, Nu Gunea and so on. Also the Norwegian funk scene is super cool, we love artists such as Flammer Dance Band, Hubbabubbaklubb and Sex Judas. Many mentioned, many forgotten, but there you have some obvious touchstones!

With 8 people in the band, I assume many of not all of you are also engaged in other projects. What does Funk for Forest represent in terms of music that you don’t necessarily get to do anywhere else?

It’s not that often you get to play music written by somebody else, in your own creative package. It’s an arena where we can play fun music, the music we love the most, where we can really let go. We love to dance, and to be able to play music for people with the sole intention of making them move is something we don’t get to do often!

Who are some of the live bands that have inspired your own performances?

All of the bands and artists named above are brilliant, but a new discovery for us is the French artist/producer Dabuell, the live concert with his band from Paris that is up on Youtube is a gem and has been a source of inspiration and joy ever since we discovered it. Stuzzi from Sweden is a great live-act as well and I think an honorable mention is the Sunday-staple Frank Znort at Blå; always good vibes and great energy.

There’s talk of some original music coming. What can the listener expect that would be a bit different from the stuff you’re doing now?

We don’t know how much we want to give away, but yeah we are making some music and when the time comes we are looking forward to sharing it with everyone. It has to be groovy, that is the most important thing for us, and I know it is for our crowd as well. 

Will any of it be making an appearance during the show at Jaeger?

Probably not. We want to make sure it’s done right by the high Funk For Forest standards of excellence before we premier anything. There is still some time before the gig so we will see, it is going to be a great party anyway, and we can’t wait to dance with you all!

Lastly, please play us out with a song.

In the spirit of the funk and the disco, it has to be: Parribean Disco – Cotonete / Dimitri From Paris.

We dig through the legacy of one of Detroit’s finest, Octave One as they make their way to Jaeger’s basement for another round of their awe-inspiring live show.

In Detroit, “everything was around us” according to Octave One. The brothers Burden are an indelible addition to the early history of Techno and one of Detroit’s finest exports. Born into the environment that birthed everything from Motown to the Model T automobile, the Burden brothers tap into a vast and extensive history of music and machines that all feed their singular creative output as Octave One. While Lenny and Lawrence are the central figures as the performers of the group, most of the brothers have a hand in some production aspects and running their label 430 West.

Their success is a stark contrast to circumstances into which they were born at a time when Detroit was going through one of its many downturns. “When the car industry declined, it caused a lot of problems in the city,” Lenny and Lawrence told Bridges for Music. People “went from making a lot of money to none” and “had to leave to survive.” That was happening as they grew up and for those that didn’t have the resources to leave there weren’t many options, especially for kids coming of age. For most being born in that environment in the USA there were two options, the military or prison, and for a few lucky ones there was also, sports or music. For the Burden brothers it was the latter and things got noisy real quick… 

“Having all of us in the house playing music could be kinda chaotic at times,” they reminisced in a Musicradar article. Their mum was nothing but supportive, because if it was noisy, she could be content with the knowledge her children were safe. It was ”a form of discipline because she could count on knowing exactly where we were.” The brothers had had a rudimentary musical education from elementary school, and it was emboldened by an eclectic musical taste. “We have a great love for early Old school RnB, Rock, Industrial and even some HipHop,” they told 15 questions;  “… our influences are endless!” 

They weren’t alone in their music adventures during this period., because while they were developing those influences, a whole city seemed to plug into the same wavelength, and Detroit Techno started to emerge. The Burden brothers had already been consuming “tons of Chicago House,” by the time the proto sound of Techno arrived with the likes of Model 500 and Transmat records and the transition was an effortless one. 

Techno was still in its infancy with the first wave of artists to emerge, but the Burden brothers would be there on the cusp of it too, even if it was still early days. “When we started in 1989, our exposure to Detroit techno primarily came from the radio and clubs, but you could have easily escaped it because there wasn’t a lot of it.” From that exposure, they bought “a couple of drum machines and synthesisers” and started making their own music. “It seemed amazing to us that we could make a whole song with just a few pieces of equipment.”

At the centre of their sonic explorations was the Roland TR909 drum machine. “Once we got the 909 I was hooked – that machine’s like a drug” Lawrence told Musicradar. “With the 909 we always say that if we sell that then it’s over.” The drum machine became the centrepiece from which they started to construct their own music, influenced by what they were hearing around them in Detroit. They were embedded in the scene early on, working the lights at the music institute (Derrick May’s joint) amongst other things, but they were not gonna get a free hand out either. Derrick May wouldn’t even give them a DJ set at the place they worked and the cassette tapes they sent for peer review from the labels around them “got rejected quite a few times.” They continued to work at it and the exposure to the new sounds of Techno emanating from places like the music institute undoubtedly only fortified their efforts. 

After a few more cassettes their work finally paid off with a release in 1989 on a forthcoming Transmat compilation and the follow up to the genre-establishing Techno! (The New Dance Sound Of Detroit) compilation, simply called Techno 2 – the next generation. At the time they were still unnamed. “We were put on the spot by Mr. Derrick May when we were asked what was the name of our band,” they recalled in Electronic Beats. “He left the room and we did a very, very quick ‘huddle’ to come up with a name on the fly that we felt best described us, and the name Octave One was born. And it meant and means all of us (Lawrence, Lenny, and Lynell) working in one accord almost as if sharing the same octave.” The track, “I believe” inaugurated Octave One as a fixture in the second wave of Techno coming out of Detroit alongside the likes of Carl Craig and Kevin Saunderson.

Not merely content with that release, the Burden brothers launched their own label right out of the gate, establishing 430 West almost directly after their debut. It was almost unheard of back in the early nineties for an unknown electronic music act to start an independent label. “Apart from Richie Hawtin’s Plus 8 and Carl Craig’s Planet E, not that many people had started their own label back then. We did it out of necessity because Derrick didn’t put out a lot of music on Transmat and we were ready for our next release.” 

430 West came “a time when even a bad record would sell a couple of thousand” and what started as one record soon took on a life of its own. In a couple of releases they established not only a sound for Octave One, but also for their label. Taking those rudimentary Techno archetypes of the generation before them and refining it, they had hit a nerve both in Detroit and Europe. There was, and remains a subtlety there that feigned the brutalist functionalism of the sole drum machine for a richer texture, even going so far as to set up the subsidiary label in the form of Direct Beat for their more functional- exploits and artists like AUX 88.   

Throughout the mid and late nineties they toiled away at both the label and the Octave One project, releasing records that have been coveted by collectors and enthusiasts since they were underground rarities at their time, most of which have only been appreciated with the advantage of hindsight.

Octave One became a touchstone for anybody interested in that early period of Detroit Techno, but this doesn’t mean that struggle has come without success for them. In 2000 they broke new ground with a crossover hit in the form of Black Water. The track sold over a million copies, thanks in part to the soulful vocals of Ann Saunderson, breathing live into the bubbling synthesisers and accentuating the emotive content of the strings.  

Black Water came at a significant time. Not only would it be one of the last examples of physical records selling into those high numbers, but it came at a time when the height of popularity for electronic dance music. As more people flocked to the music, the clubs,  the radio and even MTV, exploited this popularity with big business getting behind the genre for the pay day. As the big-room started selling out, most of the protagonists moved their music and act back toward the underground in this period, while some even abandoned these genres altogether for the likes of Punk and Disco, waiting out the tawdry commercial aspects that took hold.

Octave One took to the former, adopting an “adapt or die” approach during this period. “75% of our monetary gains came from sales, but a few years later it came from touring,” with Octave One becoming a fully formed live group. “I was supposed to play live by myself,” Lenny told Musicradar about the origins of the live set, “ and Lawrence would DJ his set right before I was supposed to hit the stage. I had his mixing console and all of his gear in front of me and was trying to do everything myself when Lawrence jumped on stage.”

Octave One, the live show, was born and soon it would also be immortalised in Techno lore thanks to their inclusion in Jeff Mills’ iconic exhibitionist mix and video series. From that Octave One set on a new trajectory as one of the most sought after live groups in electronic dance music and club culture. Their hardware-heavy set has decimated some of the best club sound systems in the world.

It all “happened organically” and as “the record label started to suffer” in the wake of the internet and everything else, they too started to “slow down being record label guys and concentrate on being performers.” As performers they’ve excelled in their field and there are few live Techno acts that can match the ferocity and experience of Octave One. “The fun part was playing the music” and while their recording efforts took a back-seat to their live performances, they still maintained a regular release schedule. In the last few years they’ve even resurrected and paid homage to a couple of their old aliases in the form Random Noise Generation and Never On Sunday respectively. 

Never On Sunday harks back to the early nineties, but as an album you can’t help being reminded of Black Water, with vocals from Karina Mia all over this thing and emphatic melodies and loud-like textures coming together in accessible, radio-friendly tracks. 

Softening the more functional edges of their live show, the record favours a more varied sound, but retains that elusive soul that remains the core appeal of Detroit Techno to this day.  “Thousands of people still want to experience Detroit techno that was born from the struggle of our lives,” the artists explained in that piece for Electronic Beats, and today more than ever, “from that, inspiration can be born.” Be inspired.

We get a sneak preview of the up and coming V/A compilation series from Det Gode Selskab while we talk to DGS and Phill prince about the origins of the track and more.

Groovy, melodic, minimal and uplifting springs to mind when you put Phill Prince’s Lost the Key on for the first time. It’s the same words I would and have used to describe Det Gode Selskab Records, the label facilitating this release from the Italian courtesy of four part V/A compilation series coming out this fall.

Phill Prince is a leading light in the Italian underground as the mastermind behind Milan’s PLGRN party set. He is a DJ, producer and promoter and shares many of those core values of the Det Gode Selskab.  With a few invitations back and forth, including a visit to Jaeger’s basement this Saturday, they have found kindred spirits in each other.

Lost the Key cements the friendship as bongos rally around a bouncing bass arrangement and breezy keys; an ode to the end of summer and happy memories from nightlifes mishaps. There’s a serendipity in the title that I’d leave the artist and the label to explain, which re-enforces that sonic bridge between Phill Prince’s music and Det Gode Selskab’s sonic identity.

Lost the Key is a party-starter, its infectious rhythms and stark sonics only has designs intended for the dance floor. We talk to Phill Prince and then Det Gode Selskab about this new track, the upcoming compilation series and the next DGS at Jaeger while you get the exclusive preview.

Interview with Phill Prince

Hey Phill. First off, give us a little background info on you and PLGRN?

My musical journey started at a very young age when I fell in love with the drums. As a kid, I couldn’t resist the allure of electronic music, and that fascination grew over the years.

I began performing in local clubs when I was just 15. I established myself as a DJ, and my sets covered a range of genres, from house to techno. I guess my family’s deep-rooted passion for the disco tunes of the 80s and 90s played a significant role in shaping my musical taste.

My journey into music production began during my time spent in clubs near Venice. I enrolled in specialized training courses for music producers across Italy. There, I started crafting my groove and percussive rhythms using analog machines and MIDI modulation.

With the release of several productions on different labels I’ve been fortunate enough to have my productions supported by several international artists like Jamie Jones, Marco Carola, Jaden Thompson, Rich NxT, East and Dubs, Rossi, and many others. I’ve also had the privilege of performing at renowned venues like  E1 London, After Caposile ,Goya Madrid, Destino Ibiza,Liquid Room Edinburgh, Storgata26 Oslo, Studio69 Berlin, Taboo Paris, Altavoz Venice, The Bus Barcellona, Musica Riccione, Super Club Milano, Apollo Club, to name a few…

Established in February with my partners Jacopo and Pietro, Pellegrino has emerged as a vibrant hub within the Milanese nightlife scene, dedicated to cultivating the unique musical expressions of its DJs, distinguishing them from the typical genres often presented at various events. Milan’s Apollo and Super Club played a key role in bringing this concept to life, dedicating a specific space within the nightlife scene to this format. This support led Pellegrino to obtain a monthly residency at the club, where he introduced a musical direction focused on Minimal, Techhouse and Microhouse genres in the heart of the city.

With Pellegrino, our goal has been to turn the clubbing scene into a musical sanctuary for Milan’s nightlife lovers, a destination where they can relax and enjoy themselves after a busy week, a chance to hear new artist profiles. It became the music destination the city craved. We brought a fresh, original and distinctive idea with a shared musical purpose that resonated with our participants. Our continued support and enthusiasm further fuelled our determination to continue with the project, even after the challenges posed by the closures and prolonged suspension of nightlife due to covid.

How did you find the guys at DGS and what drew to their sound and vibes originally?

Expanding our boundaries has always been a goal of ours and to do this we need to build a community around formats that have similar interests and a musical identity that matches ours.

We started looking for profiles that were interested in this kind of project and shared these ideals, and fortunately we managed to get in touch with the guys from DGS. Their profile was already known to us for several releases on their Power House label that our DJs often support in their selections. 

This aspect, together with the magnificent human side of the creators, led to this magnificent connection and constant showcases between Italy and Norway.

Tell us about how you made Lost the Key?


The composition of ‘Lost the Key’ can be considered as a fusion of both analog and digital elements. This project originated within the studio environment, where we embarked on the exploration of various drum patterns characterized by their distinct freshness and a pronounced techy influence. These explorations were complemented by the incorporation of closed and open-hat sequences, firmly rooted in a classic house style.

The melodic dimension of the piece was meticulously crafted through the modulation of a synthesizer sample sourced directly from the Yamaha Rm1x. This process imbued the composition with an ethereal quality, lending it a constant and deep tonal foundation.

Further enriching the sonic landscape, the central sound was developed using a Roland TB-3, creating a lead acid element that steadily evolves until the track’s reset. This dynamic transformation maintains a consistent energy throughout the composition, evoking associations with a ‘dance floor’ siren, thus encompassing a spectrum of moods that transition seamlessly from deep house to more electro-inspired moments.

The overall structure is characterized by a series of fluid and invigorating grooves, imbuing the composition with a sense of freshness that harmonizes seamlessly within the final mix.


What’s the story behind the title of that track?

Often, the titles I assign to my records are intricately linked to genuine, tangible experiences. In this particular instance, I found myself within the confines of my studio, engrossed in the process of crafting a central melody revolving around a foundation of meticulously constructed kicks and percussion.

As time passed, it became evident that the hour was growing late, and the moment had arrived for me to conclude my work and head home. However, a sense of unease began to grip me as I realized that my keys were nowhere to be found. The ensuing search for these elusive keys proved to be a nerve-wracking ordeal, as I grappled with the mounting doubt and frustration that came with each passing moment.

In a moment of uncertainty, I gravitate back towards my analog machines. In the process of experimentation, a profound connection emerged between the ‘siren’ I had meticulously crafted, the intricate interplay of the drums, and the ethereal pad. It was within this creative juncture that the composition began to take shape and evolve.


What is it about your sounds as an artist that you feel worked well with the sound of the label?

My sound is currently honing in on a distinctive style that spans from minimal to powerful house, affording me the versatility to explore various creative avenues. In this instance, I identified a harmonious connection between my own musical approach and Dgs’ direction. This record, in my perspective, reflects several facets of the house genre that align with the neo-90s vibe of the Norwegian label. Nevertheless, it retains a notably minimal groove that harmonizes with my broader body of work.

How does the track reflect your sound as a DJ?

I aim to craft something vibrant, drawing inspiration from the 90s house sound while maintaining the tempo of today’s minimal-deep tech trend. It’s a dynamic interplay between pad and lead elements, engaging the audience and keeping them on the dance floor. That’s what I strive to create and simulate for the audience – an electrifying energy

Give us a glimpse into your record bag for this upcoming event at Jaeger. 

I have a selection of diverse records at my disposal, but my exploration is an ongoing evolution. My musical focus leans towards a raw house sound, occasionally delving into Romanian minimal influences, while consistently incorporating elements of electro and tribal rhythms.

From labels like Rawax to Kann Records, and including Terry Francis’s latest EP on Hallucienda, along with exclusive previews of my forthcoming releases in the coming months, some of which are recent unreleased creations – all of these elements contribute to the musical journey I aim to craft.

Interview with Det Gode Selskab 

Hey DGS. How did you first hear of Phill Prince and PLGRN?

Det Gode Selskab and PLGRN made their first acquaintance in April, when they invited Tod Louie to play at Super Club in Milano. High five to keepitgoing. for connecting us.

We decided to keep collaborating, and we invited the crew to Oslo at the end of May at Prindsens Hage where we did an outdoor garden party in the middle of the city.

Where does DGS and PLGRN crossover in terms of sound for you?

In many ways the people behind PLGRN and the DGS crew share similar passion and values for the underground club scene. They put their whole heart and love into what they do, and it’s very contagious and loving.

They have high standards, confidence and big hearts which, for us is very important in this scene to keep it healthy and progressive. So all of this made it all very natural to continue developing our Milano – Oslo partnership.

We also see ourselves steering more into the direction of collaborating with labels and concepts rather than booking highliners for Det Gode Selskab nights. That kind of collaboration is what feels right for us.

What attracted you to Phill Prince’s sound as an artist and why did you want him for this compilation?

His sense of grooves and the way he works his music as a DJ and producer. He gives a lot behind the DJ booth and his transitions and build ups are very charismatic and captivating. He is a super DJ and when were introduced to his music we saw a lot of quality that  has a natural place with our label.

Tell us what you first felt when you heard Lost the Key.

Upon first listening to “Lost the Key” by Phill Prince, I was instantly transported back to ADE 2022, a memory etched with the comical misadventure of Karl Fraunhofer misplacing our apartment key, which eventually found its way into the Amsterdam waters on a Monday morning at the docks. A chaotic moment, though it ultimately concluded on a positive note. Despite the unexpected acrobatics involving scaffolding around our residence, the tale culminated with the locksmith’s timely arrival to restore access.

It’s minimal, groovy and there’s that functionalism there that we all associate with DGS. How does it differ and expand otherwise from the classic DGS sound for you?

It gives some of the same qualities, percussions and sound that Luciano’s Cadenza label has offered us as DJ’s throughout the years. That “terrace” Ibiza-sounds from 2012-2018. It’s a sound that historically has been part of many of our events throughout the year. It works very well!

What does this reflect the rest of the compilation?

Our compilation invites the sound of our collective of artists and new and old friends and acquaintances that we meet as a label, DJs and event series. It encompasses the sound of our label and our extended network and is usually not very genre specific but obviously revolved around the groovier sides of dancefloor music; consisting of house, italo house, tech-house, minimal, techno, breaks and drum & bass.

Tell us a bit about what you expect from the upcoming night with Phill.

He will take the lead for the last two hours of the night, and what to be expected is some serious groove and passion behind the booth. He has a unique style and ability to create forceful transitions that invite a full and playful dance floor.

Of Norway talk about their new album, their working process, some secret aliases and a very special live show that will follow their official release party at Jaeger.

It’s hard to define the appeal of Norwegian electronic music. It’s a melodic contingent; a love of vintage synthesisers and drum-machines; an eclectic musical history; and a brooding melancholy that’s as sweet as it is foreboding. At the best of times it’s only a couple of those things that distinguish Norway’ s artists, but for one group it’s all of those things and that’s why Of Norway live up to their name. 

Their latest album stands testament to that. Smeigedag is no exercise in restraint either as Chris Lynch and and Vegard “lil” Wolf Dyvik tap into their shared history together to construct a forlorn ode to summer. Melodies dissociate in that familiar happy melancholy that doesn’t strain the patience, while progressive rhythms tap into some ancient ritualistic pulse. The racks go from the euphoric House exaltations of “Love” to the moody ambient embrace of “Second coming,” with melody and texture remaining at the forefront of their work. 

It’s instantly familiar, not merely for its Norwegian connotations, but as a consistent thread between this latest and Of Norway’s previous records like “Accretion” and “The Loneliest Man in space.” The latter had been our last contact with the group before the pandemic (even though we learn that they’ve released another record since), and from that album’s electro-leaning affiliations to this latest record, the core of the group’s sonic signature has remained unchanged even as they drift into different musical regions.

After four albums and a host of EPs, Of Norway Chris and Vegrad haven’t evolved the sound as much as they’ve cemented it. They’ve enjoyed a healthy and productive relationship with Connaisseur records, releasing all their albums on that Offenbach-based outlet while releasing EPs and singles for the likes of Darkroom Dubs, Bedrock and Do not sit on the furniture. Oddly for a group called Of Norway, their music has been more successful outside of Norway even though Vegard and Chris have been fixtures in Oslo’s scene through institutions like iconoclastic and Kill your Ego. 

As DJs Chris and Vegard continue to play around town and abroad on occasion, and as artists we’ve come to expect a regular release from Of Norway. Their history with electronic music in the scene goes back to the early 2000’s and there’s more to Of Norway than meets the eye, including a couple of secret aliases. This amongst other things piques our interest around Of Norway, and ahead of the official release of the album, we reach out to the group with some questions.

As the duo prepares for the official release party at Jaeger, we call Vegard and Chris to find they are currently working on a very special live show, and Chris’ phone is buzzing with guestlist requests… 

 

Where are you at the moment?

Chris Lynch: We’re in the studio, working on the live set. We’ve just got booked to play Berghain so we’re a bit nervous. 

O wow. That’s big news. Is this due to Smeigedag and is the live show going to be largely based around the new album?

Chris:  Yes, it is. Andy Baumecker (Berghain resident and booker) really liked the promo that he got and he got in touch with us asking: “do you want to play the album plus other recent things that we made.” 

Vegard “lil” Wolf Dyvik: There might be some older things, but it’s mostly the newer stuff.

Chris: It’s a slightly different sound to our earlier albums. It’s a little more dance floor…

Vegard: Is it?

Chris: Yes it is, if you compare it to the Accretion album. It’s a little more club friendly. 

When you have something like Berghain coming up, do you take that context into consideration when preparing your live set or do you present the songs pretty much as they are from the album?

Vegard: I think we’re pretty true to our album. We don’t change our sound for clubs anywhere. 

Chris: It’s more about the sequencing or the tracks we choose to play. If we play an open air space, you can play the more trancy stuff, or if we play a basement it’s more bass-heavy. If we have 20 tracks in a live set, we’ll only play 6 or 8 of them. 

Vegard: The difference is we are preparing a lot of tracks and we have a system so we can just jump to any track we want. Which means, like a DJ, we don’t have to play our tracks in sequence. We won’t change the way the tracks sound.

And you are able to react to the audience as well, since you have twenty odd songs at your disposal?

Chris: Yes, and you can take the bassline of one track and put it into another song. Like if you were a DJ and you had like a hundred stems that you could just put in wherever. We’re not getting booked to play large stages, we’re still in the small clubs, so it makes sense to play something that fits in there. 

Vegard: Also when we used to take a guitarist/ bass player with us, it was more like a concert and people would just stand and look at us. We want people to have a fun experience dancing, presenting our own music. 

Chris: If there’s too much shit going on people are just standing, and you get a lot of guys scratching their beards. 

Ok, we should probably talk about the reason for this interview; Smeigedag. It’s the first record in a couple of years for you and it seems like there are some disparities with this record and the Loneliest man in Space, which to me was more electro-leaning while this one is more straight…

Chris: Yes it’s more House-y. We don’t really plan stuff, it just happens. 

Vegard: It’s kind of a corona-thing. A lot of the sketches were made during corona.

Chris: We just missed going out. We actually made another album between those two, which was made during covid. It was called the Soft Apocalypse, and it was more dark and ambient. It was a darker record and this one is a lighter record.

Vegard: We made most of it during summer. 

Chris: I remember the label said; “ah you really missed summer,” didn’t you? It really came around quickly, around July.

Of this year? That’s a quick turnover. 

Chris: Yes, I think it started out in May and we were done by the end of June. 

Vegard: We have a very close relationship with Connaisseur. We sent a couple of tracks to Alex (Fitsch) and said; “maybe this could work as an EP.” And he was like; “actually maybe this could work as an album.”

Chris: So we thought; “guess we have to make some more music.”

Vegard: Whenever we make an album, with the exception of Accretion, which took ages, it’s two or three weeks and then we have most of it down. 

Chris: That first album took absolute ages. We didn’t know what we were doing, it was years ago. We were maybe overthinking it. 

Vegard: And now we have hundreds of sketches. Whenever we start a track, we just go through the library.

What is your working process like?

Chris: We get together twice a week religiously. We meet up at 18:00 every Tuesday and Wednesday and work till 21:00-ish. It’s almost like going to soccer practice, but it’s a lot more fun. 

That’s disciplined. At what point do you realise a track is done and when do you recognise that they’ll work together on an album like Smeigedag?

Vegard: Well, we only release albums via Connaisseur. The label helps out with what goes on the album, to be honest. 

Chris: Basically, we have a private folder on soundcloud and stuff everything in there. We do the first selection and then we send it to the label. Connaisseur is more like an old-school label in the way they are involved in everything from the sequence of the tracks to the length of them. New labels don’t invest so much time in it. It suits us well. 

How many songs did you deliver for the label on this occasion?

Chris: This time we actually didn’t deliver enough. We actually had to make another one. 

Vegard: There were a couple of tracks they didn’t want. 

Chris: It started off as an EP with three or four tracks, and they asked to make it an album, and now it’s a mini-album. I still call it an album but the label calls it a mini-album. 

Did you guys have an idea in terms of sound when you were still working on it as an EP, or was it just that it coalesced around a sound because you happened to be working on all the tracks in the same kind of timeframe?

Chris: I think it’s mostly the timeframe. 

Vegard: When we planned it as an EP, we took three of the finished songs, because we thought they might fit together. It was more like we had some tracks that fit together and not that we went for a sound. 

Chris: It’s hard to go for a sound. 

Vegard: We don’t know what we want to do. 

Chris: Sometimes these tracks are in their sixth or seventh version and the starting point is something completely different. 

What ties it all together for you on this album? 

Chris: Euphoric warmth, with a classic Norwegian underlying melancholy which has a dark depressing edge in there.

Vegard: Some of the sketches in there were from when I lost my cat. 

Chris: We have another EP coming out on Bedrock (John Digweed’s label) and they are basically homages to Vegard’s cat. 

Were you influenced by any tangible thing at the time, except the fact that Vegard’s cat died?

Vegard: When I started the sketches I wanted everything to be melancholic and warm. For Christmas one year, I got digitised video tapes from when I was little. 

Chris: Me as well.

Vegard: So on the cover of the album, the two little kids, that’s me and Chris. 

Chris: All the canvas videos on Spotify, all that stuff is from our own home movies from the late 70’s early 80’s. 

Vegard: That kind of inspired me. 

Chris: The fuzziness and graininess of the video and the way the sun bleeds into the photograph.

Vegard: You know, when life was good. (laughs)

Chris: You know The Doors track, Summer is almost gone. Not specifically the track, but the feeling. 

What’s interesting is that when I first listened to the record I immediately had this sense of haziness that you talk about, like an old polaroid captured in sound. But I didn’t have the words to describe it until you just said it now. 

Chris: Yes, we actually managed to find it now while talking to you. It all hangs together, from the video to the press photos and the cover and the sound, it’s quite cohesive. We’ve managed to get hold of some thirty summer postcards from the 70’s and they are going to be in the limited edition vinyl album. 

Vegard:  A summer greeting from us. 

Have you guys known each other for that long?

Chris: We’ve only known  each other since the early 2000’s and we started making music together since 2006. I did a radio show at Radio Tellus back in the days, and Vegard was there playing some times. We were both DJs and knew each other through that. Oslo was quite small and the DJ scene was quite small back then. 

And then you played together at iconoclastic?

Chris: Yes I started playing with Deadswan and then Vegard joined us later, We were a trio for some years. So, we’ve been doing different projects together, but the Of Norway project has almost always been House-based music. 

Vegard: It’s always been quite emotional. 

I was listening to one of our early records, Karpathian Thirst in preparation for this interview, and that Of Norway mood is there from the start. Then again, do you feel your music has evolved?

Chris: Definitely. I can’t really say how, it  just has.

Vegard: I think, we’ve been doing this so long now, and we’ve been through so many different things, that we have so many reference points that we can put this together. 

Chris: Something that’s nice about getting older, is that you can step back and see the big picture. When you’re young and get into something like minimal Techno, then everything is about that and you can’t judge anything else, because you think everything else is shit. Like we like to say in Norway, you’ve got to get out of the duck pond. You get more oversight.

I remember iconoclastic happening around the same time you started Of Norway. It was at the end of the electroclash era, so there was still this melting pot of various genres and styles…

Chris: It was the end of electroclash and the beginning of the blog-house scene. It was very eclectic, so you took stuff from all over the musical map and popped it in there. 

Vegard: It was very energetic and rough.

Chris: And Punky in a way. 

Exactly and when I first heard of Norway it didn’t sound like the offspring of any of that, but something completely different again. 

Chris: That was just one of many things. At that time we both lived as DJs. I played indie music, and I played Drum n Bass at Kill your Ego and Sykemekanico. I also played old-school Hip Hop.

Vegard: I was more into US-House and Garage. 

Chris: I realise it’s quite confusing, because we’ve always had the same DJ names and you never know what you’re going to get. Musically we’ve been all over the place. I think reference-wise, we can be influenced by absolutely everything; even a sound in a Nick Cave record.

Do all these eclectic influences feed into this one project?

Vegard: We’ve grown a bit wiser now, so we’ve chosen some monikers. 

Chris: We do produce music under different names, so we have three names that we release music under. 

What are the other two? 

Chris: They’re both secrets. One of them has released a lot of music. Now it’s easier, if something sounds like Of Norway, we’ll just continue as Of Norway. We enjoy being secretive, because we’re men in our mid forties, and if people knew that they probably wouldn’t sign us. 

Tell me about your relationship with the label Connaisseur and how that started.

Chris: Vegard had the first contact with Connaisseur.

Vegard: It was a very long time ago. I don’t remember how we got in touch, maybe Myspace. I know why they signed us. It was because we were called Of Norway, and we looked like a black metal band. 

Chris: Our press photos were in black and white and high-contrast, and we had this hand drawn necro logo. It was completely different from what you hear musically and that caught their interest. 

Vegard: The tracks had titles  like Karpatian Thirst.

Chris: Yeah, they were all metal names. After that, we were included on the compilation, and we thought that’s it. Then they invited us to play a place called Bar 25 in Berlin, which was this hedonistic, legendary club in Berlin. After that the ball started rolling with Connaisseur and they signed more and more stuff. 

Vegard: They are also friends now. We even made a track for his (Alex) daughter. 

Chris: Song for Eva is dedicated to his daughter. All proceedings go to her educational fund.

I assume they were based in Offenbach back then. How did you hear about Connaisseur recording in the first place?

Vegard: I had some records from them.

Chris: They had a massive hit, years ago with Patrick Chardronnet called “Eve by Day.” Soundwise, we’ve never sounded like anything else on the label. 

Vegard: We’ve never sounded like anything on any of the labels we’re signed with.

Chris:  Everytime we get signed to a label, we think; “why the hell did you sign us?” (both laugh) We don’t fit in anywhere. 

Vegard: So therefore we fit in everywhere. 

That’s a testament to your music. It can reach a large audience. Do you feel that your music translates better outside Norway than in Norway?

Chris: There’s no reason for it, but I definitely think so. It’s definitely Germany and the US that are the biggest territories for us. We’ve had a few releases on an American label called Do not sit on the furniture.

Vegard: I think it’s because we’re not so actively part of the Norwegian scene as DJs anymore. 

Chris: It’s not been on purpose, it’s just happened. 

After this record and the gig in berghain, what else is on the horizon for Of Norway?

Chris: We’re releasing a record for Darkroom dubs. We’ve got some stuff on Bedrock. We have something on a label called Sum over histories (Frankey and Sandrino). Otherwise on the DJing and live side, we were unfortunate after corona, and lost our agent. We’re free agents so we’re not getting many gigs at the moment. 

Hopefully having Berghain on the CV will help, hopefully…

Words: Mischa Mathys

Jaeger is back on the Oslo World programme for 2023 with an extensive lineup across four days as we help the Oslo institution celebrate 30 years.

30 years is a long time and we’re proud to be a part of that tradition for as long as we care to remember. The world descends on Oslo for a music festival celebrating the sonic bedrock from the four corners of the world every year and 2023 will be no different. From right here in Norway, to India, to Lebanon, to Ukraine, and via Berlin we cover the furthest reaches of global music for one week in the year as Oslo World arrives at Jaeger. From the esoteric to the exotic, in the universal language of electronic music, Jaeger celebrates the extensive sounds of the world over two dance floors with appearances from Nefertiti, Dara Woo, Gela, Nur Jabber, Soju Princess, Olga Korol, Sous Vide, Suchi, Det Gode Selskab and a host of Jaeger residents and friends. We kick off on the 1st of November.

Programme schedule:

01.11 Oslo World: Nefertiti + Dara Woo + Gela
02.11 – Helt Texas: Nur Jaber + Soju Princess
03.11 – Frædag x Sous Vide: Olga Korol +  Per Hammar + Thomas Skjaerstad
04.11 – Nightflight x Det Gode Selskab: Suchi  

Tickets are now available at ticketco with more tickets available on the door on the night. Watch this space for further information coming soon.

Marius Sommerfeldt is back. The other half of De Fantastike To is releasing records again under the eponymous Sommerfeldt with a couple of notable releases in the last year. While he’s remained a fixture in Oslo’s DJ booths throughout, most notably as a member of the UK-leaning Løkka FM collective, his output from the studio has been limited until 2022 “Colours” on Paper Recordings and reinforced by the most recent “Tell me What to do” via Vinny Villbass’ label, Badabing. 

“Tell me What to do” sees him working with Løkka FM colleague, Toshybot (legs 11) in a signature Norwegian House aesthetic bridging worlds between US House, UK Garage and Space Disco. Toshybot’s baritone rides ebullient synthesisers, bubbling in the lower regions crisscrossing the trellis-like percussive section. 

Last year’s “Colours “ saw him rely on the same formula with vocals supplied by Sigmund Floyd on this occasion. Textures evoked a dreamy soundscape through a dazzling haze of synthesisers that seemed to arrive on a milky cloud. 

There are obvious similarities between his and Mikkel Haraldstad’s 2010 breakout track “Neste Stopp Morra Di” in as much as it maintains that infectious “Norwegian House” formula, but it’s updated for a modern dance floor. Besides a change of name and a new palette of sounds, Sommerfeldt carries the same spirit in his music and finds the artist refining his sound in collaborating with other artists yet again. 

What is it about these collaborations that bring out the best in Sommerfeldt and what does this new era in music define for the Norwegian artist? We sent over some questions to Marius via email to find out more as he prepares for his upcoming visit to Jaeger for Olle Abstract’s LYD. 

Is it fair to say that you were on a musical hiatus as an artist for a while, and what were some of the determining factors for that break?

That is fair to say. And truth to be told, the break was all about finding my own sound as an artist. I’ve been working with people in groups most of my career, so I spent some time searching for inspiration and developing my own sound.

What is the current status of De Fantastike To?

It’s currently on hold, but we might go back in the studio again. We’ve been talking about it, but I guess that life just happened for both of us.

And what eventually brought you back to making new music as a solo artist?

The never-ending fascination of making music. I have so much music in my head that needs to come out! It’s kind of an obsession, really. Fine-tuning a kickdrum or adding some reverb on a synthline is meditative.

How do you feel your solo stuff differs from DFT’s work?

There is a slightly more jazzy aspect in DFT’s productions. A good combination of Rave-Enka and Sommerfeldt in there, I would say.

In between you were still DJing and it seemed most of your efforts were concerned with the Løkka FM project. How did you arrive in that collective and what was it about the UK sound specifically resonated with you?

We were just four people having a strong relationship towards british club-music. We met over a couple of beers and started talking about the lack of a proper UKG night in Oslo. Needles to say, we did something about it! I mean, UK did the American house-sound, but on steroids…

What’s not to like?

How has it informed your work beyond the DJ booth and in the studio?

I’m producing house, but with a pretty huge amount of swing in basically everything. I even did a upcoming remix for Center Of The Universe and Nikki Oniyome, which is pretty similar to garage 

One of the people that was involved there with you, Toshybot, also makes an appearance on your latest Badabing record. And this is not the first time you’ve both worked in the studio together. What planted the seed for this creative collaboration, and besides adding vocals to your tracks, how has he influenced your work?

We have been friends for a long time, and music-wise he introduced me to stuff I haven’t heard before. It’s just a joy to work with him, and our studio-sessions are so much fun!

On your 2022 record Colours, for Paper Recordings you also featured a couple of vocalists in the form of Sigmund Floyd and Nora. What is it about the vocal craft that draws you to singers in your music?

I love working with vocals! It’s even more complicated in terms of leaving room and space for a vocalist in a track. I mean, vocals can be at times horrible in a club-track, but when done correctly it just makes sense, right?

What do you look for in a vocalist?

Some edge, a roughness, soul, I mean the voice goes deeper than just singing the right notes! I usually leave some happy accidents in there from the sessions. Sigmund did a first take on our latest release, and he did miss slightly in a part towards the end, we were just.

Nah.. fuck it!

At what point does the vocalist enter into your creative process and how much input do you have in the writing process including the lyrics?

It differs, I usually do the sketch of an instrumental and send the rough demo. Then we do maybe a rec session or two while I finish the production, constantly sending the vocalist new versions for approval.

You worked with Sigmund Floyd (Palace of Pleasure) who is also in Legs 11 with Toshybot.  What is your relationship with that crowd and are there any plans to work more with the people behind those two groups?

Yeah. They are my friends. I love those guys! We used to share studio as well…

I’ve never played in a band before, so we might form Legs 12? A collab would be really cool!

They are very much in that indie electronic pop world, while your work very much lives in the House music circles. Where is the crossover between these two worlds for you?

I like independent music! Both genres usually work with synths, drum-machines combined with organic instruments. It feels playful and live.

What first got you interested in House music and how has it developed to this point?

My brother’s cd-collection and Olle Abstract on P3 as an early teenager. I mean House-music? It was out of this world right? Made by machines, computers and stuff, it was like a one-man band. Needles to say, I absolutely loved it!

Your sound on a record like Tell me What to at times flirts with that Norwegian nu-disco aesthetic. It’s very ethereal at times, with dubby rhythms and charming arpeggios floating through the record. What kind of influence has that Oslo scene played in your own development as an artist if any?

I guess I try to produce house, but I don’t like that way too formulaic stuff, so I just throw in a lot of my influences to make it interesting for myself and hopefully, the listener. I guess I’m a product of the DJ / Oslo scene in that way. We usually have to include different genres, tempos and styles,otherwise me, and the crowd get bored.

What do you consider the effects of people like Lindstrøm, Prins Thomas and Todd Terje on the artists that came after them, artists like yourself?

They paved the way for a quirky more leftfield Norwegian approach to club-music. DIY stuff, I mean it’s a hard country to break trough, producing underground electronica. They just did it by themselves. That still inspires me!

What have you taken from that scene that came before you into the music that you are making today, and how have you made it your own in your opinion?

It has always been a huge inspiration as the early generation paved the way for disco, house and techno in a country which is ultimately pretty remote. Prins Thomas was even the first person who signed us as the now defunct  Sommerstad (together with Mikkel Rev) That helped me alot in terms of my career and also the way I work with and hear music.

After a few singles/EPs over the last two years, what’s next for Marius Sommerfeldt and what is the ultimate goal for you when it comes to making music?

First of all, this is what I want to do. I had other jobs in my life, but music is my passion. I keep getting better, and I’m slowly taking my studio-setup to the live-stage. I’m testing the setup abroad in Lisboa this September.

I want to record an album, hopefully at my cabin this autumn with Sigmund Floyd.

I’m also releasing a new EP, a remix and some more tracks as Sommerbad (me and Boblebad) and also on Full Pupp as Cocktail Sport (with From Beyond and Boblebad) So to summarize it: make tracks, DJ, travel,  play live and generally have a good time doing it!

We sat down with Simon Field during Øya week to talk about his debut LP, Need No Music and his journey to this moment. He celebrates the album release at Jaeger this Friday.

It’s taken Simon Field 10 years to produce his debut album. At 53 years of age, it might be assumed he left it pretty late, but stretching behind this watershed moment, is a vast experience that covers a very large spectrum of  the music business. 

A song-writer, composer, producer and lyricist, Simon’s accolades span the length and breadth of the music industry and yet you’d be hard pressed to find his name anywhere. An artist working in the shadows, he’s penned and produced music for the majority of his life, and while you probably haven’t heard of him, it’s likely that you have heard his music before. He’s created music for film, written pop-songs, played at esteemed venues like Ministry of Sound, and worked with some of the best in our scene yet for the most part he’s feigned the recognition in favour of the creative endeavour.

10 years ago he made the leap to solo artist releasing his first House-infused records, mostly via Perfect Havoc on Spotify, culminating in a lengthy discography that has garnered millions of streams and half a million monthly listeners. Tracks like “Shake the tree”  have made him a household name in regions as far afield as Mexico –  a tour on the horizon there – while remixes for the likes of Kelis and Nina Simone have bridged the divide between the accessible and functional in Simon’s music.

His debut album, No Need Music, arrives filling the gaps more effectively between these two worlds. With a foot in two worlds, Simon Field is both an accomplished recording artist and a DJ, and in his  efforts to consolidate these two aspects of his artistic identity he has created an album that pushed his sound closer to the dance floor. Tracks, specifically “made for the club moment in mind,” and an ambient finale bear the fruits of this labour. 

We meet in the middle of Øya week with the dominant pulse of a kick drum playing staccato thuds in the background. The Bergen born, Oslo native has been indulging in the music in Tøyen park and beyond, but he’s perky and perched on the edge of his chair. Never taking himself too seriously, he interjects often with a stifling laugh and while he he stops short at name-dropping he is eager to broach any musical subject and very excited to talk about his new LP:

“They are all club tracks, besides one beautiful ambient” piece that concludes the LP.  “Last summer I did so many cool festival gigs, and I decided that I want to do new original material at every gig,” explains Simon for context. He set himself a goal: “alright I’m doing ten gigs, let’s do ten new songs.“ Each track was specifically created to suit a moment at each gig, with factors like previous DJ and moment in time taken into consideration and the result is a 12-track LP that covers a wide range of situations. 

Even the finale and the only beat-less indulgence on the record, Es Vedrá was a conscious effort to “reset the room” in the knowledge that the previous DJ would drop him off at the region of 136 beats per minute. The track’s dominating synth swells through the air while a “persian” vocal flutters sporadically in what Simon describes “as one of the best tracks I’ve ever written.” It’s the only introspective departure from an album that is firmly rooted in the predetermined foundations of House with little more than one breakdown per track diverging from the obstinate rhythms. Percussion and bass dominates, in unceasing movement with even the ever-present vocals moving through the tracks in stochastic “ahhs” and “oohs”. Listening to track like “Gack Gack” where there’s so much emphasis on the lower frequencies, I’m not surprised to find it is in fact in the bass where Simon’s musical roots took hold. 

Born in Bergen his musical education was passed down from an older sibling. “Growing up my brother listened to Earth Wind and Fire, so my first music was Funk and Soul, and that’s been with me forever.” Those sounds awoke an appreciation for the bass guitar and “the first thing I wanted to do when I picked up the bass was learn how to slap.” 

Learn to slap, he did, and it went much further than that, as Simon set his sights on that precursor for Funk and Soul, Jazz. When he moved to Scotland for school, he took evening courses at a Ronnie Scott tutorial programme while studying towards a degree in Science management. “I spent four years figuring out what I don’t want to do with my life, ” laughs Simon. “By the end of the study I was doing more gigs than being in school,” and an interest flourished whereby he “just leaned into every bit of literature and videos I could find.”

Returning home to Bergen he started playing in “several bands,” most of who modelled their sound on the likes of Donald Fagen. “We all wanted to be doing Steely Dan,” he remembers, playing “as many chords as possible” which would later prove to be an important aspect of his writing skills especially as he started producing House music. 

“I can actually put that into my music and it’s beautiful when working with singers,”  he insists. In House music’s pretty conservative constructions where there’s little room for the kind of thematic movement that is usually associated with the likes of Fagen, this adds a dimension to Simon Field’s music that sets him a little apart from the status quo and perhaps part of his international appeal. This harmonic intervention on the part of the artist helps humanise this stark machine music. It often also sits alongside Latin rhythms, a familiar trope in House music and something that is close to his heart, as the determining factor from which all Simon’s groove is distilled.

“Everything I do in music is played with that (latin) quantising,” expresses Simon. It’s been a feature of his music in all forms for as long as he played bass, and he feels that it’s “fundamental to every music genre” and the source to all music. “You get into this groove and your job is to get those asses to move.”

Getting those asses to move on his debut album, he calls on his extensive experience working on a myriad of music from Country to Hip-hop. It has taken him to places like LA, where he’s written and produced songs for prominent artists and producers that he is not able to mention by name. It was during these surreptitious musical activities that he would start developing a sound forged in electronic music. “While I was doing all that other stuff, I started programming to make the writing more clear for the people I played with.” He had a “huge love for synthesisers” from his band days in Bergen when he started switching out his bass guitar for synthesisers – “the band didn’t always like that” (laughs) – and “started collecting synthesisers and making music” based around those electronic instruments. 

“My publisher said you can send off stuff to films, so I started sending off portishead-like songs that I thought no-one wanted.” People did wanted them nonetheless. It wasn’t his first foray into music for tv. Back in his band days, his group Elle Melle contributed the title theme to TV2 Frokost TV, but this time his music would find an international audience through placements in series like Calfornication. “A lot of music for Californication which is a Funk-House kind of blend” and “that really kicked it off.” Funk being much of the predecessor to House “definitely” bridged a gap between Simon’s work as a bassist/composer and House music, but House had not been an unknown entity either.  It was “there all the time” but it had been a kind of “party music” until one point ten years ago, when things started to click in place for Simon. 

In a pitch for something that would most likely be assigned to another artist on disco:wax the label said: “we could release this as it is and you could be the artist”. That track was, “The music is you” and it “totally switched everything” for Simon who dropped everything else for a more singular pursuit. ”I just said ‘no’ to anything other than House music from that point.” 

A decade later with an extensive discography behind his back, Simon is confident he made the right decision. “I’ve done this project for ten years now and listening back to my first demos and first releases, that’s coming full circle now.” The essence of what he created in the beginning with a track like “The Music is you” is still there in “Need No Music” with Simon’s rhythmical foundations and his insistence for vocals remaining central to his work. 

On the album the vocals often favour a more abstract approach, but Simon’s presence of mind in his musical pursuits is still there. “I’ve been trying to get to this place all along,” he suggests. ”All these people putting money into your music, are saying you should do this or this” he dismisses today, blowing a raspberry as he says it and it’s paid off in his favour. His music has featured on the likes of BBC Radio 1; he’s remixed and been remixed by the likes of Todd Terry and Erick Morillo, and with  a DJ touring schedule that sees him play in the venues like Café Mambo in Ibiza he doesn’t need the validation either. 

He’s not playing as much as he was before covid – ”travelling in Europe every week at least” – but the gigs are still rolling in, and while he’s something of an unknown in Oslo, in London  his “music works really well,” especially since his home-label Perfect Havoc is located there. What started out as a hobby, just developed naturally for Simon and now he loves nothing more than to DJ. 

“Playing live has always been my favourite thing and DJing is just the same. I’m really living the music when I play.” His next DJ event will be at Jaeger to celebrate the release for the album and he’s asked Monojack, Blichteldt and old friends Tube & Berger for the occasion. “There are definitely many DJs that I have played with over the years that I would like to bring (to Jaeger), that’s why I’m so glad that Tube & Berger said yes.” 

It’s through club nights like these that Simon is looking to recontextualise his music for the next audience. “I feel like what I’ve done on Spotify, I should have made it more club from the start,” he considers for a moment before adding; “Then again, I love those songs, and they work on radio and they’ve taken me places.“ “Need no Music“ will move his audience closer to the heart of the dance floor, but as it remains destined for Spotify, he has no intention of disappointing his legion of fans; fans, including people like Erick Morillo and David Guetta and stretching as far afield as Mexico. 

We go ten years back in time to the release of André Bratten’s debut album to look at the lasting legacy of Be A Man You Ant before he performs live in our basement this week

There was a time in Oslo where you couldn’t get away from André Bratten’s Trommer og Bass. It seemed to be spilling out of every DJ booth in in the city, the sheer force of the track decimating every track that had come before or after it in the same set. 

Its impact couldn’t be overstated. Even before it was released Jennifer Cardini, who had sent that track to be mastered for her Correspondant VA, quickly understood its power. “The sound was so powerful; the sound was so big,” according to Jennifer Cardini. “When we got Trommer og Bass, I wrote to him (André Bratten) and asked; ‘hey can we get a pre-mastered version, because the version you sent has a compressor and limiter on it.’ He wrote back to me saying no it hasn’t, ‘that’s the premaster actually.’” It says something about André Bratten’s mastery of the studio as an instrument, and the complete nature of his music, but that alone doesn’t count for the sheer appeal of the record. 

It was a Techno record with just enough of that Norwegian melodic nature to make it appeal to a broad audience, while finding its own lane in a scene that would soon be dominated by the draconian influence of Berlin. It could be played at a peak time House set, and be admired outside of the club context. It was a big room track with all the trappings of a dance floor hit that would reaffirm the name André Bratten in a new sphere of club music. He put the track out again on Math Ion Ilium after it appeared on the Correspondant VA in a move he thought would be “smart to do” and which offered the bridge into new sonic possibilities from his previous LP, and debut Be A Man You Ant.

Trommer og Bass took from that album’s more demanding Techno inclinations and expounded on it, but it was the striking debut that had enshrined the name André Bratten in the electronic music scene in Norway and beyond. Be A Man You Ant hit a nerve with Disco riding a tidal wave of popularity across the globe and the album quickly found its own sweet spot just ahead of the curve. 

André Bratten was not unknown by the time Be A Man You Ant saw the light of day. He had carved out a name for himself in Oslo as a member of the delphic Hubbubbaklubb with its quixotic melodies and its mechanical rhythms. As a founding member of the group, he was instrumental in the early success of Hubbubbaklubb, playing a significant role in their breakout hit Mopedbart. Most would have been content as a lynchpin in that group, but such is André Bratten’s personality, that he is always looking to explore new worlds and new sounds in music.

He had already established himself in a studio across the hall from Lindstrøm and Prins Thomas and as the younger upstart amongst these relatively older heads of the Norwegian Disco scene, Bratten set out on his debut LP, tongue firmly in cheek.

“(M)y first record sort of started over dinner with Prins Thomas.” recalls André in an interview with Deep House Amsterdam from 2015. “I was just being a little kid trying to prove myself, and we were talking about this whole space disco sound, and I was bragging like ‘Making a disco record is easy!’ so I made a disco record even though he was obviously much better at writing disco than I was.”

André Bratten might not have the same prowess as Prins Thomas, but he definitely made it his own. His mastery of the studio would prove to leave no stone unturned in his approach to music and Disco too would not be left unchallenged. “I am a technical geek,” Bratten once told Electronic Beats during an interview and this fascination with the technical aspects of music has cemented in an impressive arsenal of vintage synthesisers and machines which are often talked about in venerated and covetous tones. Using these old machines seemed to play in Bratten favour when he was recreating the sonic signatures of this retro-fitted music, emphasising their inherent character which in part laid the foundations for the original genre. 

Happy arpeggios flit through dramatic soundscapes that contain all the drama of a Disco anthem without sacrificing the danceable beat. The opening- and title track paints by numbers as syncopated beats echo through vintage effects while euphoric bass-lines dig towards the centre of the dance floor. In a happy dichotomy however, there’s very little tying the record to compatriots like Prins Thomas, Lindstrøm and Todd Terje, who had already planted a flag. Bratten’s sound was bolder, and more striking and when you get to a track like Aegis other elements start coming to the fore in a serious divergence from the national tropes. 

“Aegis was a more Techno-ish, more British, more border community kind of vibe,” André Bratten told us in an interview with this blog. With just a “twist of Techno”, he produced something that sat outside the Norwegian Disco trends, and yet couldn’t be completely extrapolated from it either.  “I had to think a little about politics, I couldn’t do a super weird Techno record first,” he said, but elements of what was to come in the following EP was already there. It’s true that most of Math Ilium Ion was created and produced before his debut LP, but like everything else, Bratten’s approach was nothing but a calculated response to what he was hearing around him and finding his own niche within that. 

He didn’t want to be compared to Lindstrøm, an easy task for the media, who sought nothing else to pigeonhole him with his studio neighbour.  “It’s hard not to becauseI share studio space and use analogue synthesisers and drum machines,” he told Electronic beats, but Bratten was intent on making his own mark, and used tracks like Aegis, and his singular approach to the studio to make an indelible mark. 

There’s something more stark and at times abrasive to Be A Man You Ant and even when dealing with uplifting melodies, it’s clouded in a perpetual darkness. “You can’t make music that is not personal, sure, but that’s my arena, and it’s not for anyone else,” he said when we talked about the mood he creates on tracks like Aegis and Trommer og Bass. Whether he’s being manipulative or aloof is unsure, but he’s less inclined to talk about these “feelings” behind the music. “I don’t want to be a dictator of what people feel. I find people that need to talk about the personal input in their music need to see a shrink.” Yet, even to an uninformed listener they are ever-palpable in his music. 

Later in the André Bratten catalogue records like Gode and Pax Americana would emphasis and enhance the emotional depths the music can flow to in pronounced soundscapes orchestrated around melancholy electronica, but for Be A Man You Ant, they are very much subverted for the overall estascism of the Disco beat. There’s a depth there that belies the happy-go-lucky nature of the Disco formula as chirping synthesisers clash with dissonant harmonic movements, infusing the music with a sense of drama that only somebody like Arthur Russell could achieve. 

It was a brief dalliance with the Disco genre, but its impact some ten years on is no less significant. While André Bratten would go on to make everything from wavy pop-electronica to warping bleep Techno, Be A Man You Ant would be left to its own devices in the artist’s catalogue, a hermetically sealed slice of perfection for its time and beyond.

Bratten moves on quickly in terms of music, and you’ll never find an artist repeating himself in the studio. At times this even makes it hard to pin-point the results with any kind of artistic identity, but each record, including Be A Man You Ant has tis time and place in his wide arching catalogue. When we spoke to him back in 2015, he said;  “I think the Norwegian scene is missing a proper Techno guy, so I’m trying to be that guy.” For a while he was that guy, playing blistering live sets and making uncompromising Techno on records Math Ilim Ion or skiddish broken Electro on records like Valve, but what he established on Be A Man You Ant remains intact. Ten years on it’s a modern classic and a record that still garners some fanfare whenever it comes on. 

Fredfades is a prolific talent. An artist, a producer, a DJ, a facilitator and a label boss, he has his fingers in a host of pies, while maintaining a regular 9-5 throughout. A founding member of the Mutual Intentions franchise, his musical projects extend from producing records for the clan including Ivan Ave, solo records, a host of collaborative projects like those with Jawn Rice and Tøyen Holding.

In the past year alone he’s released a solo record, a collaborative record with Sraw, a Tøyen Holding record and oversaw a host of Mutual Intentions releases, all while DJing regularly in Norway and abroad. With the increasing popularity of Tøyen Holding, Fredfades has also become a household name in Norway, syphoning some of the group’s open-minded fans into the world of electronic music, and specifically House. 

Alongside his other efforts, Fredfades has positioned Mutual intentions in a unique position in Norway and beyond as a label, whose bread and butter is in Hip Hop, but whose musical exploits go into the farthest reaches of the dance floor and even Jazz. Alongside an increasing popularity for club music Fredfades star has risen with his classic-leaning House aesthetic finding the ears of new audiences everywhere. 

His latest record Caviar showcases his mastery of vintage synthesisers and drum machines alongside a knack for effervescent melodies and accessible arrangements. The album, like his previous records, straddles that elusive gap between the functional and the approachable, where they can exist both in the club space and a set of headphones. 

He’s just about to play Trevarefest in Lofoten when I call him up. “The weather up here can be pretty crazy, but this year it was alright, especially the first day which was amazing.“ he says. Trevarefest precedes his upcoming appearance at ØyaNatt for Jaeger on Wednesday in what is already a busy summer for the DJ. Between playing, making records and his efforts with Mutual Intentions he still has to maintain his day job and it’s at his computer I find him at this pursuit when we talk. 

*photos by Christopher Næss

What is your day job, is it still graphic design?

Kind of. I studied graphic design, but at the time there was nothing like UX. I changed jobs last year, and before that I worked for a company that does a lot of apps, for Norwegian and international companies. I’ve been doing that for 11 years. 

When you mentioned the work you do, some things kind of fell into place for me, because there’s quite a visual and physical component to the merch and extra’s you and Mutual Intentions produce; From the packaging on the vinyl to things like the silk head scarves. What’s in those kinds of things personally for you and how do you think it contributes to what you do musically? 

Yes I mean designer is my profession, and it’s kinda been all the way back since 2008 ish. But for the past twelve years I’ve been working non-stop with technology and user experience. I’m a very practical person, and that’s easy to see in my daily work as a designer/UX guy. I’m about solving problems, not designing in a way that creates problems, as some people choose to do.

 When it comes to our label and merch, I still don’t do much myself, we use Hans Jørgen Wærner (our in-house designer) and hire various external designers, and I do some very strict art direction and feedback with these designers/illustrators to get the most out of them and maintain the loud and clear way of design and communication that I do believe we (our label) tend to have as the only design principle/consistency across our projects. 

But to answer your questions properly: most people don’t have a record player but still like to support the artists they listen to. That’s why we spend a lot of time making nice products for all listeners, and not only record collectors and deejays.

I think I’ve asked you this before, but how do you find time for the music and everything around it, and manage to be so productive?

I just always make music on the weekends. I think it started out when I grew up. I lived in a very small apartment with my father and I was never comfortable making music when he was there, so I just did it when he was working on Saturdays and travelling.

What kind of music were you making when you still lived with your dad?

When I first got into it I started producing Hip Hop. I bought the SP303 – that was the first sampler – in 2005. Then I bought the MPC the year after and then in 2007, I got the SP1200, that’s when I really started making beats.  

I assume that you were still learning how to operate the machines back then, but if we return to the present, when you do work on music, are you working to get a song out each time you touch these machines or are you still exploring creatively?

How I started making beats was very primitive in terms of the process. It was always about over-dubbing. I would start out with some samples and then some drums, and overdub with some samples, and then overdub again with something else.

I never had a proper soundcard (used to capture the sounds on computer recording software). So I always arranged and mixed everything in the boxes, which meant that I had to make everything sound nice before I sampled it and then hit play on the MPC (sampler). 

It’s not until recently – probably 2018 – that I had a proper soundcard with multiple inputs. So now I work very differently. It’s kind of a more jammy approach to making music. I make rough drafts, with like six layers of sound and then I just dump it into the computer and open stuff later on and if I like it when I hear it later on, then I get to the actual production. 

Then you must be working on songs all the time at the moment, and from the outsider perspective it seems you are in this very productive creative period. 

Actually, I feel like I’m producing less. I’m definitely doing more sketches. I do hundreds of demos, but I only set a few aside for working on properly. 

With all these projects you’re constantly working from Tøyen Holding, to your solo stuff and the collaborative projects like with Jawn Rice, do you know what you’re working on from the moment of inception or do you only consider that part when you’re opening up one of these “demos”?

I never have any plans for my music, I just make it. For example, when I saw I had a few solo songs finished, I decided to put them together in a mini album. If I would have six or seven songs with Jawn, maybe we will finish a record. With the Tøyen Holding stuff, there’s a goal to work towards, like an actual Rap album with 18 songs. 

I guess the process is very different from making a Rap record to making a Fredfades record?

Yeah, the Tøyen Holding stuff is completely sample based. It’s not about composing or producing, it’s about having the backdrop and rapping over it. 

Do you feel like you have to be in a particular state of mind for working on music in general and does it differ for different projects?

I only make music if I’m feeling good. I’m not the type of person that gets inspired by stress or emotions. I’m always positive when I’m in the studio, it feels fun to be there and I always have a good time. 

Out of all these projects, it seems that Tøyen Holding has hit a nerve. Why do you think it’s so popular at the moment, and do you think it spills over to your other projects?

Yeah, I think it helped my Caviar album a little bit. Previously, it’s been a bit hard to sell the House releases in Norway, but this one went extremely well. I think a big part of it is because people know me from the Tøyen Holding project. I also think that club music has become very commercial and it’s a very normal thing to say you are enjoying Techno music and House music, which it was not 5 years ago. 

Between all these elements that you experience working with Mutual Intentions, between Hip Hop, dance music and even Jazz, what do you think is the main draw these days?

Our label has always been hard to grow as a label, because we have too many hats on. For us to put out Hip Hop music in Norway is definitely easier than to put out electronic music. Rap is the world’s biggest genre, so it will always appeal to more people than electronic music.

As I said, I also feel that electronic music is more commercial. It splits the scene in two; the people like myself, who tend to believe that I understand the history of the music and on the other hand you have the people who do festivals and spotify playlists, who mixed what we would consider genuine with what we consider sell-out. In my opinion the festivals should be responsible for teaching people about proper music, but sometimes it’s just “babes” in black leather bikinis playing 150 BPM techno.

Yeah it seems like it’s become about aesthetics rather than musical content, because everything is so determined by social media, good looking people playing terrible music and it’s spilled over into the clubs, especially the big room kind of places.

How I see it is people just know how to sell themselves, jump on the wave, and use it to generate money, or attention or whatever they’re seeking, and it’s not about the music. 

Of course, it’s a subjective matter. I just feel that together with the whole genre becoming commercial, problems (if you want to call it that) will appear.  

Let’s talk about Caviar for a bit, because as you say it is a club record, but it’s also something that is more accessible than your average House record, because of the vocals and the nature of melodies.  Was that a conscious decision on your part?

Not really. I like to DJ a lot and  play club music, but whenever I make music myself, it tends to be more introverted and laid back, which is more natural for me. I’ve always used jazzy chords and I make mellow music and it affects the way I think. I’ve never seen myself creating bangers. Some of them will be 128 BPM but they would still be a bit more mellow. 

There’s the definitive bridge in your music between Hip Hop and House, which reminds me of the early 90s and late 80’s when these things were a bit more interchangeable. Are  you trying to bring these two worlds together in the way you approach your own music?

No, it was never my intention. I guess it’s just where I came from. The very first House songs I liked were sample based, just drums and some loops, but after a very short time, I figured out the songs I really liked were composed and produced. 

Can you give me an example?

I think it was when I first discovered Larry heard and realised he didn’t sample anything. That’s when I really got interested in electronic music. That was the first thing I loved.

Was there any overarching  musical theme to Caviar, or was it simply the period that they were made in?

It was made over a couple of years. The way I did this, I had this playlist with all these other songs, and I tried to divide them into two different projects, where I prioritised the best cuts and spread them over two records. So I have another finished ready, which sounds similar because it was all from the same time.

Why did you decide to put out two mini records instead of just one for Caviar?

I mean – it’s not two mini records, I just had so much music that it made sense to turn it into several projects. It’s already 8 tracks on that Caviar album, which is a lot for the format, if you know what I mean? Some friends even wanted me to release them as classic 12″s/EP’s with only four songs on each release. But I kind of like to give as much value as possible to the customers that buys my music, and a lot of the music I make is kinda introvert and not very clubby, so it’s natural for me to think that it will be consumed more in an “album listening context ” rather than having the songs ending up played by DJ’s in clubs. That’s why I felt that it made sense. I’ll probably do the same with eight more songs, then go from there over to a more “Maxi-EP-focused” approach. 

So, was there any creative impulse that fed into these two projects, something like a synthesiser or a sound?

I really enjoy this sound from Italy and the UK from the mid-nineties, where they just used the stock sounds of the synthesiser. So when I buy a synthesiser, I just factory reset it, and I don’t create too many patches or stuff. I think it’s fun to use the ready-made stuff. I really like the references to the classic patches. That’s why I like these Italo and British records from the nineties, because it all just refers to the machines. 

In terms of writing the music, how much do the machines dictate the direction your songs take, or do you have a preconceived idea that directs you to specific machines?

When I do hiphop stuff, I like to sequence the beats I make on the SP1200 inside the SP1200’s sequencer. But when I do use that sampler for House music, I prefer sequencing the sounds stored inside the SP from an external sequencer, which in my studio would be my Sequentix Cirklon or my MPC 3000. I always work very layer based, because that’s where I come from. It always made me approach music production in a very primitive way. Sometimes I copy my sequences around and reprogram and arrange it slightly on the hardware sequencers first, but when it’s time to actually produce and process and arrange the music, I usually disconnect my Mac from my studio setup and work with headphones in Ableton and might then go back and hook it back in the studio setup if I would need another layer or sound or something. I’ve been making beats on the MPC 2000, the 2000 XL and the 3000 since probably back in 2007. 

This record, like your others, also features a ton of collaborators. Was there any reason you wanted these people on this record, and what do you usually look for in collaborators?

I feel really confident composing the foundations of the songs, the grooves, the chord progressions and stuff, but I often struggle with, for example solos. So I use people like Arthur (Kay) on my records. Otherwise it’s just random people that have been in the studio, where we’ve been drinking beers and making music together.

What about the vocalists, because a lot of them are American?

Yeah, they are all American. One of them is MoRuf from Jersey, he’s one of my favourite rappers. It was the first time for him rapping on a House song. The other guy is just somebody I stumbled across on instagram. His name is Kristian Hamilton, and he’s an extremely talented musician. 

While we’re on the subject of collaborations, I really want to talk about the SP1200 record. It’s something the geek inside of me really enjoyed because of the process of making the record. What planted the seed initially?

Sraw has always been an Internet friend to me, since back in the Myspace days. He was always one of the producers I really enjoyed listening to. We had so much similar equipment and similar interests. At some point, around 2012 (when we started working on this record), I decided to fly him over and hang out for a few days and create some beats. I’ve visited him in Sweden and we’ve just been going back and forth a few times. Obviously it wasn’t enough and as you can’t change the music digitally, we had to actually ship the floppy. 

Was there ever a vague idea of what the tracks would sound like completed, or was it a matter of getting the floppy back and it would be completely changed?

It was more about a layered approach, so we wouldn’t fuck up each other’s stuff too much. 

It was that raw beat-type feel to it, that really emphasises the character of the machine.

Yeah, you really don’t need that many elements with that sampler, because  you get so much free texture. It automatically sounds nice.  

Do you think you’ll do it again?

It took  a very long time to do that record. I don’t think we’ll do it again. I’m happy to release Sraw’s music on Mutual. It’s extremely great. 

International and local acts fill the week in August as Jaeger yet again hosts two floors during ØyaNatt tin 2023 again. Tickets and lineup are up now.

When the sun sinks on Tøyen park and the last of the live acts echo down the hill we give in to nocturnal habits and make a beeline for the city where ØyaNatt starts to simmer and dir with the sounds of club life. In the annual tradition, Jaeger hosts two floors across the week including the Wednesday in 2023. Telephones, Fredfades, Teebee, Dave Clarke, Anémi, Chloé Caillet, Paramida, Slindre and Ellka join our residnets and residencies for a week of club music where we pull out all the stops and things like budget and common sense go out the window.

This year BigUP hosts a floor from the basement with a night of Drum n Bass and Jungle featuring a local treasure and a world-class drum n bass icon Teebee. We’ve got the Baron of Techno, Dave Clarke on the other side of Helt Texas and this Frædag showcase some rising stars in Chloé Caillet and Paramida alongside Oslo club concept, Lokomotiv. In a turn this year, Sunkissed takeover the sauna for the closing party with Elkka and a live performance from Vinny Villbass.

Here’s the full lineup and schedule:

09.08 – ØyaNatt x Bigup

Fredfades (NO)
Telephones (NO)
Teebee (NO)
Drunkfunk + Fjell + Tech + Simon Peter (NO)

10.08 – ØyaNatt x Helt Texas!

Dave Clarke (UK)
Anémi (NO)
Normann + Ole HK (NO)
Manu Rochina (NO)

11.08 – ØyaNatt x Lokomotiv x Frædag

Chloé Caillet (FR)
Paramida (DE)
g-HA & Olanskii (NO)
Slindre

12.08 – ØyaNatt x Sunkissed x Nightflight

Elkka (UK)
g-HA & Olanskii (NO)
Vinny Villbass (NO)
Sunkissed allstars (NO)
MC Kaman & Kash (NO)

Tickets are now available via our ticketco page and you can find more info about the events on our program page.

In the BCR triad of creators we’ve spent a lot of time focussing on two, namely Anders Hajem and Henrik Villard. Always at hand with the next release, a mix or some kind of musical news, Anders and Henrik are responsible for the majority of BCR’s output, seemingly, but not actually, neglecting their third, Perkules aka Jens Wabo. 

While Jens has been the quieter member of the group, his presence is no less trivial. As a founding member he orchestrates much of the label, events and now mix franchise, even while as an artist he favours a more conservative output. Apart from a couple of singles in 2021, he’s remained content with his duties behind the decks, and when he does release something he offers a little outlier to the norm both at BCR and any concurrent dance floor trends. 

His latest, “Show me Right” is an infectious exercise in crossing the lines between saccharine bubblegum melodies and functional House grooves. With a percussive palette going off-script in the Roland X0X annals and with uplifting chords issuing from some distant nostalgia, there’s a lot to appreciate and much that entices.

It’s only his third release, all of which come via the BCR platform, and challenges any generic status quo in terms of sound if any did indeed exist. It arrived on BCR last month and with more slated for the near future including a remix from Justin Cudmore for Perkules, there is much percolating on the Perkules front, so we took at as a premise to finally interview the third member of BCR and complete the triptych. 

We caught up with Jens during a sunny day in June, the week after launching the return of their Summer Residency, Sundaze at Jaeger. Like Anders and Henrik, Jens is a reserved character, a stoic quiet kind of person that seems mature beyond his years. We have much to discuss, and to me he’s still very much a blank slate, a piece of the BCR puzzle that will finally complete our purview of the Oslo label and events series. 

Where do you fit into the BCR universe?

Anders and Henrik are super ambitious in their artistic pursuits. They  are constantly in the studio making three to five songs a week, and their music keeps getting better and better. But my output is not that consistent, so it’s hard for me to have that as my main thing.

Were you producing music before you met them? 

Yes, but not that much. Anders and I had grown from mainly Rock music into (House) music together. I was kinda dragging him in. I make music 20 minutes at a time in these bursts of inspiration. 

Did you start off with DJing or were you still playing in bands when you started discovering House music?

I guess both. Bands were way before. When Anders and I met, he had recently bought some DJ gear and then we started playing around with that together. 

What sort of stuff were you playing in the band?

Anders played guitar and I played drums.

And in terms of music, what did it sound like and what were you drawn to?

Where I’m from, in a town called Tonsberg, which only has 40 000 people, having to play in a band is all about compromises. It was bands like Queens of the Stone Age, Turbonegro, and scandi-wave bands like Hellacopters. 

What  got you into electronic music?

I feel like anybody that has an interest in music, has some cool uncle figure that just pushed music in their direction. I have two older brothers like that. Since I was  5 or 6 years old, every christmas and every birthday I would get really cool CDs, like Discovery from Daft Punk and Melody A.M by Røyksöpp. But I had to re-access it when I was a little bit older.  

I guess when you were learning to play drums and as a teeneager you really got into a one track mind where you avoid anything that is not related to Rock music or drumming and it takes a while to rediscover music that was always there in the background?

Probably. I think around the time Daft Punk’s Random Access Memory was released, which was a good bridge into House music.

That record celebrated 20 years this year. What was it about that album for you?

The way I assess that album is that they tried to make a synthesis of all the records they sampled in the past. It’s kind of like George Duke, early Michael Jackson, and Chic with Nile Rogers on the guitar. 

And that got you into electronic music in terms of DJing or producing? 

I’ve always been interested in how things work. So, when I found Daft Punk again, I was straight into Youtube to find some videos of how they sampled and everything. It probably all came at the same time, the sample stuff and listening to “alive” and some of their DJ sets, even though it was more machine based. 

From there you slipped in House and deep House. 

Yes, and more commercial stuff. 

What kind of stuff?

That was early Spotify days, around 2011, Probably whatever was cool back then. I have no clear picture, but it was mostly deep stuff and French-wave too.

In the structure of BCR, how do you differ from those guys in terms of the music you DJ?

They are hungry in a way that I don’t feel I can match. If you are going to get that good in something like music, you have to be monotone in a good way. They have that, and I’m all over the place. Henrik is good at keeping his sound, in terms of building his identity as an artist. For me that goes beyond music. I have some other things I would like to do. 

That brings me to your last release, “Show me Right,” because that’s almost like a bubblegum track and very different from the other stuff coming via BCR. Was that a conscious decision?

Yeah. I feel like we’re privileged by having our own (platform) that we can experiment in that way. That song has been ready for release for over a year. As we started playing at Jaeger a bit more we tried to incorporate a bit more proto-House and synthesised-bass disco. I got super-inspired and tried to make something like that. It was hard to nail the sound. We had originally been in touch with Storken to help us release it on other labels, but that fizzled out, and we released it ourselves.

Which helps with expanding the catalogue of the label again.

I feel that the releases should have a strong identity, that’s most important for us. 

Listening to your next release, Echelon which has more in common with nineties  big-room House music, it seems you’re easily swayed into new avenues in music.

Exactly. It’s hard for me to do stuff that I’m not 100%  into and that shifts all the time.

Justin Cudmore is on that record too as a remix artist. How did you meet?

We never met, actually. We are super fan boys mainly. That’s our first identity and our second identity is producers. So, we just reach out everywhere. We wrote to him and he actually lived in Oslo for some time. 

Why did you want him to remix that track specifically?

Anders and I, when we got super into more club music, Justin’s Twisted Love EP was a top ten EP of all time. 

What’s your process as you start making music, what instrument kicks it all off?

Drums mainly or I find one specific song that I love and I just have to figure it out. I feel like when you listen to as much House music as we have to, it tires easily. You wouldn’t eat the same pizza for days in a row, for example. 

Do you think knowing how to play drums has an effect on how you approach electronic music?

Probably. If I’ve read an interview with a producer and in the interview it comes out that they play drums, it often makes sense to me. The music is mostly rhythmical instead of melody-based for me. It’s more important where the notes are located than what note they are. 

Playing at Jaeger as much as you do, especially in summer for your Sundaze residency, do you believe it has had an impact on the way that you DJ?

Yes. We felt more confident to look broader; I think that is one of the advantages of Jaeger, the musical identity is broad. 

Do you ever feel the pressure in the current climate to pitch up your tracks in a scene that is going faster and harder all the time?

When we started in 2019, that’s when it really started to happen and we were also more into Techno and faster stuff at the time. Then we thought let’s see what goes on in the other direction; to look in the cheesy department and see what’s the least cool thing and rather play that if the songs are good rather than being in a coolness arm-wrestle with those guys. 

And it’s not like they are not drinking from the same fountain. It might be faster and harder, but there’s always a vocal line and a melody. 

I agree. It’s 2000’s pop stuff with an acapella over a fast rhythm track. 

Does Sundaze have any effect in the way you’ve approached your sets?

What we talked about after last summer was, playing 5 hours every Sunday over summer is the best way to get better. We’re just trying to explore more, take more risks and trying to take advantage of having a consistent 5 hours together. When you play once a month you have to go back some steps every time. We can just start wherever we ended last week.