Bergen artist and DJ House on Sale comes to the Jaeger mix, and we’re definitely buying what he’s selling. Rooted in House music, but clearly expansive in his definition of the genre, House on Sale’s mix permeates with soulful and organic sounds as he travels from Disco to Deep House across 2 hours.
House on sale is a rising star on Bergen’s House music scene, and his night, Disco Paradiso and regular appearances in the city’s DJ booths have made fixture. For his first visit to Oslo, he takes on the Jaeger mix with effortless charm, channelling his sound into 2 hours during his session.
Warm, organic, and groovy, House on Sale moves through the session in a wide arc that never leaves the dance floor. We catch up with House on Sale (Simen Korneliussen) to find out more about the direction of this mix, his origins and Bergen.
Welcome to the Jaeger Mix. Can you give us a short introduction?
My name is Simen Korneliussen, and I DJ under the name House on Sale. As the name suggests, I have a deep love for house music. I’m based in Bergen, where I’m active in the local club scene. I previously ran the Vill Vill Vest festival for seven years and currently work at the Bergen International Festival. Music is my passion in every form, and I love both DJing and curating club nights under the Disco Paradiso concept.
You’re involved in various aspects of club music in Bergen, from running festivals to club nights to DJing. What was the catalyst for it all?
I’ve always been drawn to music. I started out playing classical piano in my youth, but once I got a glimpse of what goes into stage productions — the lights, the space, the atmosphere — I became fascinated by how music and environment can shape a mood. That eventually led me to the club scene and to watching professional DJs in action. From there, I was hooked. I’m also a naturally social person, so I think it was a mix of passion, curiosity, and a few happy accidents that led me into a life of event-making.
Tell us about the scene at Bergen at the moment, and where you find yourself in it?
Bergen’s club scene moves in waves. It’s a small city, but there’s a strong and diverse community across genres. Venues like Østre are doing a fantastic job right now as hubs for discovery, and a lot of new people are finding their way into club music. I tend to be a bit all over the place, on both sides of the DJ booth. I love how more venues now care about real musical curation, and I enjoy listening to DJs who really know their genres, whether it’s house, techno or even salsa.
With artists like Bjørn Torske and Skatebård, legacies like Telle records and festivals like Ekko and Hot Hot Hot, Bergen has always had a healthy club music scene. Is there anything specific you took from it when establishing your career as a DJ and music facilitator?
Bjørn Torske is one of my all-time favourites, and both his DJ style and musical output have been major inspirations. Bergen feels like a big village, where most people in the scene know each other. This naturally leads to collaboration and crossover.
Festivals like Ekko, HotHotHot and lately joyjoyjoy bring the community together, from newcomers to veterans, and help lift the entire scene. That collaborative spirit runs through both music and events. This year, Disco Paradiso is doing takeovers at both HotHotHot and joyjoyjoy (Bergen loves a good wordplay), including a full Friday stage at HotHotHot as part of Telle Records’ 30-year anniversary. It’s an honour to be part of that.
Your night, Disco Paradiso has been going for a while in Bergen. What are the origins of the night and what’s the sonic philosophy behind it?
Disco Paradiso started quite spontaneously. Olav Eggestøl and I were doing a back-to-back set at Rommet and needed a name. “Disco Paradiso” just fit. It reflected the dreamy, balearic house sound we both love, like Welcome to Paradise Vol. 1 & 2 or Don Carlos.
Since then, we’ve done around ten nights at different venues in Bergen, and Østre has become our home base. The idea is simple: create a warm and slightly surreal space for timeless, genre-blurring music like house, disco, boogie, ambient textures and more.
As you mentioned earlier, House music, it’s right there in your name and the Jaeger Mix is very much rooted in it. What was your initial introduction to the genre?
I don’t remember the first time I heard house, but I do remember the first time I truly felt it. I was in a car with my friend Espen Cook, driving around Hjellestad, and he played a burned CD. Deep house, probably Detroit-inspired. I instantly heard parallels to hip hop producers like J Dilla and Madlib: repetitive, groovy, textured, but at a higher tempo.
From there, I started exploring all kinds of club music, from Detroit legends like Moodymann and Amp Fiddler, Italian house, and the broader balearic scene. House on Sale actually started as a producer alias years ago, and just stuck. I even had someone ask me once if I was a real estate agent.
Like every genre there are so many different interpretations of what House music is. How would you define it in the context of a House on Sale DJ set?
It really depends on the setting and the crowd. Sometimes it’s a full-on house set, other times house might be every fourth or fifth track. That said, there are a few constants: steady 125 BPM, warm grooves, slightly off-kilter rhythms, and a lot of swing. I love Rhodes keys and big female vocals, and music that moves you without needing to shout.
Tell us a bit about the ideas behind your session at the Jaeger Mix?
I wanted to show a broad slice of my musical world, with house at the center. Since I hadn’t played at Jaeger before, it was a real joy to work with such a good sound system, it allowed me to stretch out a bit.
The set evolved based on the dancers in the room, but I had a rough framework in mind. It’s probably a pretty typical House on Sale set: groove-forward, warm, with a balearic undercurrent, with lots of congas, Rhodes, and vocals. I’d listen to it on a two-hour drive with good scenery.
There are a lot of pianos, Rhodes keys, sampled bass guitars and vocals in this mix. What draws you to these organic sounds?
I think they just sound good. Warm, groovy and alive. I’ve always listened more to the rhythm and instrumentation than lyrics, and those elements tend to come first for me. I grew up with a father who played a lot of Afro-Cuban music, and Buena Vista Social Club was on constant rotation. I’ve also spent a lot of time listening to music from West Africa, especially Ghana. The rhythms and textures in those traditions have a surprising amount in common with house music.
Even when I play electronic music, it needs to feel human. Cold and clinical sounds don’t move me in the same way.
Is there a track in the mix that brings it all together for you?
There isn’t one particular track that ties it all together for me, it’s more about the gradual build. The set slowly shifts gears and becomes more club-oriented as it unfolds, and that transition captures what I enjoy most about DJing: creating a sense of movement and momentum across different moods.
Was there anything on the night that pushed this mix into a certain direction?
Definitely the people in the room. It wasn’t a huge crowd, but those who were there were fully into it, and that shaped the set. Their energy gave me the confidence to build gradually and let the music breathe. That feedback loop is what gave the mix its natural arc.
Beyond this mix, what do you generally look for in music to make it into your DJ bag?
It’s hard to define. If I like it, I like it. But most tracks I end up playing are warm and groovy, with a vibe that feels right. I love discovering a new track and immediately picturing the exact setting where it’ll work. I trust that feeling more than any technical criteria.
How have your tastes evolved up to this point?
I started with classical music as a kid, and I’ve worked across genres, from pop and indie through Vill Vill Vest, to classical and contemporary with the Bergen International Festival. But I’ve always been pulled toward rhythmic, danceable music.
I’m constantly digging on YouTube, Bandcamp, SoundCloud, and that habit has expanded my taste a lot over time. DJing has also taught me to appreciate music that works on a dancefloor. The more I play it out, the more I love it.
I believe you are currently working towards adding producer to your list of musical accomplishments. At what stage of development are you?
Yes, I actually started producing before I began DJing, and now I’ve picked it up again. I’m working on a few tracks with the dancefloor in mind, and my goal is to release something in early 2026.
What’s different now is that I have a much better understanding of club music and how it functions in a room. Producing now feels like a natural next step, and a way to express my own sound after years of playing others’.
What else is on the horizon for House on Sale that you’d like to share?
There’s a lot I’m excited about. Disco Paradiso has a full summer ahead:
- June 14: opening daytime set at joyjoyjoy (Smien, Bergen)
- June 27: Østre with Cato Canari closing
- July 19: Landmark with A Lover’s Holiday and Rulefinn
- August 16: solo set at USF Verftet
- September 6: Disco Paradiso (takeover at the EPOS stage on HotHotHot festival)
- September 12: back at Østre (booking TBA)
- October: Disco Paradiso takeover
- November: another night at Østre
We’re also working on more collaborations and international bookings, and I’m carving out more studio time to focus on production. It feels like a good momentum right now, and I just want to keep building. Hopefully a Disco Paradiso at Jæger in the future.