Monday, June 29, 2009

Article: Thunderheist | Great Balls of Fire

Misfired IMs and Whiskey:
Thunderheist's recipe for success bucks tradition.
by Joshua P. Ferguson
originally published in Time Out Chicago magazine 6/25/09


“I blame it all on Jack Daniel’s,” quips Isis Salam before we finish asking about her no-holds-barred stage presence. “I don’t remember any of it,” she adds, laughing. There’s no shying away from the palpable energy of this 23-year-old, Toronto-based firecracker, the frontwoman for Canadian electro-rap sensation Thunderheist.

“I’m remembering way more from shows these days,” she continues. “We’ve been touring a lot, so I haven’t been able to stick to my old ways.” The old ways she’s referring to? Press and fans alike have had a field day describing the countless antics of duo Salam and 32-year-old Montreal producer Grahm Zilla—including stage diving, crowd surfing and bottles of Jack poured on the front row.

Thunderheist’s brash mix of buzz-saw electro, booty-clapping drum programming and Salam’s sexed-up, Kid Sister–like flow hit the Web in 2006. Since then, Thunderheist hasn’t stopped touring; the duo released a full-length, self-titled album last month.

The whole thing came together around one fortuitous—and accidental—instant message. A onetime video-game programmer for Ubisoft, Zilla was moonlighting as an abstract beat producer when he met Salam. “I was on the Flying Lotus tip,” he says of his solo work. “The job was killing me, so I was making really moody, stoner beats.” Eventually, Zilla quit the grind and connected with Salam via a mutual friend. They made plans to collaborate on her solo work, which has more of a contemporary, conscious hip-hop vibe.


Continue reading

www.thunderheist.com


Thursday, June 25, 2009

Live Preview: It Was Written | Future Vibrations

It Was Written release free EP and play Chicago tonight!
by Joshua P. Ferguson
originally published on the Time Out Chicago blog 6/24/09


Departing slightly from its usual “hooray beer” mentality, Jamaica’s staple brew, Red Stripe, struck a more cultural note this week by partnering with The FADER magazine for the release of It Was Written. The makeshift team pairs the talents of U.K.-based producer Johan Hugo of bass-heavy ghettotech duo Radioclit with fiery Jamaican MC and vocalistTerry Lynn. It just dropped a five-track EP of future dancehall and electro roots built around classic reggae tunes from the likes of Max Romeo and Steel Pulse. For a project with such a heavy-handed marketing angle backing it, all five tracks have a rough edge and yard perspective that bring Jamaica’s rich musical heritage into the new millennium.

Another upside of It Was Written’s corporate sponsors is that the whole EP is available as a free download—320 kbps MP3s and all—via The FADER website. Download the projecthere. Touring on the back of the release, they’ll be in Chicago this Thursday 25 for an intimate performance at Q4, a multifaceted artist space in Wicker Park. It’s a 21+ affair that promises to be chock-full of Red Stripe (duh), so don’t forget to R.S.V.P. After-party goes down at Empire Liquors, with host and resident DJ Skyler.

Tuesday, June 23, 2009

Article: Trus'me | Building Trus'

Global party ambassador, Trus'me, shares his formula for success.
By Joshua P. Ferguson
published in Time Out Chicago magazine 6/18/09


“Imagine being at a party where everyone knows the records and no one’s making requests,” says David “Trus’me” Wolstencroft, outlining the vision for his global party brand and record label, Disco 3000. “Everyone will be completely on the same tip. I haven’t experienced that enough!”

Currently stateside for the New York edition of D3K at the très chic APT club, the industrious 28-year-old Mancunian expounded, via Skype, his philosophy on the future of dance music. “Every DJ is a DJ’s DJ, but not everyone gets the chance to play like that,” he says. “We give the green light to do something different, anything from jazz to boogie to house to hip-hop to reggae…anything you can dance to that’s just good music.”

It may seem a whimsical fancy, letting DJs do whatever they want, but Wolstencroft has put hours of calculated effort into ensuring that, far from a potential free-for-all train wreck of sounds, Disco 3000 is helmed by competent and thoughtful DJs. They just may not be the big names you’re used to seeing. “It’s an old model,” he says. “Like Ministry of Sound, it’s a concept, a style, an image, and it doesn’t matter who’s playing because you know what kind of scene it is and what you’re going there for.”

Old or no, that blueprint has resonated throughout the industry. With satellite parties on three continents, D3K’s efforts culminate this fall with a three-day festival in Petrcane, Croatia. Sponsored by more than 12 labels—including DFA and Versatile—this meeting of minds promises politicking and dancing on land and sea at the beachside locale.





Thursday, June 18, 2009

Dialogue Inc | Radio Show #13 | June

Dialogue Incorporated | June Newsletter
Dialogue Incorporated Radio #13

Compiled, mixed and hosted by Mister Joshua
guest mix this month, a live excerpt from Mr. Scruff's Smart Bar performance

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Letter from the Editor

As much as we’ve enjoyed bringing you our in depth thoughts on music related tidbits, whether digital DJing or hard drive crashes, today we’re happy to do nothing more profound than welcome summer into our midst. It’s been slow going here in Chicago—I’ve started a running joke that, while it’s referred to as “global warming,” the actual result here in the windy city is a complete negation of summer—with rain persisting through to the third week of June. Today, though thunderstorms do threaten, I can feel it losing its grasp and couldn’t be happier.

With the last, wet remnants of winter finally let go all the requisite summer pleasures start to re-emerge from hibernation. The smoke of grilled meats is finally wafting through open windows (to which our beloved office cat, Dimitri, is glued), beers flow like water and, of course, the stereo speakers are dragged out and cranked to the max. Blasting forth this month we have a perfectly beach-worthy Balearic mix, surfing through deep disco, interstellar indie remixes, Panamanian funk, brass band blast-offs, and—fuck it— Lil Wayne and the Wu. So without further ado, we’d like to take this month’s rant and dedicate it all to the music, giving you an intimate look at the first installment of our sounds of summer –

With that, let the conversation begin!

- Joshua P. Ferguson

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Listen now at:

www.samurai.fm/dialogueinc

Direct download available: CLICK

DIALOGUE INCORPORATED NOW AVAILABLE FROM iTUNES!


(Link should work, but if not you can simply search "dialogue Incorporated" in the itunes
store and our podcast will pop up) also available here:

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Damian Lazarus “A Moment” – Get Physical

This song is absurdly deep and totally beautiful. Building slowly over semi eerie backdrop the male and female vocal interplay brings on a bit of goose bumps, and then that bass drops. Ugh. It hurts so good. We still have half a year left in aught nine but I can wager on this cut’s contention for end of the year winners status.

Burial vs Four Tet “Moth” - white

As “A Moment” fades with vocal samples whispering “I don’t want…. to... let.. go,” this radiant beauty will take the separation anxiety down a couple of notches. This heavenly match up of two modern production geniuses absolutely kills it on “Moth.” So much so that I won’t even be wagering on this one, we’ll be seeing it again in December.

Solli Diskoklubb “NYE Tider” - white

No doubt rubbing elbows with Lindstrom and Prins Thomas, this Oslo based producer has made a fine entry on to the scene. While tipping its hat to New Years Eve? We see this as a great summer party starter.

Desire “Danse Mes Reves” – Italians Do It Better

We’re already partial to Glass Candy and Chromatics so the odds are definitely favorable for Johnny Jewel’s new Montreal-based breezy disco project, Desire. Check out our interview with Glass Candy here: Diamonds in the Rough

The Doves “Kingdom of Rust” (Prins Thomas Diskomiks) - Heavenly

We can honestly say we’ve listened to this remix, easily, three times daily since we discovered it. Heavyweights Still Going and The Glimmers tried their hands at remixing the Doves—who, we’ve discovered are great in their own right—but no one can take the Norse prince. Check out our conversation with Prins Thomas this month, here: Inter-Stellar

Phoenix “Lisztomania” (Classixx Version) - Kitsuné

It is impossible to sit still to this song. We don’t know much about Classixx but if they keep churning it out like they have (all their recent output for Kitsuné is proper) then we know we’ve found keepers. Definitely a highlight of the latest Kitsuné Maison comp. check our review: Paris's Lighter Side

Royksöpp “Happy Up Here” – Wall of Sound

We can’t take all the credit for this one, our mate Popstatic turned us on to it, very predictably noting that we’d love it.

Hood Internet “Comfortable Up Here” (Royksöpp vs Lil Wayne) – CD-R

We’re not alone in our praise for “Happy Up Here” because immediately after its release the Hood worked its magic. Speaking of working its magic we need to send out even more thanks to STV SLV and ABX for contributing to last months show. We had our highest listenership EVER thanks to these dudes. Props.

Miike Snow “Burial” (DJ Mehdi remix) – Downtown

This was one of those things that came to us and we were unnecessarily quick to dismiss. Thank god we humbled up and dropped the needle here because… Holy shit is it amazing. A perfect soundtrack to the last month, this group of Grammy winners in disguise has churned out something spectacular. Check the review: Indie Home Run

Raekwon “Nu Wu” – EMI

Ok, this usually isn’t out steez. But we got over that before the “oooww ooow oow” looped for the first time. It’s even got the Urlacher reference, Chicago What?!

Mr. Scruff “Nice Up The Function” – Ninja Tuna

Last month Scruffington flew in to grace Chicago with one of his signature marathon sets. We were lucky enough to spend some quality time with Andy while he was here, taking him out for drinks at our favorite bar and, as part of the Red Bull Music Academy, conducing an intimate interview for some of his biggest fans in the city. While we don’t have video back on that (yet), you can check our article here: Nice Up the Dance (He even drew us a picture J)

Busy Signal “Beep” – Juke Boxx

As our close friend and regular correspondent Roy Shay can attest, when the sun comes out after 6 months of winter, we head straight to the sounds of Jamaica. This is our latest discovery, a care-fee one drop with a message, as freedom of speech has become a hotly contested issue in Jamaica lately.

Heliocentrics & Mulatu Astatke “ Mansenqo” – Strut

For a time we feared we’d lost Strut, but its back and in rare form, thanks to an amazing release schedule with work from Horace Andy, Amp Fiddler and soon Horse Meat Disco abounding. Miles Cleret turned us on to Mulatu after our paths crossed in Puerto Rico and, with The Rum Diary queued up as an essential summer read, we haven’t stopped longing for more Mulatu (and more of the island) since.

The Duncan Brothers “Dreams” – Soundway

Another nod to Mr. Cleret, this time with one of the stand out cuts from his new Soundway compilation. Panamanian surf funk couldn’t sound better right now.

Hypnotic Brass Ensemble “War” – Honest Jon’s

Originally hailing from the Chi, this band of brothers has been creating a stir for well over two years and we’ve welcomed its latest album with open arms. Collecting from its now impossible to find vinyl singles, this is an essential piece of music, history and culture.

Bat for Lashes “Daniel” - Parlophone

With tracks this good coming out, we’ve shaken off all notion of trying to rid ourselves of the indie bug. While the comparisons to Bjork are getting a bit overwrought, she’s still wonderful.

Martyn & D-Bridge “These Words” - 3024

We’re always watching what Martyn is up to, which works out great for us because the guy puts out new shit weekly. Possibly the top track off his new album, you knew we had to get a little of the dub and the step in the mix right? Check our review of his album here: Great Lengths

Ellie Goulding “Starry Eyed” – CD-R

One of our many blogosphere fancies, alongside Little Boots, Marina and the Diamonds and Duchess Says. There’s something about it, who knows…

We’re also super pleased to feature an extended hour and a half segment from Mr. Scruff’s recent appearance at Smart Bar in Chicago as the guest set for our show this month. Enjoy!

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Other posts you might enjoy since the last update:

James Pants | One-Man Welcome Wagon

The Prodigy | Platinum Breaks

Madlib live @ Fabric | by Roy Shay

Moderat live @ The Bottom Lounge

The Juan MacLean | Back to the Future

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Sunday, June 14, 2009

Interview: The Juan MacLean | Back to The Future

A Night in the Life: The Juan MacLean
Interview conducted by Joshua P. Ferguson
published in Time Out Chicago magazine 6/11/09


Three phone calls straight to voice mail? Getting in touch with the Juan MacLean took a little persistence. His new album, The Future Will Come (DFA Records), met with many a positive review; he’s been steadily gigging ever since. The 40-year-old nu-disco stylist is lucky to spend any time in quiet New Hampshire, where he fled after too many drug-addled years in New York in his twenties. Amid back-to-back tour dates, MacLean returned our call from the road.

Time Out Chicago: Before your move to the electronic realm, weren’t you in a band?
Juan MacLean: My first band was Six Finger Satellite. It’s the first and only band I was ever in. I started when I graduated from high school in the ’90s and quickly got signed to Sub Pop. I became very disenchanted in the late ’90s and quit. I just dropped out of music completely.

TOC: Hence your teaching English?
Juan MacLean: That’s one of the things I had done in between music careers. I got certified and was doing that for a while.

TOC: You contribute a lot of amusing travel stories to your website. Are they all true?
Juan MacLean: Funny you say that. My girlfriend is sitting here laughing out loud at my latest entry. They’re all true stories, generally with a lot of embellishment. I have an incredible amount of people subscribing to it. It was overshadowing the music for a while. People would say, “I love your music, but your blog entries are amazing.”

TOC: SFS tried to channel disco influences, but now the tables seem to have turned a bit.
Juan MacLean: They’re sort of complementary opposites. A big part of the DFA sound is that we all come from indie-rock backgrounds and got into making dance music. Live instrumentation is the biggest thing we’ve brought with us into this electronic-music world. Playing live shows, none of us are standing up there with a laptop.

Continue reading

www.thejuanmaclean.com

http://www.myspace.com/thejuanmaclean


Monday, June 8, 2009

Album Review: Miike Snow | Miike Snow

Originally published in Time Out Chicago magazine: TOC | Miike Snow

Miike Snow

MIIKE SNOW

Downtown•Recordings

In•die \ in-dee \ adj + El•ec•tro \el-ek-tro \ n

The chorus on Miike Snow’s single, “Animal,” best introduces this band of superproducers in disguise. “I change shapes just to hide in this place, but I’m still, I’m still an animal,” sings New York’s Andrew Wyatt. At 18, Wyatt, also of Fires of Rome, was gallivanting in obscurity with Greg Kurstin (of the Bird and the Bee and Lily Allen fame). Now he’s penning tracks with Amy Winehouse’s producer Mark Ronson.

While their names don’t spark instant recognition, Wyatt’s Miike Snow cohorts, Stockholm-based producers Pontus Winnberg and Christian Karlsson, a.k.a. Bloodshy & Avant, have been churning out chart toppers for pop divas since 2000. They won a Grammy, in 2004, for “Toxic,” arguably Britney’s brightest moment.

These bigwigs have hidden in plain sight their whole professional lives. “Animal” suggests there’s still reluctance to step into the spotlight. Or perhaps it hints at the unveiling of these shape-shifters and what they can do when left to their own devices.

That’s the impression we get, anyway. The 11-track debut skips through a sophisticated blend of sugary piano lines, snappy drums, sunshine pop and the infectiously danceable bounce perfected by Winnberg and Karlsson, lifting Wyatt’s wistful songwriting up by its bootstraps. If you don’t listen closely, you won’t even notice the melancholy references to funerals on “Burial,” lost love on “Song for No One” and emotional beat downs on “Black and Blue.” Sometimes schizo, always engaging, Miike Snow knows how to work the system: Pay the dues, score the freedom and make it count.

- Joshua P. Ferguson

Album Review: Various | Kitsuné Maison 7

Originally published in Time Out Chicago magazine: TOC | Kitsune 7
Various Artists

KITSUNÉ MAISON 7

Kitsune•Music

In•die \ in-dee \ adj + El•ec•tro \el-ek-tro \ n

Since 2002, Kitsuné has helped break the careers of Bloc Party, Yelle and too many other dance-rock acts to name. But its breakneck release schedule has little regard for consistency. Still, amid its forgettable releases, the trend-surfing label uncovers hits that’ll have the Ray-Ban-sporting indie kids dancing so hard they’ll wish their jeans weren’t so tight.

The Kitsuné Maison compilation series elicits some eye-rolling—seven already?—but skepticism fades as the Balearic beats, electro fuzz and general class being slung have us wondering how these French tastemakers tapped so many relevant sounds at once

Deviating from the electro trash that dominates its releases, Kitsuné draws on its lighter side this go-around. L.A. duo Classixx’s mellow mix of Phoenix supplies a perfect pregame high. The only thing missing from Prins Thomas’s breezy extension of James Yuill’s “This Sweet Love” is a cocktail. Two Door Cinema Club even does its best Vampire Weekend impression on the white-boy indie highlife of “Something Good Can Work.”

Despite the obnoxiously worn-out contributions from Maybb and Renaissance Man, main events like La Roux’s “In for the Kill,” with its peak-time Lifelike re-rub, and Yuksek’s Justice-esque remix of AutoKratz provide the necessary electro stunners.

All told, the Kitsuné brand easily lives up to its name: Japanese for fox or, in this case, foxy.

- Joshua P. Ferguson

www.kitsune.fr

Wednesday, June 3, 2009

Live Preview | Rock the Disco this friday!

Friday 6/5/09
Smart Bar presents ROCK THE DISCO

featuring the inimitable talents of:

Samantha SR-71

Scott Brandon

ONEFIFTYONE

Ross Kelly

&
Dialogue Incorporated musical curator
Mister Joshua

We'll be dropping every sort of dusty discoid, spacey, cosmic, boogie, edit, re-rubs and whatever other nonesense we can come up with all night long. I play from 11:30 - 12:45 and hope you can make it out to see us!

Hit me up for list action:
dialogueincorporated@gmail.com

- Joshua P. Ferguson aka Mister Joshua


Tuesday, June 2, 2009

Interview: Prins Thomas | Interstellar

A Night in the Life: Prins Thomas
Interview conducted by Joshua P. Ferguson
published on Time Out Chicago's website 5/28/09

With his space jams in tow, Nordic cosmic-disco explorer Prins Thomas was scheduled to step onto virgin territory, descending from the heavens for his first visit to Chicago and his debut performance at Sonotheque tomorrow night. Unfortunately he's taken ill with a recurring lung infection so he won't be touching down after all. While we're all disappointed, our thoughts are with him—we wish him a speedy recovery and hope he's able to reschedule and join us again sometime soon.

Time Out Chicago: This’ll be your first ever trip to Chicago, are you excited that your new album, with fellow Norseman Lindstrom, is taking you to new places outside Europe?
Prins Thomas: Yes! We’ve been trying to really promote ourselves and set up an American tour for the last couple of years—over and over—but it’s always difficult. It’s a completely different thing traveling in the U.S. than it is in Europe. Here everything is within reach, only a couple hours and, well, I guess the economy is better.

TOC: So you’re saying you don’t make any money touring the States?
Prins Thomas: For me, it’s the same as going to Japan. You have to think of it as something different than just gigs and making money. When I go to Japan I play for independent promoters. There’s not a lot of money in it but you do it because you have to go there. There’re people buying your records and obviously I want to go, so I fund these trips by doing other gigs in Europe. I guess it’s the same with going to America.

TOC: How have your experiences been, playing here in the U.S.?
Prins Thomas: I had this idea the first time I came. I’m playing a lot of disco music and the expression here, at least here in Europe is, bringing coal to Newcastle or sand to Sahara or whatever. Why bring a European DJ playing disco to the motherland? But I realized the first time I played there, that there wasn’t any huge revival in the old stuff. I saw a new generation, people brought up listening to more punk music, with more diverse backgrounds and they were trying to do something new that wasn’t just based on the Paradise Garage or these legendary clubs. I realized there was more diversity coming from New York than I’d expected.

TOC: A lot of the kids heading to clubs these days are children of the eighties. They missed the best parts of disco. So there’s a side of this disco revival that’s very much a European thing. Like cosmic disco, I’m not sure many Americans know where that comes from.
Prins Thomas: I didn’t hear about the cosmic thing until the mid ‘90s. I was going to a regular night and a friend kept telling me about it. He was always talking about “the great cosmic DJ Daniele Baldelli,” but that side of the cosmic thing mainly grew up in Italy. Here in Oslo there’s never been any tradition or industry around this, I had to make up my own perspective because when I started you could only get a hold of import records. It became much more interesting doing my own thing by mixing it up, looking in strange places for tracks to fit together with acid house records and playing the crazy old P-Funk instrumental 12”s on 45 rpm instead of 33. That is more interesting to me than subscribing to the package that somebody else has already labeled.

TOC: And you are someone who has bounced around from playing in bands to deejaying, moving from punk to disco and so on.
Prins Thomas: Like you said, I have a good musical background, more as a listener and as a crazy record collecting nerd from when I was 8 or 9 and then bedroom deejaying from when I was 9 or 10. I was quite shocked when I realized just a couple days ago that I’ve been playing now for 25 years. That’s like some of the older generation of legendary DJs. But I haven’t been playing out professionally in clubs longer than since ’93 and in the mean time I have been dabbling, playing around in different kinds of bands and shaping my own musical ideas instead of trying to be a hip-hopper or a house DJ or whatever. I think it’s harder if you’re starting to DJ now. Even those uncategorizable things have a tag now. If you want to be a cross genre DJ, now there’s all these tags you can put on that as well. I think when people talk about the cosmic and the Balearic stuff it wasn’t meant to be a tag for a specific kind of music but more of a feeling or an umbrella for different kinds of music that you can put together. For me it’s more about having your own personal style. If you want to play Barbara Streisand then you’ll do it and if you’re a really good DJ and you know how to blend your records then you will make Streisand sound like the greatest record ever.

TOC: Tell us a little bit more about how you met Lindstrom and started working with him.
Prins Thomas: We met at a club in Oslo where I was playing. I played “Club Tropicana” by Wham! and he was really surprised that somebody had such good taste in music. This was at the end of the ‘90s when a lot of places were infested with really boring deep house. That was supposed to be the soundtrack for everybody’s night. Both of us were into buying records, Lindstrom had just moved to Oslo to go to the university and I had just moved here to make a living deejaying. The first musical encounter we had was while he was doing his first Lindstrom project, he wanted me to do a remix for him because I used to be play in bands and record in studios and also because of my taste in music. I basically got a computer just to do that remix, which is “Music In My Mind,” his second single on Feedelity.

TOC: And now, just last week, you’ve released your second collaborative album together. II, out now on Eskimo Recordings, is more live, organic and lo-fi than your previous record. How have you guys progressed together?
Prins Thomas: With the first record we were insecure musicians so we ended up sampling bits of ourselves playing, mixed with samples from records. Since then we’ve been playing more together in the studio. We share a big studio in downtown Oslo and we can just open the doors between our rooms and play together so this album was shaped by us playing more live. We also had this idea that it would be cool to do what felt like a programmed record but do it live instead of using loads of drum machines and really strict and rigid tempos. We built everything from scratch with really organic recordings of the room instead of direct line recordings, which can be too controlled. This got us some happy accidents on the way, often bringing a different magic out too.

TOC: Do you guys have aspirations of putting together a full live show?
Prins Thomas: We’ve talked about it and we actually have a guitar player sitting and waiting for more info, same with a drummer, so we can actually put together a proper band and do live shows. The problem is finding the time because we’re both busy doing loads of other projects that had been on hold while we recorded this album. I’m also busy recording the final bits of my own solo album and Hans-Peter (Lindstrom) is busy producing a singer he’s been working with. There’s constantly stuff to be done in the studio so finding the time to rehearse with a band for a month before going on the road… I’m not sure yet. We both want it to happen, but we’ll see if we find the time.

TOC: You’ve got two labels you’re running. What are the differences between Full Pupp and Internasjonal?
Prins Thomas: The basic idea is that Full Pupp is for all my Norwegian friends. I wanted to put out music from Blackbelt Andersen and all my other friends that made music. I wanted to get a spotlight on what is happening in Oslo because there are loads of people making great music in their bedrooms but nobody’s really taking it seriously. We’re not taking it too seriously either but it’s about progressing. Initially it wasn’t meant to be only Norwegian stuff, but I realized after a couple of years that we’d just been focusing on Norwegian artists and people referred to it as the “Norwegian rude Viking disco” sound or whatever so it was like ok, we actually have a selling point and we haven’t even thought about it. Now we have to milk it for what it is. Then when people sent me demos I started saying ‘well sorry, I’m only releasing Norwegian stuff for this label.’ As the demos got better and better I felt I had to do something and set up Internasjonal

TOC: When I started Internasjonal I was already aware that, even if you don’t want to, you can easily get stuck in some kind of category or label and usually within the first two or three releases you’re done. So I decided that each record had to be distinctly different to the last one. If I do a straight up house disco record then I’ll put out a downbeat one after it.

Like the smooth, breezy, summer vibes on the Studio remix of Windsurf’s “Bird of Paradise” which you just released.
Prins Thomas: We put out a whole album with Windsurf, which, for me, even before I put it out, had been the soundtrack to all my summers. When I played in America the last time, I hooked up with them in San Francisco and realized that we have a lot of influences in common. I was actually interviewed by a newspaper in San Francisco who talked about the distinctive similarities between what they are doing and what Lindstrom, myself and many other artists are doing. Even though most of us were born in the ‘70s, our musical influences came around in the late 80s and early 90s, listening to very eclectic, different stuff.

TOC: So to wrap things up, is your record going to come out on one of your labels or are you going to put it out on, say, Eskimo or something?
Prins Thomas: I think I want to put it out on my own label. I’m thinking about trying to license it away for some of the markets because we don’t have the machinery to do full-on promotion. There is a big different in how Eskimo puts out their stuff and how Hans-Peter and I put out our stuff. It’s like taking steps for the first time when you do something on your own because you have to get all these promotions companies on board and you have to set up all the interviews and stuff. Eskimo has that machinery already in place. I want to keep that baby for myself but if I find markets where I other people can do it better, like America, I’ll let them go for it.