After a three-year hiatus, and a compelling New Year’s Eve show earlier this year in Hollywood, award winning artists/ production duo Gabriel & Dresden have officially announced they are back in the game with a host of forthcoming releases as well as with the launch of their full-scale North America/European world tour that will continue into the Fall.
And San Diego has been chosen as one of the first stops on their world tour. Over one-thousand of bikini-and-bronze-clad attendees will witness Gabriel & Dresden’s premiere, where they will be debuting their brand new original productions and revived remixes of their classic chart-breaking singles at Intervention at The Hard Rock Hotel on July 2nd. (Buy Tickets)
Prior to this past New Year’s Eve, Josh Gabriel and Dave Dresden had not shared a stage together since their massive crowd-drawing performance at the 2008 Winter Music Conference in Miami. Having joined forces in early 2001 the pair had ascended to the global dance music ranks at an astonishing pace. Collaborating and completing 14 dance remixes with world-renowned dance producers like Tiësto and Paul Oakenfold, along with several of their own original productions such as “As the Rush Comes” & “Tracking Treasure Down“, made them steadily climb in DJ Magazine Top 100 poll and take command over the #1 Billboard spot with various tracks on numerous outstanding occasions.
Gabriel & Dresden continued to work closely together for over six years until they determined that it was time to go their separate ways and to explore music on their own for a while. (Cue Fleetwood Mac track) But while working solo, Gabriel & Dresden could do nothing to silence the thousands of fans across their social media platforms that demanded to know when they would reignite their team. Finally the countless calls for action and a few inspiring occasions along the way, compelled the pair to reunite and to get back in the studio, using the last three years of time off, of musical and mental rediscovery to provoke their forthcoming productions together.
Given the imminent and capriciously-evolving character of the electronic dance music realm, it’s an interesting topic of discussion worth posing to artists such as Gabriel & Dresden. Successful artists, who were at the top of their rank during the time they were actively touring and producing, but who have somewhat (aside from solo work/projects) sat back the last three years, with an opportunity to watch the world of EDM progress, and learn from a new generation of artists.
I was fortunate enough to be given the opportunity to talk with them and to listen to their personal insight about the direction music has taken, and how the present state of EDM has inspired the duo inside the studio. In my interview with Dave Dresden via Skype while he was in Amsterdam working in his studio, I also had the opportunity to learn about what pivotal moments stimulated their return to the EDM world as a team, what we as fans can expect from the pair in their forthcoming releases, who their favorite artists around the world are at the moment, and what their feelings are about dubstep.
TheMixster.com: How has the tour been going?!
Dave Dresden: It’s been great. We’ve been working on our mix CD over here in Amsterdam since the gig we did in Belarus on Saturday night. And then we are going to Canada on Thursday, then Houston, San Diego, and Seattle!
TheMixster.com: I think the main question that’s on everyone’s mind, is what made you guys decide it was time to get back together in the studio and initiate such a full-scale tour?
Dave Dresden: We did a gig for Giant on New Years in LA and I think both Josh and I had been kinda wondering what it would be like to work with each other again. So we did that show and it gave us a lot of time to elaborate and talk and see where we were at as people. And I think we quickly realized that we still do have a very good music chemistry and the ability to make really good music that the fans are into. We heard a lot of feedback from the fans over the years “Hey when are you guys going to get back together and work again” so we took that into mind a lot when we got together on New Years. We knew the fans wanted it, and we came to realize that we really wanted it too. After we had done the show together, we realized we still had something to say as band.
TheMixster.com: It’s fair to say electronic music two-three years ago when you and Josh were very actively producing and touring is enormously different than Electronic Music today. I’m interested to hear what direction do you believe dance music, as a whole, is going? Sound wise?
Dave Dresden: Um well it seems to me that the music has gotten simpler. I think it’s because of the way we make music, the way that we digest music, someone can make a song tonight and it can become a hit tomorrow. And I think that it’s really exciting where electronic music is going, I think for the first time in my career I’ve seen electronic musicians be taken seriously, on a music level. That’s really exciting for us, I think this will give us a chance to reach a lot of people.
TheMixster.com: You guys seemed to be on the Progressive house/trance tip in years past, is that the direction you plan to take your sound in forthcoming productions or do you plan to take a lot of what you’re hearing today and integrate that into your new sound?
Dave Dresden: It’s tough to say, we never really were one genre, and I think that’s always been sort of our blessing and our curse. But you know we are still listening to dance music, being inspired and loving it. I’d say there’s definitely going to be a little bit of electro, there’s definitely going to be a little “Skrillex” in our music. There’s some very exciting people out there. I think Afrojack is another very exciting artist that is making records that people want to hear. It will be interesting really, and it will be fun to watch this space.
TheMixster.com: Since you mentioned Skrillex, what impact do you believe dubstep has had on electronic music if any?
Dave Dresden: It’s MASSIVE. It’s just a continuation of Drum n’ Bass in feeling and style, but ya know it’s based on reggae and dubby basslines and sounds like that. You know it’s just a new exciting fun music genre to get into!
TheMixster.com Will you guys be trying to make dubstep?!
Dave Dresden: We’ve definitely been inspired by it. We’re adding the sound into our palette of music that we’re working with. In the first track we did [as of recent] the Andain remix “Promises” the breakdown kinda feels like it wants to be dubstep… Although it didn’t really turn out that way but it was definitely inspired by going out and seeing Skrillex live, and loving it.
TheMixster.com: What for you personally is the most exciting thing about re-entering the DJ game?
Dresden: I never really left, but as a solo artist I was never getting booked to play at these HUGE festivals. And really it’s amazing how big they’ve become in the last two-three years. Electric Daisy Carnival has been throwing a bunch of different parties all over the country this we did two of them. Ya know, they’re putting 25,000 people in Dallas, and 20,000 people in Orlando and that’s massive. It’s pretty crazy.
Unfortunately when they asked us to do EDC in Vegas, we were busy. But had I known how MASSIVE that was going to be…. I would’ve been like “NO we NEED to do this.” It just looked like a lot of fun. And you could not avoid that on Twitter, it’s insane
From everything I saw it looked like an awesome weekend, and as cheesy as it sounds I was really proud for our industry that we could stage something this great and get mainstream coverage! I think it’s amazing and I really wish I was apart of that because by the time it came around last week we realized, “Wait this is more than just a concert, this is Woodstock for electronic music!”
We had so much fun playing at the other EDCs and playing for the younger crowd that are really new, and don’t really know us. It’s exciting because it’s fun to win them over by throwing in a Calvin Harris track (haha)
TheMixster.com: Which leads me to my next question: now that you’re back on tour, what track is your go-to if you want to get a great reaction from the dance floor?
Dresden: We’ve made a bunch of different little fun mash-ups, so we could really use other people’s music in our own way. We took this Fedde La Grand track called “Control Room” and we put our version of “Dust in the Wind” over it. We call it “Dust in The Control Room”. That I think is our go-to record. It just, the Fedde La Grand track alone with our other vocal on it is absolutely stunning and so when we put this familiar track that our fans know over it, it’s just like, dropping a bomb!
And then there’s this DJ from San Jose, California who did a bootleg mix of “As the Rush Comes”. He’s like a radio DJ up there and he made just this really killer version of our song, where it breaks into Dubstep in the middle. That’s definitely another one of our go-to records – it’s one where when we want to get a huge reaction from the crowd, we play that!
TheMixster.com: What other producers should we be listening to/looking out for right now?
Dresden: There’s this guy from Canada he calls himself Soundprank I think that he is making very cool music and I think that he might be somebody in a few years. He’s only 21 years old but he’s already making very high-depth progressive house. He mixed the Andain track as well and I was really impressed with not only that but with all the other new tracks he’s been producing. We’ve even been playing a few out of his as well. He’s been doing a lot of work with Above & Beyond so he’s my top pick right now. Other than that it’s the usual suspects. I think that Deadmau5 has really said and done a lot for our scene and it needs to be noted by as many people as possible!
TheMixster.com: Who’s on your wish list to remix your own original productions and why?
Dresden: O wow! Well there’s SO many people I love right now! I mean it would be really great to get Calvin Harris to remix one of our upcoming songs, I love the sound that he’s doing: that kinda video-game-y 80s thing with a bit more electro sound. His music definitely feels great on the dance floor and his production is pretty tight.
I would love to have Deadmau5 remix a track, I think that’s he’s doing crazy things with music. And his A&R skills and building that label of his it’s just been second to none really.
I like what the Swedish House Mafia are doing too ya know making really good, big room music that’s memorable. There’s a lot of people I would like to work with, Afrojack being another one. I think that he brings something interesting to music.
TheMixster.com: Are there any particular shows coming up that you are excited about playing?
Dresden: Well there is a string of dates at the end of July, we’re doing our own night at The Ministry of Sound. Then we are going to be playing Tomorrowland in Belgium which is another huge festival, apparently 60,000 people go to this thing and it’s divided up in only 3 stages so it will probably be as big as the gig we did in Belarus.
And then the next week we are doing the Global Gathering UK and we’re playing in the Above & Beyond tent. And then next day we are going to Amsterdam and doing this thing called the Electronic Family Festival which I think will also be awesome. There’s going to be a lot of Trance Elite and I like playing to our trance fans, they really really love us. Anyone that has worked with Armin Van Buuren is good in their eyes! (Laughs)
TheMixster.com: Are you excited for Electric Zoo?!
Dresden: YES. Because I think it was last year’s Electric Zoo when went to it and was thinking about where I would be playing if Gabriel & Dresden were performing there and thought to myself “I really need to call Josh and talk to him.”
It will be interesting to be there this year with Josh because that’s where in my mind I had set the plan in motion, was last year at Electric Zoo. I think it is a really well done festival. They throw it in a really great spot and it’s really well organized. And more than anything, a lot of fun! I actually hung out and went to it last year, and I don’t normally do that! And I had a very good time.
TheMixster.com: Which artists did you go and see?!
Dresden: I saw Wolfgang Gartner, Armin [Van Buuren], Moby, Afrojack, Sander Van Doorn, Above & Beyond, god there was so many amazing artists that played! It was just a great afternoon, there was probably 20 some DJs I caught that day! All the tents were just rockin! And it wasn’t too crowded, and there was always room to move.
TheMixster.com: What’s one track are you going to definitely going to play at Intervention in San Diego this weekend?
Dresden: The track we’re definitely going to play is this brand new remix we’re doing of “Tracking Treasure Down” which is one of our signature hits from 2006. We’re doing a new version of it for this Armada Compilation we’ve been working on. We played it for the first time in Belarus and it went over really well. We spent over 2 days here in Amsterdam working on it so it’s feeling a lot more finished, and we will be definitely playing it!
TheMixster.com: Anything else you’d like to tell us?!
Dresden: We can announce this now, we’re recording this mix CD for Armada music and it’s going to be released in August. And it’s going to have a few new productions of ours, a few new remixes of older songs of ours, a few of these mash-ups I was telling you about, and some other great music we were able to find for this mix CD. We’re just taking it one step at a time ya know it’s been a really interesting journey this year so far; and I think we are really excited to be working with each other
TheMixster.com: Thanks again for taking the time to talk with TheMixster.com and we look forward to seeing you and Josh on Saturday at Intervention at The Hard Rock Hotel in San Diego!
VAN TOTH (Toe-th) made his San Diego debut at RADIUS Festival earlier this month, and he absolutely blew us away: This Miami-based 20-year-old prodigy threw down an eclectic set that radiated stellar energy and fully-loaded bounce across the masses that flooded to his stage. Which is to no surprise to anyone, as his sound has been unavoidably compelling across the worldwide spectrum over the last few months, with heavy looks and play support from the supreme board of leaders in EDM including Tiesto, Laidback Luke, and Wolfgang Gartner. And this is only the beginning.
Even away from the decks, this hyper-driven producer maintains his manic ways: literally power-housing it inside the studio solo, as well as collaborating with his friend DJ JWLS on an equally compelling side-project called GTA. All this in addition to a host of massive plans he’s currently stirring up for himself for the near future. We were fortunate enough to catch up with young speedy VAN-zales and talk with him in person about his crazy Cali trip so far, dubstep, and tigers; and of course, his inspiring and exciting progression as an imminent future breakout artist in the global electronic music realm.
Full Interview and Music From VAN TOTH after the jump!!!
TheMixster.com: So is this your first time in California?
TOTH: No, second time.
TheMixster.com: Alright well welcome back… So what’s been the highlight of this trip?
TOTH: Well, just meeting random people, like Congorock, LA Riots, and a lot of other cool people as well.
TheMixster.com: Sounds pretty surreal?
TOTH: Yea, I’ve never really done anything like this… Crazy.
TheMixster.com: So you’ve played a couple shows now in California, how receptive would you say, are Cali audiences to your sound?
TOTH: Pretty good! At first everybody gives me this look like “o I dunno”… But then the drop comes and they all like, flip a shit! So ya know… pretty good so far.
TheMixster.com: How do we compare to Miami?
TOTH: Pretty much about the same except [audiences] are used to it in Miami – like the real tribally stuff which is more my sound. But ya know, pretty much the same, at least from what I’ve seen, people seem to go a little crazier in Miami…
TheMixster.com: So as an up-and-coming artist what would you say have been the biggest challenges you’ve been confronted with?
TOTH: UM just trying to get music out to people and out to different artists. I would say that is pretty much the hardest thing. But once it gets to them everybody seems to get on it, once it gets out.
TheMixster.com: So you’re 20 [years-old] right?
TheMixster.com: Do you find that you face even more challenges being that you’re underage?
TOTH: O yea of course! Not being able to get into certain clubs just because I’m not 21 yet, even though I am a DJ, it doesn’t matter. Just because I’m under 21… I’m sure a lot more opportunities will come once I get over that age barrier.
TheMixster.com: In the studio where do you see your strong points as a producer?
TOTH: From what I’ve seen and from talking to other people, probably like how fast I actually come up with a track and finish everything. I pretty much complete an entire track in 4 or 5 hours.
TheMixster.com: Jesus. That’s incredible.
TOTH: That’s how we do! Actually our new song (From side project GTA) that we just came out with and that we just finished our singer, Zashanell, we actually met her because well I work in a mall in Miami and she just works in another store there. But one day we bumped into each other, random shit, and later she came over to the studio. Me and Julio (JWLS) had come up with this piano riff already, the melody, and then within 30 minutes, we had the entire track pretty much done. Then we just laid it out in the next couple of hours.
TheMixster.com: That’s serious.
TOTH: It’s fucking crazy.
TheMixster.com: I know you tend to frequently hop between different genres, but what sound are you generally trying to achieve?
TOTH: Everything. I just like everything, so that’s what I’m trying to do.
TheMixster.com: So would there be a specific genre you would characterize yourself under?
TOTH: My own stuff is like the real hard tech, tribal tech stuff, and everything with a lot of energy I love. I’m really just going for anything with that energy, I don’t really want to call it a certain thing…
TheMixster.com: Alright well if your music were a type of animal what would it be and why?
TOTH: A Tiger. I got tiger blood! (laughs)
TheMixster.com: And why is that?
TOTH: Because they’re fucking crazy… Why not?
TheMixster.com: Focusing on the EDM sphere, who would you say are your biggest influences?
TOTH: God there’s so many to name! They go from everybody, like the classic names like Tiesto, [Marcus] Schossow (looks across the room and points at him) fucking so inspirational… All the new guys, Avicii, and Laidback Luke of course… I mean there are just so many names.
TheMixster.com: Is there any one person or group who has helped to get you to the point that you’re at now?
TOTH: Actually when I first started getting into house and stuff, was pretty much because of Benny Benassi. When he started coming out with tracks like ‘Satisfaction‘, he was the one that really got me into the whole “house thing” and electronic music.
TheMixster.com: Hmm, so that really wasn’t that long ago huh?
TOTH: Yea (laughs)
TheMixster.com: So looking into the near future who are some artists you would be interested in collaborating with?
TOTH: Um, pretty much anyone! The whole Erick Morillo and the Miami stuff, I love all that. I’d love to do real housey… stuff.
TheMixster.com: So when you’re not in the studio who are you listening to these days?
TOTH: Um, I listen to a lot of Essential [BBC Radio One] Mixes. My favorite BY FAR is the Nero Essential Mix. I love dubstep, and drum n’ bass stuff too. Pendulum’s Essential Mix is my number two. But I listen to a lot, I listen to everything. I even listen to a bunch of old metal stuff like Pantera, Slipknot, fucking crazy stuff. I listen to everything. Our future [music has] been the new stuff I’ve been listening to…
TheMixster.com: So do you plan on making a dubstep track soon?
TOTH: Actually I have a few! I used to have them on my Soundcloud… Actually some of the stuff you can find… I collaborate with my other friend in Miami called Animal Krackerz and he’s actually producing on his own and producing his own dubstep stuff coming out on Basshead Records down in Miami which is pretty big dubstep stuff.
TheMixster.com: So are there any particular shows coming up that you are really excited about?
TOTH: Um the MixMash Pool Party which is the Thursday before ULTRA (March 24th) Dada Life, Laidback Luke, Gina Turner, Bart B More, and a couple others and both of us (TOTH & JWLS) as GTA are playing too! (Side Note: Check out event deets here!)
TheMixster.com: Wow that’s HUGE! Well other than that what’s next for you? Are you planning on a country-wide tour soon? New EPs coming out?
TOTH: Couple EPs planned, stuff with MIX MASH as GTA and still working on the Van Toth side. Hopefully starting my own label so I can just put out my own stuff.
TheMixster.com: Yea waiting on label people is challenging.
TOTH: Yea, it’s ridiculous! But yea, nothing really with tours yet, but maybe soon in the future,
TheMixster.com: So in addition to pushing yourself, you’re pushing a side project GTA as well, do you find that’s really hard to push both?
TOTH: No I don’t.
TheMixster.com: So you’re going to push them both equally?
TheMixster.com Well that’s really exciting and we are so happy to have you here at RADIUS with us so thank you for being here!
TOTH: No thank you! I’m excited, so ecstatic!
We’ve had amazing MIX Exclusive Interviews this last year and have outstanding plans for 2011. In case you missed all the tongue in cheek, unique perceptions on a variety of hilarious and insightful questions, here are all of our Exclusive Interviews of the last year. We’ve got a bahhhhjillion more in the pipeline, so check out these awesome artist features and keep watch for more in the future!
The very same week Albert Wilson turned 22 years-old, this homegrown San Diegan under his production pseudo Literature, also celebrated his first official label release of his four track EP, Your Faithful Narrator, off Italy-based Champagne Records.
The last week may have been an enormously exciting one for Wilson, but his productions for Literature have been in the making for over a year now, and he has been working inside his home studio cranking out heaps of remixes, and slowly gathering inspiration that in turn led to his current full EP release. Literature may be a new name within the local scene, but his French-house inspired original tracks, certainly warrant city-wide recognition across the club dance floors. The very fact that he’s only played ONE show live as Literature and is already signed… Says a lot about him.
We decided a proper chat was in order to get to know San Diego’s freshest & likely, youngest up-and-coming producer. It’s likely that this very near-future taste-maker will be leading the forefront, helping to push our local EDM talent forward and quite potentially, to the global level.
Introducing San Diego’s Own: LITERATURE
Read on For our FULL EXCLUSIVE INTERVIEW WITH LITERATURE + FREE DOWNLOADS!!!
TheMixster.com: When did you start producing??
Literature: Well I started DJing around San Diego probably two years ago, and I was DJing under my Electro-project pseudo, which is called CEPI. And then as of November 2010, I started getting serious about producing French House. And so far I have had one gig, at AC Lounge which was last month so since then I have continued to focus on producing disco house and French house
TheMixster.com: What inspired you to pursue a career in producing electronic music?
Literature: I figure that would be an easy question to answer… But just because well, I love the music and there isn’t necessarily an experience or anything like that in particular that inspired me… But as I was growing up I was going through different types of music that I liked to listen to I guess, and at some point I just got hold of electronic music and I really liked it and since then I just kept going with it.
TheMixster.com: Growing up, what kind of music were you listening to that inspired you?
Literature: In my teens I guess I was more into alternative rock, like Korn, Nirvana, and Pearl Jam, stuff like that, and that was all influenced by my Aunt and Uncle, and one day I just… Well, ha, I guess there really was an experience [involving electronic dance music]. One day I was listening to 91X, and Daft Punk’s “One More Time” came on and, at first, I was very surprised because on 91X it’s not that common for Electronic Music to play and I was sitting outside the stores at the Chula Vista Mall, and I listened to that song and from then, I just wanted to know what it was, etc… And I guess you could say, I got hooked from there!
TheMixster.com: Is producing music the first musical endeavor you’ve taken on, or do you play other instruments?
Literature: No, it’s just all been through the computer!
TheMixster.com: HA! O Technology… Where is your studio, is it just inside your home?!
Literature: Yes! It’s inside my bedroom actually!
TheMixster.com: Well That’s convenient!
TheMixster.com: HA! OK well moving on, let’s talk about your upcoming EP, Your Faithful Narrator, which will be dropping on Champagne Records, is this your first release off a label?
Literature: Yea this will be my first release from a label!
TheMixster.com: Why don’t you describe the release for me. What sound were you trying to achieve?
Literature: I guess the sound I was trying to achieve would be a more glitchy, disco house sound. The closest artist to compare myself to I’d say would be the Phantom’s Revenge. But there are many other artists that are still underground throughout the country, kids my age 19,20, 21, that I connected with through SoundCloud who inspired my sound. And then from there, I just tried to develop a sound that I liked!
TheMixster.com: In your opinion where would be the ideal place or environment be for someone to listen to a Literature track, particularly one off your new EP?
Literature: Ha that’s a tough question! I guess just anywhere, I don’t think necessarily any of them are dance floor hits or anything. The first track [on the EP] is a little on the dancier side. It’s something you can just chill to, anywhere you’d like to listen to it.
TheMixster.com: Let’s go through each track on the EP (4 tracks)
Literature: This EP wasn’t planned actually, each [track] I did was just through inspiration. Initially, I wasn’t planning on releasing anything, I was trying to get my new project out there, ya know? But after a couple remixes, I decided to get really involved in making a whole EP by itself. And… well here it is.
The title track, Your Faithful Narrator, was inspired by the film, A Clockwork Orange. As he was narrating himself, I found it pretty cool that he was talking about how he was hoping people would see him through different ways. People aren’t really that committed to the film, that’s about a crazy guy trying to change himself. So that idea [of narrating people in my EP] was inspired by the movie itself. Also, I wanted to do an instrumental type of track, and I found the sample I liked in there, which was from an all instrumental track that’s pretty slow. So I guess you can say compared to the other tracks, I believe this is the one I think most people can relate to.
The second track, “Lust Leaves No Virgins“, I sampled from a 70s disco track off a compilation.
The third track is “Lovers Entwined” and it was an inspired by a glitchy track that I found… It was actually like a track back in the day and considered very ahead of its time because it was very glitchy, which was exactly the way I wanted it. I was able to make [the original sample] even more glitchy than it already was. The motive [behind the track] was simply wanting to sit down and make a track… And this is what came out.
The last track on the EP is Erricka is also sampled from a disco track titled “Dance Little Lady, Dance”. This [track] is my favorite one [on the EP] because I had the most fun with it; and because it reminded me of and, actually, I named it Erricka, after my ex-girlfriend, because she liked to dance… And so I decided to name it after her. Overall it’s my favorite track on the EP and I think it’s one everyone will like as well.
Literature – Erricka
TheMixster.com: Where will the EP be available for Download or Purchase?
Literature: This EP is available for Free Download, and then from there on, every artist on [Champagne Records] will have their future releases on Beatport and other music outlets, etc.
TheMixster.com: As a producer how do you differentiate yourself other artists/producers?
Literature: I guess you can say locally, I am a MAJOR difference from what other people are producing/play around here. But if I were to compare myself globally I’d say I’d be very similar to what’s being played in France and to all the European producers, who are [currently] big on disco house. But if I were to differentiate myself from their approach to producing, it would be the particular way I lead off a track, and my transitions. Also, I really like using filters – and that would be the biggest way for a listener to determine “O that’s a Literature track” or not.
TheMixster.com: Outside the studio, who are you listening to these days?
Literature: O man! I have been finding SO many guys who are out there! If I were to say someone mainstream I guess Go-Go Biscuit, Moonchild, Phantom’s Revenge, but there are some other guys who are going to be coming up soon that I really like as well…
TheMixster.com: What about within San Diego, do you have any favorite producers or Djs that you follow in San Diego?
Literature: Well, I don’t know many guys that produce personally unless they have events coming up in the future, but DJ Snowlin has some good productions, and you can see him playing around Scream events. The guys playing throughout San Diego Downtown like COLOUR VISION, Adam Salter, Kid Wonder (of SQZMYLMNS) the usual suspects around San Diego. They are all really great DJs and I’m hoping to hear some new productions from them because a lot of guys here [in San Diego] are pretty great DJs, so I’d like to hear what they can produce..
TheMixster.com: What is your opinion of San Diego’s Dance Music Scene?
Literature: I personally haven’t been able to go out that much, I just turned 22 [last week!] and the past year I’ve been super busy but I know all the big names that have been coming out here. And San Diego is bringing out some seriously big names like Skrillex, and it was amazing to see EL Dorado booking GRUM not too long ago. I say that the artists that come here are great and as far as those that play here, like the local DJs, I’d say, San Diego’s electronic music scene definitely growing. I’d say San Diego could be another city like LA, where lots of big events could happen around here, especially that massive that’s coming, where Mr. Oizo is headlining, at Radius Festival. Especially with those kinds of events happening, I definitely think San Diego’s music scene is become better.
TheMixster.com: So you’re born and raised in San Diego is that correct?
Literature: YUP. South Bay Actually!
TheMixster.com: So what are your favorite local spots you like to frequent?
I love Santana’s, that’s a great Mexican spot to eat! And then I like to hit the usual spots in Downtown and North Park, U31, El Dorado, and just since I’ve been starting to go out I’ve been really starting to like it!
I think I am going to stay with Literature, I feel like I produce a lot better doing French House, and as far as CEPI goes, I don’t know if I will continue doing that… I got a lot into Thrash Electro, which is pretty different from the electro everyone seems to be into… Yea, [thrash electro] is VERY different. If I were to continue with CEPI it’d probably be later on down the line, later on in life.
Be sure to follow Literature closely in the near future as this up-and-coming producer seems to have unparalleled drive to reach the top and help push San Diego’s EDM scene to the brink.
Running with the release of their first solidified album, the LA-based trio known as The Glitch Mob, trio consisting of members and sound racketeers EdiT, OOah, and Boreta, have been, quite literally, taking over stages from coast to coast nationally, and are now currently doing the same sonic justice to soundspheres from break to break on their Australasia tour. Personally witnessing Glitch Mob’s massive performances this year at both Coachella and earlier this month, at Electric Zoo Festival, it’s a near impossible task to give their highly engaged, technologically future-time-traveling performances justice in merely words alone. However, in an exclusive interview I had EdiT not too far back, via TheMusicNinja he gives me the full rundown of their electrifying accomplishments; in the studio and on stage, an insider look at the intricacies of their technical production, as well as a glimpse inside their outlook looking forward into what’s to come for the ever-involved and on a multiple of levels, the rapidly-advancing band of production evolutionaries known as The Glitch Mob.
Exclusive Interview, Videos, and More after the jump!
Q: First off, congratulations on the new album, it’s a huge step for you guys, produced one solidified narrative of your sound, big congrats.
edIT: Oh, thank you!
Q: So you guys are fresh off of your international tour, ready to start back again in the States, but tell me, which country or city in general that was the most memorable for you guys.
edIT: Oh wow, well there’s so many great shows, dates, and memories from the past U.S. tour and the European tour, and it’s really hard to just pick one. I’d say maybe one that surprised me the most was Mobile, Alabama.
edIT: Yeah (laughs) I’d just never been there before, you know, and it was just really interesting to just see how die-hard people are out there I guess. A lot of music doesn’t really go through there, so when people come to your town everyone comes out and it’s an exciting thing. Also, Ashville, North Carolina was really great. That was also a really amazing city. Honestly, like a lot of the smaller cities that we’d never played in before were the ones that really surprised me a lot on these past two tours.
Q: Any one city stand out for your internationally?
edIT: Yeah I mean, you know Europe is always an amazing experience in general just because it’s so different out there. I’d say the standout shows this year were London and Belgium – they were probably our best shows.
Q: So musically your guys’ first album “Drink The Sea” is somewhat of a sonic transition for you guys from your previous remix and individual recordings you’ve released, how would you go about defining the sound that you guys are working with now?
edIT: Well you know I think “Drink The Sea’” is a very personal and sentimental record for the three of us. I think looking back on it now and I’ve discussed this a lot with Boreta, you know I think for us it was a very introspective record. It was definitely a reflection of a period of time that the three of us shared together, where we were all going through a very similar experience and it’s something that’s very close to our hearts. I guess you could call it more of a ‘listening experience’ as opposed to a ‘dance floor/live experience’. It’s definitely not an album full of a bunch of just 12” dance singles. Not to say that we won’t go back to that or revisit that kind of thing in the future, but yeah I guess you could say it’s an album through and through: one that you can listen to, from front and back. It’s also something that we feel that in 20 years we’ll be able to throw on and it’ll still stand up, and we will still enjoy listening to it. That’s something that was very important for us for our first record this time around — to put something down and weave something that was memorable.
Q: This album is not “Glitch” but of course according to the name of your guys’ group Glitch Mob, what kind of genre or number of genres would you say completely help to define this album?
edIT: I mean it’s really hard you know because we don’t look at this album in terms of any genres or musical themes per se. A lot people have asked us ‘what do you call this music?’ and the best answer we can give is just it’s ‘really street’ or just three guys making music. I really don’t know what to call it, honestly, that’s just what came out. One thing we’ve always been really big on is letting the audience determine what The Glitch Mob means to them and I think the same goes for “Drink The Sea”. I understand a lot of the confusion because we’re called The Glitch Mob and there are no “glitch techniques” on the album. But to us The Glitch Mob was always just a name. We never set out to be essentially the pioneers or figureheads for any movement or scene or musical genre. I think that’s just something that a lot of fans had determined what we meant to them, but that’s not necessarily what we were setting out to do. We didn’t want to take that away from the fans either but we never set out to just make “glitch music” or glitch music at a hip-hop tempo. We’ve always made a bunch of different styles and varieties of music and I think that’s reflected through and through with this record. We definitely went out on a limb and were vulnerable, and took a chance and really just went out there and told our story; as opposed to doing essentially what a lot of people expected us to do. We weren’t trying to piss anyone off or trying to be different. We were really just making the album that we wanted to make it and that’s what came out.
Q: To help break it down a little, if your music were a type of animal what would would it be and why?
edIT: Um, I guess it would be a shapeshifter… Is that a good answer? (laughs)
Q: Well, is that even a good question?! (laughs)
edIT: I’m trying to think of something clever but nothing’s coming to mind right now, so I’d say Chameleon or something like that.(laughs) You caught me off guard there.
Q: So this sound (animal?!) that you’re talking about, how was it received internationally?
edIT: Well the thing out in Europe is that everyone has grown up on electronic music; I think it’s a little different than in the States. Electronic music is just a part of pop culture out there so I think for a group like us to get up on the stage with guitars, bass, drums, but also computers and electronics and stuff like that, I think that makes sense to the European crowd. They’ve seen that a lot already; they comprehend it, they understand it, they know what’s going on. Whereas out in the States if you took someone that’s very used to watching a band all the time and they come see us perform, they might be a little confused because they see a band up there with guitar, bass, drums, electronics and stuff, but they might hear some sounds that are coming out that are not being played right then and there, which can be confusing to that kind of spectator.
But I think out in Europe people instantly know what’s going on. I think the difference is that because electronic music is such a part of everybody’s life out there that I think that people can instantly define and compartmentalize what type of electronic music is going on. They’ll go see something and be like “oh yeah that’s house or drum and bass, or breaks or whatever”, they’re like “This. Is. X”, you know? But when a group like us gets up there, they’re like “I understand there’s an electronic act playing right now, but I don’t really know what to call this.” So, I think they understand it right off the bat but maybe it’s something that’s, even though they get what’s going on, it’s something very unfamiliar to them. Which can be great. It’s an opportunity for us to really introduce the fans out there to something new, or introduce first-timers who are listening to Glitch Mob to something new. But by-and-large we were really well received out there. Most of the dates were headlining Glitch Mob shows so most of the people coming out were Glitch Mob fans, and when we played big festivals I think that’s when we were hitting a gigantic audience of people who by-and-large had never seen us play before.
Q: Well speaking of live shows, there’s almost a theatrical sense involved in your demonstration of the live production of electronic music, which brings about this human characteristic or [a characteristic] that electronic music typically lacks. How do you see your role as a performer, rather than just as a DJ, benefiting the electronic genre as a whole?
edIT: We like to create an experience on stage and I think in the past when we were DJs I think our performances so to speak, or DJ sets, were much more about the tunes — it was really just about what tracks you had and how you put it all together. But nowadays since we only play original music, we spend a lot of emphasis on “how can we best represent and portray these songs into a live situation?”. So there’s a heavy emphasis on “how can we best perform this?” and “how can we best perform this so that it’s engaging to the spectator?” Which is why we tilt our leads to the crowd so you can actually see what’s happening, and we make it very obvious that when you see us playing “Lemur” and you hear that particular synth lead. You are able to put it all together, you see it happening and unfolding like “Oh that guy’s playing the synth lead onto ‘Lemur‘ right now”. So that’s something we were really big on because there’s definitely often times an air of mystery as to what’s going on up there when you see a guy with a laptop — it could really be anything. I think a big part of our show is breaking down that imaginary wall and really just being transparent with the audience and showing them exactly what we’re doing up there.
Q: I actually saw you guys at Coachella this past year and I was impressed not only by the overall performance but the fact that the three of you seemed to switch back and forth between instruments and jobs constantly. Does any one member of Glitch Mob have a particular role?
edIT: No not really. That was something that we are really big on. I guess you could look at this project as essentially like three producers coming together to play like a band would. If you’re a producer, essentially your role is everything: you program drums, you write synth leads, you make sounds, you mix it all down. That’s also the case with how we wrote the record. No one person was in charge of any particular aspect of the songwriting process. I think what inspired us to a degree to perform that way where we switch around a lot, was watching bands like Tortoise; where they’re all multi-instrumentalists, they can all play just about any instrument and they all rotate during their sets. Probably not as much as we do because we rotate a lot during the song, whereas they rotate after each song. Which is something we realized, something we were really big on in the process of putting together this live set, we were like “Oh it’s gonna be so cool if we’re always running around on stage and switching stations and picking up the guitar and putting it down”. I think something we began realize was maybe just a little confusing… But that’s something we’re working on and we’re going to try to make it a little more coherent. Because all the songs are written in a way where they’re all multi-part song structures and they change a lot — they also change a lot, and very quickly. There might be 16 bars of something’s happening, and then it goes into something completely different; which can also be hard to play on stage. Sometimes you have to run and play the guitar for literally 16 bars and then put it down and be back to my station in time to play the next part. Moving forward, I think we’re going to try to rethink that aspect of our live shows a little bit; try to make it a little bit more clear as to what’s happening, so that it’s a little less confusing.
Q: You guys made the album with the intention of never being able to perform it just solely on Ableton Live? You made the album with the intention of performing it live like you guys actually do?!?
edIT: We actually do use Ableton Live, but yeah we wrote the record with some aspects in mind of “how would this be to perform on stage?” So obviously, there are a lot of percussion parts we were like “oh this is gonna be great, this very climactic part is gonna be great to play these percussion parts on stage!” However, it still ended up being very much like a studio album. We wrote the album entirely in the studio, even though we played a lot of the stuff live like guitars and bass, and programmed a lot of the Midi live from the keyboard, it still ended up being a studio album. Which, in the end, still ended up being kind of difficult to reverse engineer. For instance, like I said, there are parts where I have to play the guitar for 16 bars and then I have to jump and play something else, things like that were things in the songwriting process that we did not really foresee as being complicated during a live set, but they ended up being very complicated. So I think for the next album we’re going to rethink it a little more, even think about the live performance aspect even more when we write the next album because we definitely learned a lot from this record.
Q: Going back to the studio, starting at day one, you guys are building a track upon track, it must be an immense process, where the hell do you even begin?
edIT: Well pretty much every day in the studio, because the studio that we write all the music in is actually at my house. So a typical day of songwriting would consist of Boreta coming over, we’d always lunch together, we’d discuss what we wanted to accomplish that day and we’d go down into the studio and basically just get the ideas flowing and just to execute. Actually, the rough drafts of all the songs were completed over the course of about a month and a half to two months, so by the end of two months we had the rough ideas for every single song but they just sounded like a demo tape — none of them were completed. But all the melodic ideas and general tempos and arrangements of the songs were all working up to two months. And then months after that we’re going back and refining and designing all the sounds for the record and mixing it down, so actually the record was written fairly quickly to some extent. Obviously the sound designing and the mixing and the mastering goes into making a record, but actually the main idea process of it all came together in a two month time period.
Q: Going back to the basis of it all, there’s an obvious heavy integration of the multiple MIDI tracks, the filters, the plug-ins. It must be a nightmare trying to solidify all of those innumerable manipulations – choosing from all of those sessions and putting it into just one solidified master track. In a day’s typical session how many tracks do you guys accumulate?
edIT: Yeah it’s a crazy process. I think each song that we wrote was well over 100 tracks and the only way we could realistically mix it down was we basically relied on these cards made by Universal Audio, and so we mixed the album down on those cards and primarily used the computer for playback. Because there’s so many tracks and it’s really hard to mix it down. But in the end, it all worked out but it was definitely a very difficult process because the main thing that was different this time around much more so than our previous songs, was that the songs change frequently. One song could have four or five different parts in it, whereas previously, a lot of our songs were made of just one or two parts, or three parts. But this time around the songs evolved a lot. We were really big on this multi-part song structure style — similar to the way Queen writes music. Songs that change a lot and it was definitely hard to mix down, but in the end we pulled it all together.
Q: Given each track, the complicated atmospheres and sonic nuances you guys embed into every single song, were you guys worried about how those songs might translate inside the clubs or inside big area listening stages perhaps?
edIT: No not so much. We definitely mixed the record differently compared to how we mixed our previous stuff. Going back to the whole idea of the album being much more of a listening record, we mixed the record with considerably less tie-ins than normal, and that was really something that I’ve always noticed during sound checks with previous Glitch Mob material. I always had to wear ear plugs at my own sound check and at my own shows, and I was like “it shouldn’t have to be like that?” “There’s gotta be a way that you could mix your tunes down to where they still bang but they’re not shredding your ears…?” And that’s definitely something we’re really big on with this process because the songs were meant to be experienced at a pretty loud volume. So, as opposed to making all the tracks extremely bright we’d rather compensate and not have them be as bright, but have you be able to experience them at extreme volumes without them hurting your ears. It was really funny when we dropped our first single, a lot of the people who are DJs and producers and fans of our stuff actually thought that our stuff wasn’t mastered, or they thought that it just sounded muddy. But it’s all subjective really. But for us ,we definitely went for a much more classic mix-down approach for this album, not something that had a lot of crispy, pop and sheen that might sound good at a lower volume, but at a higher volume you’d really be tearing your head off. Once again the listening experience was really important for us and if you’re going to listen to this record from front to back for 60 minutes it was really important that the record did not fatigue your ears. If you listen to some drum and bass for 60 minutes straight on a pair of headphones, by the end of that 60 minutes if you’ve been listening at a very loud volume I can almost guarantee you that your ears will be fried, so it was a little bit of reverse-psychology, I think generally with dance music everyone is so keen on making everything so crispy and very bright — and we actually went with the opposite approach.
Q: So would you say that the ideal way in your guys’ minds for someone to listen to a Glitch Mob track would be via a pair of headphones?
edIT: Not necessarily. We mixed it down in a way that it could translate in any type of situation. We definitely did do a lot of production tricks that were geared towards someone listening to the record on a pair of headphones. There are lots of stereo tricks happening, but it’s still something you can throw on on your home stereo and still enjoy. We didn’t necessarily write this record strictly for headphones. I remember reading a Prefuse 73 interview a long time ago where he had mixed a particular record that was perfect to listen to on a pair of iPod earbuds and I thought that was really interesting… But we definitely didn’t approach this record like that at all.
Q: So now you have come out with this big collaboration between the three of you guys, however, we still see here and there every so often that you guys are coming out with a few individual projects or remixes of your own. How much time do you guys get to spend on producing your own solo projects?
edIT: Actually everything that we’ve released since “Drink The Sea” have been solo efforts. All of those tunes are older songs that have been previously unreleased. We thought it would be a good idea to stoke up the fans and then give them away for free. But for instance Boreta’s Mike, Aaron & Eddie remix and then also my “Pound 4 Pound” track were all older songs that we’ve just given away for free at this point. Honestly we’ve been so busy with touring and focusing on Glitch Mob that we really haven’t had a whole lot of time to work on any solo material.
Q: So even despite the fact that you guys are on tour and are constantly so busy with everything, you guys seem to take your social media interaction with your fans very seriously. To the extent where you’re personally responding to the majority of Tweets or message that come into you guys… That’s kind of insane given the following you’ve amassed! How do you keep up?
edIT: It’s tough but you I think in this day and age, being an artist it means more than just making the music and going out there and performing it. To us, it also obviously means having a relationship with the fans. And that’s something we’re really big on and we look at the whole Glitch Mob experience as a gigantic community. It’s not just us going up there to perform music or write music, so we’re definitely really big on interacting with the fans, and it’s been really great. We know that there are a lot of fans out there who are producers and DJs and that’s why we started the Facebook discussion forum to share tips and tricks and ideas, and through that we’ve learned a lot of stuff from fans who’ve posted there. We have stuff like the ‘Remix it like You Stole It” remix competition. And the Soundcloud page for that is something like 70 remixes deep at this point, and that’s something we’re really big on is including the fans in the process in any way that we can. Obviously aside from writing the music but it’s something we’re really big on.
Q: So, album’s dropped, you guys are off on tour, do you have anything else that’s brewing up behind the scenes that you’d like to tell us about?
edIT: Yeah we’re actually going to be dropping the “Drink The Sea” mixtape very very soon. We’re in the process of finalizing it this week so hopefully before we start the next tour, which is the 20th. We’re going to release the mixtape online and pass it out at shows for free, and there will also be a t-shirt made for it too. But that’s the main thing we’re working on right now.
Q: Last question, when are you guys going to finally come to San Diego?
edIT: *laughs* We have been to San Diego before but I don’t really know why it didn’t work out on this past tour, but this next tour that we’re going on is primarily all throughout the Midwest and a little bit of the East Coast so I don’t think we’ll be hitting San Diego this time around, but hopefully we’ll be back to San Diego sometime soon. We’ve always had a good time playing down there.
Photo via a great article about Electric Zoo 2010 by Peter Kirn at Create Digital Music – see whole thing here
Wolfgang Gartner,born Joey Youngman, is the man of the moment in the electronic music world:
Wolfgang Gartner has been nominated for several prestigious DJ awards, his show at Avalon (LA) this past month was a massive & monumental success for the venue with over 4,000 heads deep in attendance, and his latest announcement of a highly anticipated forthcoming album, under his recently confirmed worldwide contract with renowned record label, Ultra Music, are just a few of the ever-growing list of accomplishments that have put Gartner in the electronic world’s spotlight.
On top of all that, Gartner has been recently holding down the top spot on the Beatport charts week after week, and is still holding strong with his track “Conscindo” in the top ten (at the time of writing). Simply put, Wolfgang Gartner is sonically soaring on career Cloud 9. And Gartner has taken the joy and positive energy he has earned from his endeavors with him on tour across the country, performing at top venues and large-scale festivals, sharing the fruits of his successes with his fans.
Thanks to my bestie and East Coast counter-part, The Music Ninja, I was able to pull Wolfgang Gartner away from the celebratory momentum he’s been riding and talk with him about all the epic events he’s been playing lately and upcoming shows that he’s looking forward to, his recent collaboration with Deadmau5, and ask him to us about his true feelings in regards to the ongoing ninjas vs. unicorns debate, among many other things he graciously shared with us as well. Check out the wisdom and intriguing insight below from the mind and mouth of the production mastermind and man of the moment himself:
The MIX: So according to your Facebook, it seems you had a PRETTY good time on your International tour! ready to start back again in the States, but tell me, which country or city in general was the most memorable for you while you were out on tour?
Gartner: I mean all of the gigs were really good, that’s why it was such a good one and it’s kind of hard to pick a favorite but I would have to say the Beat Patrol Festival in Austria was kinda the best energy out of all of them. Caught me off guard.
The MIX: And we heard Avalon was absolutely insane, how was that!?
Gartner: That was crazy at the Avalon. I guess it was the most people they ever had in there or close to the most people they’ve had in there, but yeah it was completely packed and that’s a big venue too. Really one of the best shows in my life, for sure. California’s a good place for me right now.
THE MIX: In the electro house genre how do you distinguish as a producer?
Gartner: I don’t completely know how to best answer the question. I just try to do stuff that other people aren’t doing. If I go through the top 100 electro house chart on Beatport, it all kind of has a sound to it, there are a few different styles, but basically everybody’s spinning in within these cubes that sound kind of generic and I really have trouble finding good music on there. I’ll go through the entire ‘Top 100′ and not find anything that really makes me go ‘wow’ you know? So I try to do something that’s beyond what people are doing or so different from what other people are doing that basically doesn’t sound like anything else on there.
The MIX: Well, let me put it this way: If your music were an animal, what kind of animal would be?!
Gartner: I’m going to have even more trouble answering that one.
The MIX: Haha We’ll go back to that one towards the end…
The MIX: It became apparent that there was a change in energy in the sound of your newest tracks, can you tell me what influenced/instigated “Firepower”
Gartner: Well actually it started – I know what change you’re talking about – it kinda started with Wolfgang’s “5th Symphony“, then “Firepower” with the next one, and then with the “Undertaker“. This is kind of like the ‘new wave’ of my sound. I don’t know what instigated it, I think it’s more just kind of like a coming into my own in this sound, because I only started making this type of music like two years ago. It was kind of a learning experience up until now. And I was listening to what other people were doing, taking ideas from here and there, and I feel like with “5th Symphony” and “Firepower“, that was the turning point where I kind of developed my own signature sound, and started doing things more originally.
The MIX: Being with Undocumented Management along with big names like MSTRKRFT, LA Riots, Congorock, Bloody Beetroots, etc. Has it affected the type of shows you’ve been playing?
Gartner: Definitely. Obviously Undocumented is a management company so they don’t book my shows, they act as my agent, but basically Undocumented Management filters through all of the shows, that my agent pitches them and kind of says, “do you think this the right show, for the right market? The right time for you to be playing?” And they’ll go out and get a few shows too. So basically, they’re in control of the logistics of my master plan of my touring. Undocumented has certainly changed the landscape of my tour schedule and has had a big impact on my profile; the direction things are moving in, for sure.
The MIX: How has [being with Undocumented Management] nurtured your sound? Along with being with all these big names on the same bill?
Gartner: I would say the fact that Undocumented Management manages all these other people doesn’t really affect me. What affects me is my manager pushing me. It’s basically like having somebody to push you, as cheesy as this sounds, to be the best that you can be… Now, I will send him a track, whereas before I would make him a track knowing it wasn’t the best thing I’ve ever done but still kind of cool, and I’ll send it to him, and he’ll be like no “Yea, no, we can’t release this. It’s good, but…” He pushes me to be better, to improve. It’ like having one more person behind you, to take you to the next level.
The MIX: I was there for your set at EDC (Electric Daisy Carnival, LA) and saw, basically, the line-up of all you guys (Undocumented) ALL on the SAME stage, and it felt that you each were helping to contribute to each others’ sound, which, well, was an awesome feeling as a huge fan of everyone’s music!
Gartner: That’s true too. There are a couple other guys on the roster, where we know each other and we talk to each other. I’m kind of newer on the roster than most of them. So they’ve been friends with each other longer, influencing each other for a little bit longer. But I’m becoming, as it’s only been a year, member; I feel like merging in with the group. Yea, they have been influencing me over time, like hearing MSTRKRFT for example: MSTRKRFT I had never heard them play live before, I signed on with Undocumented and since I’ve heard them play I kind of understand that sound a little more, and it’s planted a little seed in my head with some ideas. Same with other artists on there too. That is a valid point right there.
The MIX: You’ve been nominated for “Best Newcomer” for these DJ awards, so congrats on that (we hope you win!) but putting it into prospective, do you really see yourself as a newcomer?
Gartner: HA! Not at all. But if they want to nominate for an award, that’s cool. But ‘newcomer’ wasn’t the place for me to be in. I’ve been doing this for like, EVER, I’ve been touring six years, putting out records for seven years, so NEWCOMER?!?! ‘Newcomer’ is NOT the right category!
The MIX: We figured that too, but we wanted to double check…
Gartner: Haha yea…
The MIX: So wanted to talk about your collaboration with Deadmau5. That’s, um, exciting to say the very least! What sparked the collaboration with Joel [Zimmerman]?
Gartner: He just hit me up on Twitter one day actually, said that he wanted to do a track. Haha Joel got my phone number from my manager and he called me twenty minutes later. I flew out there a couple weeks later, and we did a track. Pretty simple.
The MIX: Wow exciting that Twitter can spark those kind of relationships!
Gartner: Twitter does AMAZING things in the DJ community!
The MIX: So what kind of sound should we be looking forward to… Finally when the track drops?
Gartner: You know what? It definitely sounds like both of us. it definitely sounds like the two of us got together, and made a track. As for the general vibe of it, it’s definitely less aggressive. I guess it’s more “housey”, has more funk elements. It’s just kind of a more “housey” track, rather than the more aggressive electro stuff we both usually produce. It’s still electro, but it’s got a more laid-back, house vibe.
The MIX: So a huge audience for both TheMusicNinja.com and TheMixster.com are actual DJs & aspiring Producers. And a lot of feedback we get is that DJs are SO fascinated by everything technically for you guys as producers. Building a track from the ground up is an immense process, it’s interesting to say the very least. So keeping that audience in mind, I have to ask you, how do you personally, typically start building a track from scratch? Where do you even begin?
Gartner: It’s different every time. Sometimes I start with a kick drum, and just build the drums. Sometimes I’ll start with the core progression and I’ll sit down at the key board and bang away until I have something that I like and just write a track around the core progression.
Those are usually really those are the only two ways that I start. I’ll build the drums first, or I’ll build it around the core progression. That’s pretty much it.
The MIX: Technically in the studio, what do you see as your personal strong points or strengths as a producer?
Gartner: That’s kind of hard to put into specifics. My strong point as a producer is a singular thing. And it’s the fact that I’ve been, I guess what they call the “ten-thousandth hour” rule, like once you’ve done something for at least 10,000 hrs. you’re supposed to have mastered it or whatever. I’ve been doing this [producing] since I was 11, like pretty much every single day of my life so I’ve been doing it for 17 years and I know how to do EVERYTHING. I know every aspect of production, from making the tracks to writing music to music theory to mastering the music for commercial release, so I know every single aspect of it, and I’m in control of everything single aspect of it; where I don’t have to bring in somebody to play a core progression to play notes for me, I don’t have to hire somebody to master it for me. Since I do everything myself it makes it my own creation solely without having, you know, other people’s heads in it.
The MIX: When composing your tracks, do you keep in mind these huge venues that you’ve been playing lately?
Gartner: Actually yea, that’s such an interesting question, because that’s all I do is when I’m making music. I’m totally thinking of like, the last really amazing gig that I’ve played, the most recent one, and just kind of make music, with the thought in my head the whole time of “What would have really gone OFF at that place that I played at?” So, like right now the most recent like amazing gig that I played was Avalon (LA), so next time I get into the studio I will probably look at the pictures I have from it, and just be picturing it, and remembering the whole thing, and think to myself, “OK could I have made that would have been just INSANE at that gig?” The gigs have a HUGE affect on what I do in the studio.
The MIX: So let’s say the last track you composed was about an amazing experience you had a huge festival or massive, so do you ever feel like when you are composing a track you are, essentially, losing some of those nuances that you put into it?
Gartner: Yea, I mean but the nuances don’t really get noticed much at a huge festival or huge gig, but they’re people who do listen to this stuff in the cars or headphones and those people will appreciate the nuances, so they do get heard and they are important to me. In way I kind of just do it for myself. I’m the perfectionist, slightly OCD, so, all the nuances HAVE to be there for me to be happy!
The MIX: In general what would be the ideal environment/medium for someone to be listening to a Wolfgang Gartner track?
Gartner: A club or festival.
The MIX: So what are you listening to these days when you’re not in the studio…?
Gartner: I listen to a lot of Rap. Old and new, I guess more old than new. New stuff I like, I like Young Money , some of the more “ghetto” stuff. I listen to a lot of old stuff too. I listen to a lot of Steele Dan, the Eagles, like old classic rock, a lot of disco. The only time I really listen to music outside of the studio is in my car, so I’ll flip on satellite radio, and I’ll see what they’re playing on the dance station, which is usually really bad, (haha) so then I’ll switch to the hip-hop station which is a little bit better. So basically I listen to hip-hop, classic rock, and disco, outside the studio.
The MIX: Are there any break out artists you are particularly excited about?
Gartner: The only one I can think of that really excites me is Congorock, who also happens to be under the same management as me.
The MIX: Looking forward into near future, who are some artists that you would interested in collaborating with?
Gartner: There are already a couple of collaborations already happening, but ones that I would be interested in… I think I’d like to take a break from collaborating with other dance producers and do some stuff with like hip-hop artists, and more vocalists, singers, R&B rap artists, stuff like that. Nobody in particular I can think of right now, but I’m coming up with a “wish list” of people I’d love to work with, so we’re going to try and get some on some tracks.
The MIX: So is that the direction that you are taking as a producer? Involving different sounds?
Gartner: No, if I do an album, say I do a ten track album, three or four tracks with vocalists and the other 6 will be instrumentals. I want to do a few singles that have vocals on them that are “commercially digestible” but the focus of my discography is still going to be my instrumental stuff that I have been doing.
The MIX: Are there any big shows or festivals that you are looking forward coming up in the near future?
Gartner: Let me look at my calendar here! I know I’ve got Nocturnal festival which is here in Texas, which supposed to be good. Electric Zoo (NYC!) the next day and that’s going to be a really BIG ONE! Electric Daisy Carnival in Puerto Rico next weekend, so that should be cool. There’s also a big rave in the Denver coliseum I forget what’s it’s called on September 25th, but THAT is supposed to be a good thing too!
The MIX: Alright so going back to the animal question, is there a way you would describe your sound if it were an animal?
Gartner: You really want me to answer that question, don’t you?
The MIX: YES… Please?
Gartner: Hmmmmmmmm let me think. Probably like a fuckin’, some kind of really brutal, angry animal that has like no morals and just like eats things. I’m thinking like Hyena? But I’m trying to think of just something even more brutal and nasty… Like what’s a horrible animal that nobody likes?
The MIX: An animal nobody likes?
Gartner: Because they’re just evil and they’ll kill anything and everything?!
The MIX: In my opinion, I’d say a shark?!
Gartner: Yea! Well but sharks are kind of beautiful, some of them can be peaceful. I’m going to say a hyena. Because you never like hearing a hyena. Nobody likes hyenas, they’re just these things that prey on everything, and eat everything and have fangs that carve blood to be thrown around.
The MIX: So your music a hyena?
Gartner: Yes, because it’s like a horrible, brutal animal.
The MIX: OK, most important question, Ninjas or Unicorns?
Gartner: um, Unicorns.
The MIX: Nice.
Want to catch Wolfgang in real-life? WHO DOESN’T?!?! Wolfgang Gartner, along with fellow ‘Undocumented’ boys,LA Riots, will be at RAVEhouse this WEEKEND, Sunday, August 29th, in San Diego at the Wavehouse in Mission Beach! Get your tickets as they are going insanely fast already HERE!
Or if you’re going big and going NYC this Labor Day Weekend, catch an absolutely massive and filthy electro set from Wolfgang Gartner at Electric Zoo Festival in NYC at Randall Island’s Park, on Sunday, September 5th, on the Hill Top Arena Stage. Don’t wait on tickets for this as prices will go up this Sunday, August 29th, at MIDNIGHT – Get your Electric Zoo Tickets NOW.
Thanks to my new, and, rapidly becoming, dear friend, The Music Ninja, I was given the opportunity to take on the young blood, dubstep pioneer himself, RUSKO. Fortunately I was able to talk with him just literally hours following his MASSIVE show in San Diego, during the ever strange and undeniably colorful Comic Con weekend, and nursing a severe yet well worth it hangover from the sweaty debauchery that was RUSKO’s full-on set for the completely chaotic and totally packed club of twisted comic coners and fanatical Mad Decentites alike. Comically pressed against the glass of the DJ booth all night long, there was little to no concern for my personal well-being once RUSKO took his reign over the decks. One cannot deny the power of the magically hypnotic power of the WHOMP WHOMP.
Or, if you can’t bear to tear yourself away, here’s a taste of that utter filthiness below:
SO now – for what you’ve all come here for no doubt, the interview with one of the most outstanding, interesting, and “jolly” human beings I have ever had the pleasure of conversing and bashing trance with: RUSKO.
WHOMP WHOMP WHOMP.
Q: How are you?
I’m actually on the freeway driving back to San Diego.
Q: Oh that’s great I’m actually in San Diego, I saw you last night and you did a great job!
Yeah one of the cd players was busted, so I don’t know what happened, I hope I covered ok.
Q: I saw that you went to comic-con today, what did you think of it?
It was a lot of fun actually. It was really really cool. I met with a lot of people so you know, hopefully there will be some Rusko tracks in some cool movies and video games too. It was a really cool place I couldn’t believe it, it’s the ultimate sci-fi geek fest.
Q: I wanted to ask you a few questions about Mad Decent and Dubstep of course, so why don’t we get right into it: Your label Mad Decent is arguably one of the most forward thinking ground breaking labels: Always manipulating genres, fusing together music cultural influences, even creating new ones. How do you see yourself as an active piece of that puzzle?
Well, I have been friends with Diplo and Switch for a long time so being part of the camp was obviously a logical progression. One of the cool things about it is that I get to tour with those guys so I get to see my friends when I’m on tour which is really cool. But really it kind of is all about good vibes, you know. I think that is really why I wanted to be a part of it. My music is not particularly dark or aggressive like a lot of Dubstep is. It’s kind of a bit more fun and jolly and that’s really that thing: Fun and party vibe kind of mad decent, right?
Q: Absolutely It’s Mad Decent! California in particular is usually the last to get everything in the electronic music world and Dubstep is pretty huge here at the moment as you saw last night…
…Oh my god, yeah! I am playing Audiotistic tomorrow. They actually just moved me to the main stage right after Kid Cudi, I was headlining in the dance area but they were worried the security and the area wouldn’t be able to handle THE RUSKO!!! So the moved me to the Main Stage!
Seriously, It’s even overtaking the house crowd now which is insane. When it over took the Drum n’ Bass crowd Im like ‘yea this is really good. It’s doing really well’! But when Dubstep is pulling the same numbers as house DJs… That’s crazy! Because house is always the kind of dance music really. If we can sell more tickets and get more people than house DJs, that’s really cool.
Q. I remember seeing you at Coachella and it was 2 :30pm in the hottest day of the afternoon of the third day and it was just nuts!
That was a lot of fun though. It was so weird because I seriously just had gotten out of bed, and it was kind of like I opened my eyes, had a cup of coffee, smoked a cigarette and all of the sudden I was on stage. It felt totally weird when I first stood up there. The first five minutes were the most bizarre five minutes of my life, getting out of bed and standing at Coachella, it was like: Wow!
Q: California is usually the last place to to get stuff, do you think Dubstep is progressively growing stronger? Do you believe it is starting to faze out in other parts?
It has totally been growing stronger, just literally in the amount of messages I get, the amount of music people send to me. And I’m just loving the amount of people at the shows. It is definitely growing strong especially on the West Coast. In like San Francisco, Los Angeles and Denver– I have humongous crowds, HUGE, HUGE crowds in all those places. It is absolutely crazy how the West Coast of Dubstep is just on another level. That’s why I am here of course!
Q: Absolutely, We love to have you here, so keep coming back!
I gotta represent for the home team. I am about to watch a Lakers game tomorrow, I am going all in.
Q: That’s exciting to hear I am a huge Lakers fan.
The first basket ball game I ever watched was actually the Lakers final. I didn’t even understand the whole touch/stop thing, I don’t even know what that is about but I did enjoy it. It was the most exciting thing ever. I was watching the World Cup final two weeks ago and I was like “This is shit! This is so boring, I wish I had been watching the Lakers.” And it was then when I realized, “Damn, I really am an American now.” That game was 10 times more exciting than any World Cup football game, and I’m supposed to be English!
Q: Giving your most recent release of RUSKO 2005 THE LOST DUBS (PART 1) series, I am wondering why would you put something out that was five years back, as Dubstep is constantly moving forward, what role does that play in kind of the oldschool Dubstep release?
Well, back in the day it was pretty much mostly vinyl releases. There were only about 3 or 4 main labels so releases were really slow releasing just a couple of tracks a year. Not a day goes by where a someone comes up to me asking, “Whatever happened to this track and that track, when are you going to release it? Are you ever going to release this?” There were a lot of tracks back in the day that I could never release now because they are just so old. There isn’t really anything groundbreaking or anything like that but I get so many messages from people asking for these tracks so this is mostly a way to say “Thank you” and give something cool to the fans.
Q: That’s really cool and I can appreciate that. Aside from Dubstep what do you think it is another genre that is up on the horizon?
Ah! That’s a tough one. (What’s that One-step kind of Island-Style stuff…!?) Yes! Cumbia! I am all about it! There is a tiny little monthly Cumbia night in LA that I still have, and there is probably 3 other places that do it. There is one in New York as well.
Q: I love the Cumbia! we have a ton of them here in San Diego every weekend.
Q: Yea we are right next to the border.
Oh yea, totally. I am all about it. Even when I am in the car with my wife I love putting on the mariachi station. It really annoys her listening to mariachi in the car so we end up going back to listening to the cool stuff. haha.
Q: I am thrilled to hear that you love Cumbia, you literally made so many people smile just now, including me. I am just so happy you didn’t say trance!
Oh no, well. Although I didn’t say it, I do think there is a bit of a trance resurgence. I do see it being more popular at the moment. I do not know why but it’s not going away isn’t it? It’s still around, trance will never die. I don’t know why.
Q: Until we find a cure though, If your style of Dubstep were a type of animal what would it be and why?
Wow! That is a good question. That is a very good question. I need to answer this very well. I think I would be a big, massive dog.
Q: Why is that?
Well because I can be vigorously big and disgusting and bite you and go “AHHHH!”, but then really I could be your best friend and lick you.
Q: Ha! Giving your recent collaboration with mainstream artists like Lady Gaga and these recent MIA tracks, these MIA tracks in particular are typically more mainstream for, well, the both you and MIA. There isn’t really that much Dubstep integrated into the track really. Does this have any reflection on where you see yourself in the future as a producer?
Yes, absolutely. When I’m a producer, I’m Christopher Mercer the producer. It really comes down to what the artist wants. If the artist wants the album to sound a certain way, obviously I will incorporate my style, but when I’m being the producer I’m not necessarily tied to “Rusko.”
When we were doing the MIA record we really wanted to do something that sounded like it was from outer space. The point of doing the record was to do something that no one had ever done before, in terms of sound and style. Dubstep would not have fit in the bill, we had to make it crazier.
Q: You’ve worked with so many people and you’ve remixed a lot of big names in the past, do you have any other future collaborations planned with anyone else in the near future?
Well I am currently still working on some British stuff for the next few weeks. I would really like to work with Cypress Hill. I have gotten in touch with them about doing some collaboration I think it would be really cool, doing some really low slung West Coast, like 1992 Dr. Dre but with B Real rapping on top. I just want to make some cool California music, I will get some Mariachi band phat 808 beat and get B Real to rap up something in Spanish haha. I’, gonna make some LA music, haha.
Q: That is fantastic, not planning any collaborations with deadmau5 I assume?
Haha. No, no deadmau5 collabos.
Q: What’s up with that have you guys resolved anything yet?
Yea it’s kind of all over I think, I hope. It’s cool. I’m just a jolly person. For me its all about good vibes. For me it was just something of a “pit stop”. I’m just trying to put out the good vibes again.
Q: Good. Would you give him a hug If you saw him?
Q: So what are you listening to these days?
I am listening to a lot of really crazy noise rock stuff. I have been listening to this band called The Locust from San Francisco. And a band called An Albatross from Pennsylvania kind of weird synth metal in a weird way. I listen to a lot of weird stuff. I get bored easily haha.
And for the electronic albums, I have been listening to the Netsky album on Hospital Records, and it’s like my favorite electronic album. He just released an album. He released like 10-12 singles last year and both the A-side and B-side were absolutely amazing.
Q: Can you elaborate a bit on how you engage with your fans and the blogosphere, things in particular like Hypem, how does that help you to better interact with everyone?
It is absolutely necessary. Like when I am at the shows hanging out with other DJs people will totally feel comfortable coming up to me, and I totally go out in the crowd and get CDs from producers and people asking me questions, reproducing specific sounds I do. I have actually put some Youtube videos of tutorials so yes, I’m all about interacting with my fans. Just like giving away my 5 year old songs, I am totally open.
Q: That is really great! One last question! How did you get to be so fucking fantastic? This interview was so much fun.
Haha Really? Thanks. The Dubstep animal question was a really good one.
Well thank you so much. Come back to San Diego Soon. Please.
Rusko will be back in town again September 11th, 2010, along with other heavy hitters from our favorite Mad Decent crew, at the ABSTRACT FESTIVAL at the San Diego Sports Arena, buy your tickets NOW.
BUT what’s even more EXCITING: RUSKO will be at ELECTRIC ZOO FESTIVAL IN NYC!!!! And The Music Ninja AND TheMixster.com have your exclusive pass to all the filthy goodness right there on location!!! (We were literally just confirmed 10 minutes ago… HOLLLLLLAAA!!!
Thanks again to the Music Ninja for making this all possible — he is AHMAZING and certainly a true homie to TheMixster.com. If you haven’t been to his site before, you are not new music, electro fiend I thought you were. GO THERE NOW.
UP NEXT: The Music Ninja and TheMixster.com present: EXCLUSIVE INTERVIEW WITH THE GLITCH MOB!!!!! — stay tuned Mixsters and Ninjas.
By: Taylor Doms aka THE MIXSTER
With Chromeo’s “Business Casual Tour” kicking off July 26th, and their new album release set to drop in early September it’s important for us to get to know the funktastic duo, made up of David Macklovitch and Patrick Gemayel, respectively nicknamed Dave 1 and P-Thugg, who have been dotting the charts with hip-thrusting, steamy singles since the beginning of this decade. Although their debut album “She’s in Control” dropped in 2004 with favorable response from fans and critics alike, it was their 2007 release of “Fancy Footwork” that put this duo on the mainstream focus and dance club maps. With building anticipation for their new album “Business Casual“ to hit the soundwaves, needless to say, we had a lot of questions that we wanted to ask these boys! Fortunately, and to our delight, Dave 1 was kind enough to take time out of his busy schedule and have a nice little phone chat to us about the new album, and give us inside info about some of the awesome collaborations included on Chromeo’s new album & tell us about “Chipsters”, his feelings about dubstep, and those unique qualities that he finds sexy in a woman…
So you guys are kicking off your Business Casual Tour on July 26th, which is all very exciting! So, can you tell me in five words or less, what your new album is all about?
Uh, five words or less? Let’s see, well, sexy, sophisticated, & dancey funk.
How’s that demonstrated in your upcoming album? Are there any particular tracks that truly exemplify the essence of your style?
Yeah, definitely. “Night by Night” is a good one, & there’s [also] a song called “Hot Mess”. Those are definitely our classic sort-of “Chromeo funk.” Songs like “Don’t Turn the Lights On”- the single that is out now, would maybe be a little more ballad-y than like our classic style, maybe be a little more sophisticated, but that’s also what we were trying to go towards.
Absolutely. The new song is very ballad-y but still totally diggable.
Thanks! I’m happy you like it. We’ve always had ballads, so that’s something that’s important to us. In electronic music, there’s not many people that can pull [ballads] off. It’s important after a song that was so in your face, like “Night by Night”, we wanted to pick something out that was a little bit smoother. But then you’ll see in the video it takes it to whole other direction anyway.
Speaking of your track,“Night by Night” you guys produce tracks that are extremely versatile, thus making your songs extremely “remixable”, which has been demonstrated by the massive amount of Chromeo remixes there are out there, by a various range of artists. One particular remix we quite fancy is one by San Diego’s own Bubblegum Sci Fi of your track “Night by Night” – have you heard it?
Yeah! I have heard of it actually. I think I’ve heard of all the remixes actually. I really like Skream’s remix, and Siriusmo’s remix too. I’m happy with every remix. You know what I mean? It’s a way for us to give back to the aspiring producers. We give them a track, and we’re like “go crazy, just have fun with it!” Other times, it gives us a way to collaborate with others. The outcome becomes a collaboration between us and them.
On that note of collaborations, there’s been some back and forth dialogue about a possible collaboration with you guys and Aeroplane. Can we expect something [from you & Aeroplane] in the future?
Yes, absolutely. I think you guys will get a nice little 1-2 punch. It’s sitting on the laptop waiting, waiting for the perfect moment. Actually there will be a lot of cool collaborations.
Can you tell us about a few?
Umm, Not really.
Well, stalking your Twitter this morning I saw that you guys are doing a collaboration with La Roux on the album… Can you tell us what song you’ll be working with?
HA! [La Roux] has a special version of a song on our album, a new version we did with her. You don’t know which song it is, because you haven’t heard it yet. We took the song from the album and then she wrote it, and we just redid the whole thing.
Given the many different & diversified perspectives and ideas, it must be difficult to fuse all these various ideas together, especially when you’re doing a remix? Is that a valid assumption?
The thing about us is that we don’t do remixes: We just do a special “Chromeo versions” of the song. I’ll add vocals and we really turn whoever’s song that we’re remixing, into own songs. We [have] full-on collaborations, like one with Solange, where she’s actually singing on it, in the chorus. [We also have a] couple other ones like that. We don’t even collaborate that much usually, so it’s fun when we get to do it.
With your album dropping soon and your Business Casual Tour beginning just next week, along with doing all these remixes & collaborations, you guys are pretty busy huh?
Yeah of course! It’s work, but what you gonna do? You know?
You two seem to be really advanced in the field of the internet, more so than some of your counterparts. You guys consistently maintain a blog, you update your fans via Facebook and now recently, using Twitter, but regardless, you guys, unapologetically still use some “old world computer” to make your music on?
Exactly. Some things never change! We still use our world old computer from the 90’s!
Well, then are there certain limitations that you guys run into when making your album?
Of course there are limitations! I can’t even begin to tell you, you know what I mean? I think creating with limitations, you need some of those restraints sometimes. We believe that when you have unlimited possibilities [on newer technology] it’s almost too easy, and there’s no challenge. I remember when I first started making hip-hop beats, you only had like 16 seconds of sampler time. It kind of forced you to do it yourself, and to become more crafty and creative with it. Sometimes constraints are good.
Given the name of my website, TheMixster.com, I have to ask, could you please explain to me exactly what a “Chipster” is?
A chipster? I dunno those are chips that P-Thugg (Patrick Gemayel) found, I don’t even know where he found them, but I think it was in Serbia?
I wish it were something other than just a chip.
I know, right?
So you guys have been all over the map lately, from the UK to Istanbul to Brazil. What city has been the most memorable?
I mean we had a fun time in Paris, we’ve got a bunch of friends there. We had a great time in Barcelona, in London because we have friends there. I mean we have a blast everywhere we go. Istanbul as well, we spent a couple days there, and that was really fun.
Aside from all the assumptions of it being absolutely magical, what was it like playing alongside Daryl Hall at Bonnaroo, in front of tens of thousands, this past year?
Amazing. It’s hard to put it into words. It was one of the most amazing moments. Definitely a highlight in our career. I mean it was really…. It was a blessing. [Something like that] doesn’t happen a lot.
Wow, you’re still very much in awe, I’m glad you had the opportunity to do that
Yeah, of course. And we’re going to do it again.
Oh you’re going to do it again?! When’s that happening?
Ha, I don’t know yet. But it will happen again. Soon.
What are you listening to these days?
I just bought the Rick Ross record this morning. Yeah, and still a lot of hip-hop. The new Roots album I like a lot too. I listen to a bunch of stuff. I still listen to the really cheesy R&B stuff, like The Dream, I mean, he’s one of my favorites. Also, I’ve got a guilty pleasure for that new Kid Cudi and Kanye sequel.
There’s a love/hate relationship for that I think for most people in the blogosphere
Yeah, [Kid Cudi] is a friend of mine, but rap/rock I’m just not a huge fan of. But his song, I feel like it’s going to be such a huge record. I like that, I like Swedish House Mafia, I like my boy Skream from the UK– the dubstep artist — he’s great! Really I listen to a bunch of stuff. But as far as what I just bought, this morning, was the Rick Ross record.
Are there any particular breakout artists that you’re excited about these days?
How about just giving me a list of names and I’ll see…
Ok, so there’s Breakbot?
Are you excited about Sleigh Bells?
Yeah, you know what? I’ve kind-of listened to Sleigh Bells, I haven’t listened to enough of them, Yeah, I gotta get a little bit more into them. I’m not the most familiar with Sleigh Bells yet. But this is definitely their year.
It seems like you’re very much into the hip-hop and everything, so how do you feel about dubstep?
You’re actually the second person who’s asked me that today! I love dubstep. I like all that stuff, pretty much right up until it gets played out. I just hope that with dubstep, it’s not going to be too much too soon, you know what I mean? [At that point] It’s not fun anymore. You don’t want the sound to become over-saturated, but I like [dubstep]. Like I said, Skream, who is a dubstep artist from the UK, did a really cool remix for us, so I’m a really big fan of it.
Very Cool. So what do you think about Rusko?
Yeah, he’s dope. I like him too. Plus a lot of those guys are friends of mine, so I know Skream- that’s my boy. Ha, I’m just trying to think of more breakout artists. I don’t know who else broke out this year. I’m still stuck on like Dxx from last year! Wait, you know who I like? There’s one breakout band I really think is dope, is Hertz. Yeah, those guys are dope.
You seem to always have you ear to the ground.
YES. Always, always.
OK this I think is a very important question. What’s so appealing about a woman who doesn’t know what time it is?
Ah, well you know, that became a pretty big thing. Alright, so I was sitting at a table and there were these two chicks next to me, and one of them had on a huge, obnoxious watch. It made me think a lot of the Sex and the City type of girls, where they wear those big watches. I don’t think that looks good at all! And so, I just tweeted about it and then I sort of had to explain myself. I mean there is something very attractive about a girl who doesn’t really care about timeliness and punctuality, there’s like a certain charm to that I find. A very sexy nonchalance let’s just say.
Very cool, well it’s good, I don’t wear a watch either. Makes me feel a little bit better.
I mean if a girl wants to wear a watch, that’s cool too but I mean I just feel the really big ones are obnoxious for no reason. I just like, a girl that’s delicate.
When is your new album expected to drop? Are we going to see it by the end of this summer?
Chromeo’s “Business Casual Tour” will be stopping through San Diego on August 16th, laying down the funk and shutting the the lights off at The House Blues, along with Holy Ghost! and Telephoned. The boys didn’t even have enough tickets left for us to give away a pair on the site, so get your hands on those bad boys ASAP before they sell out!! I know we will be chomping at the Ticketmaster bit as well, DON’T WAIT!!!