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Archive for the Interviews Category
Kraddy has a new EP called Labyrinth coming out November 9 on Alpha Pup Records; if this new endeavor sounds intentionally hard, heavier and aggressive, that’s because it is. Describing his sound as “Zeppelin 3000,” Kraddy unites the hard edge of rock with the infinite possibilities of electronic music, and the result is an album that gives it. And God knows the people want it. Read more »
Some music sinks hooks deep into my brain and pulls new ideas out, inspiring me to create art of my own, to write, to pace my living room, to stay up late reading The Myth of Sisyphus. The best music or any kind of art changes the way you see the world; voilà ceci de Lorn, who recently released one of my favorite albums of the year on Brainfeeder, Nothing Else.
The half-hour mix ends with the unreleased 13th track of the album “Until There Is No End,” followed by a short interview with the Milwaukee-based artist that gear nerds will love but everyone can appreciate. Check the Dubspot Radio post for another mix by host Matt Shadetek of Dutty Artz.
Need more Lorn? Like four remixes of Biggie Smalls and Mobb Deep? Click here.
Fat Freddy’s Drop is on a world tour and currently hitting up the West Coast; this live band from New Zealand was here just last fall and received a wild reception by the local hippies and city kids alike who love their dub-infused sound that is riddled with jazz, funky as hell and topped off with the impossibly soulful voice of lead singer Dallas. Read more »
EOTO is an amazing live electronics duo whose all-impromptu performances of dubstep, house, electro and then some are inspiring audiences to new heights with their spontaneous artistry and heady organic sound. With nothing pre-recorded and a wild set-up of electronic instruments, guitars, keyboards and a wicked drum kit, EOTO delivers an inspiring experience of live musical wizardry.
Los Angeles’ Finest: Daedelus Darling
One of the pioneers of the Los Angeles beat music community, Daedelus has been delivering wild live performances in the area for years with the help of the futuristic Monome device and a penchant for dressing as an nineteenth-century dandy.
The experimental music producer hits New Zealand this month and then sets off on a nationwide tour beginning February 4 for his new label Magical Properties with Nosaj Thing and Jogger. Daedelus sat down with me for an interview at Philippe’s French Dip to speak on collisions of sound, art and fashion in the creative communities of Los Angeles and his personal conspiracy theory.
Find it in Covers Magazine here.
Note to readers: I did not come up with the lame ass title.
Jason Zucker, otherwise known as J-Sun, is the founder of Innerflight Music, one of Seattle’s premier record labels and party makers. He just returned from a nine-month trip around the world from Thailand to France and many points in-between.
Here he shares his impressions of the international electronic music community and Seattle’s special place in it, electro in Nepal and disco in Laos, gigging in Tokyo and Istanbul, the sound of flat palm on fat booty, novaTRON’s home planet, Kadeejah’s hair, upcoming releases for Innerflight and the label’s Decibel Festival showcase and of course, the basic human right of an underground party.
You can find music from the amazing Innerflight roster on Beatport; just released today is the remix album of m.0′s “Lift Us Up” EP featuring remix work from Spektre, Mynus and Nerd Revolt. From deep tech house to experimental neo-tribalism, glitchy funk to magnetic progressive, this album is an excellent manifestation of the beautiful variety of the Innerflight sound. Listen to and buy it here.
First of all, you are answering these questions from the other side of the world. How have your recent travels affected your perception of electronic music culture both abroad and at home?
Being abroad has reminded me that electronica continues to be more popular and commercialized in the rest of the world than in the States. You just don’t get dance muzak playing over the loud speaker in the grocery stores back home. Even the “underground” parties in cities like Berlin can still be large events with long lines to get in. At the same time, there is something incredible about being at a techno party with a hundred thousand people. Stateside, things are just not on that level. It’s much more subdued. The industry is not as big, but the vibe is often better because of that. The ideal is to have both the hype and the underground vibe, but this is a difficult balance to maintain. I wasn’t expecting it, but being abroad made me appreciate Seattle and the West Coast music scene a lot more.
Where have you heard the best music? What global trends have you noticed in EDM? Will your travels affect what you play when you return home?
Laos had some great music. The disco there is epic! As everyone knows, electro has become the biggest thing in electronica, but I didn’t grasp just how popular it has become until I was in Nepal, trekking 12,000 feet above sea level. In a small village, I heard electro tunes pumping out of a kid’s cell phone. Some of his friends were huddled around the phone with him listening to this bangin’ tune. These people didn’t even have running water, but they had electro!
I’m definitely bringing back some influence of international sounds with me. I love combining organic sounds & techy beats when I deejay and a lot of traditional world music can be perfect for this mixture of the natural and synthetic worlds.
Is there truly an “international electronic music community” and have you found it? Have you played out any, and if so, what did you play?
There are pockets of an international music community in almost every country. On a commercial level, festivals like Sonar, WMC, Mutek, and Decibel Festival represent the electronica slice of the greater international community. Every local area has it’s own unique musical tastes and culture, but there are universals that seem to run through all music scenes in the world.
For music, I loved Tokyo, Saigon, and Istanbul. Then again, those were some of the places I gigged in and that always has a big influence on your impression of a place. People were really feeling the house music in the places I performed at. There were moments, actually most of the times I played, when I would attempt to play more techno and electro, but the crowds were feeling the funk. Maybe people in other countries expect that from U.S. DJs.
My impromptu gigs in Laos were a lot of fun because I was able to play whatever I wanted, no expectations. Laos’s people are amazingly friendly and they really know how to enjoy themselves. They love good beats and they love to dance.
Have you discovered any new genres or styles that you will bring home to Seattle? What seems to be the most popular electronic music out there? Can anything uproot the global popularity of trance? And trance: Why?
In Southeast Asia, nothing exciting was really going on in terms of new music, so I got into the traditional sounds of these cultures. In Vietnam, they have a stringed instrument called the (Bon Bow), and it makes a beautiful pitch bend sound from bending the notes on the string. Long ago, young women were not allowed to listen to the sounds of this instrument for fear that they would fall in love with the man who was playing. I’m excited to hear more beats coming out of the developing countries because there are so many incredible traditional sounds that could be represented. At the beginning of the trip, I played on Ko Chang in Thailand. It was a total reality check for me. I was expecting to drop some techy West Coast funk but the requests for trance from Europeans on holiday were relentless. Some people were shouting at me to speed the music up to 140 BPMs. Luckily I had some solid progressive tunes with me to appease the masses, but I absolutely refuse to play music that fast.
It’s hard to believe, but it seems like electro has knocked trance out of the top spot for global electronica popularity. I’m not sure if this is good or bad though because now electro is what’s hip to hate on.
Trance is like fly paper…Why trance? Why Pachinko? Why do people eat dogs? Why florescent lighting? Why does the entire continent of Europe all go on vacation at the same time? You just can’t ponder these questions or you’ll drive yourself mad.
What is the concept behind Innerflight and where did it come from?
Innerflight is about the journey within. The internal struggle that everyone goes through to be themselves and to follow their heart towards what they really want to be doing with their life. So much of what we do is about more than just music. It’s about self-expression, autonomy, and the community you surround yourself with. Innerflight is a live free or die approach to life and also towards music. We believe in diversity, and the label reflects that musically. I want to help other artists that are also inspired by this concept.
What influenced you to start the label, and what inspires you to continue doing it?
In 2002, I moved to Berlin for four short months to see what all the fuss was about, and I was re-inspired about music. I had been going to parties in the States since the glory days of the mid 90′s. In Berlin, I experienced the same magic that was once spread across the U.S. during the 90′s, and it convinced me that it was still possible to do it again in the states on some level. Everyone who loves electronic beats deserves to feel the magic of an underground party. It’s a civil liberties issue in my opinion, a basic human right.
The people around me are the inspiration to continue on as well as all artists in the world that are following their passions.
What is happening for Innerflight in the upcoming year? What crazy parties and themed events are on the horizon?
We’ve shifted gears in a major way this year. The focus has gone from event production to music production and distribution. Our parties are not the priority anymore. We’re committed to the development of Seattle into a hotspot for electronic music, just as it was for grunge in the 90′s. There are many talented musicians in the Northwest and we want to help develop and promote them by connecting with the greater global music community.
We do love to throw parties and that will never end. However, we want our events to be a special occurrence; that’s how you keep the magic going in my opinion. In an effort to not take ourselves too seriously, we do an annual event called the Tournament of Champions. The party combines a night of sick beats with the opportunity to mash up on your friends in competitions like darts, ping-pong, and arm wrestling.
IFM covers a broad spectrum of genres. How would you describe the Innerflight sound? What theme holds all these genres together? What is the glue that connects Innerflight?
Some say, our sound is best described as “Flat Palm on Fat Booty.” Instead of a specific genre of music, we are bound together by a psychedelic spirit. Music is a “shortcut” into experiencing our collective nature, and dancing is an expression of this. We are known in the NW for having some of the best parties and dance floors around. Where everyone feels connected to each other and to the Earth through the music. By not limiting our releases to a specific genre or sound, we show another facet of what Innerflight is about: freedom of expression. Though we are bound together by spirit, we also recognize that music is a unique expression of the soul, and to limit that to certain types of machine/instrument noises and tempos would be a shame.
Innerflight proves the old adage “the whole is greater than the sum of its parts” to be true in a spiritual sense.
What music do you love to play most? What did you listen to as a kid?
I love to play music that feeds your head and shakes your ass at the same time. The line between house and techno is a gray one. As a kid, I was influenced by my older brother who turned me on to the alternative sounds of the late 80′s. By the early 90′s, I was in high school listening to grunge, industrial music, and hip hop. Things really began to change when I discovered artists like Aphex and The Orb. I went to my first party in 94′ and discovered the SF based Wicked Crew. These guys changed my musical life and showed me that it’s all about making people shake it, and the culture and lifestyle that surround that. They also taught me that as a DJ, it’s about not being afraid to mash up genres and play whatever you feel like playing.
What have been some of your favorite Innerflight shows or events?
My favorite event that we organize is our annual free party in Golden Gardens Park every September, called “Sunset Seattle”. We like to think of it as our gift to the community as well as a last opportunity for everyone to enjoy the summer weather. It’s going down again on Sunday Sept. 20th and this will be our 5th year doing the event. It seems to get better every year.
Innerflight Music is a major player in the Seattle EDM scene. To what do you attribute to your status in Seattle? How did you guys get where you are? Hard work? Hard partying? Kadeejah’s hair?
How about D, all of the above?
The Seattle EDM community is small but extremely passionate. How does Innerflight contribute to this city’s unique EDM culture?
We just do our thing, which consists of throwing parties and releasing music. Seattle has many great promoters throwing amazing events all the time, but there are very few labels actually releasing music. Hopefully our contribution is considered vital to Seattle being taken seriously on a global level.
Conversely, how has the city of Seattle, the climate and the culture contributed to the Innerflight identity?
Even though the electronic scene is small, there are a lot of party makers here in Seattle. In a lot of cities, too many cooks in the kitchen create a lot of backstabbing, but here it’s inspiring to see so many promoters working together. Of course there is an undercurrent of friendly competition, but for the most part we have all become close friends over the years. The other local promoters around us have helped shape our identity into one based on community rather than ruthless competition where the bottom line means profit. This is a very Pacific Northwest mentality and most people that come to visit find it refreshing.
Who does IFM collaborate with? Who would you like to collaborate with in the future?
We’ve collaborated to some degree with almost every promotion crew in Seattle. Local promoters: Uniting Souls, Shameless, and Sensory Effect are extended family for us, but now we are beginning to collaborate with more people internationally. Our efforts for the future are focused in this direction.
What music are you loving right now? What sounds are doing it for you? Innerflight has a lot of recent releases out- any favorites?
There always seems to be artists in every genre that I can get excited about. I’m really loving the indie tunes Matias Aguayo from Buenos Aires is putting out right now. For techno, it’s all about Spektre and on the house music tip, Jamie Jones and Thomas Schumacher are on fire. I never get tired of the Dirty Bird and Turbo labels as well.
I’d have to say that our two new releases coming out on the label this September are my favorites so far. The first is a remix EP of m.0′s classic “Lift Us Up” track that will feature new mixes from UK’s Spektre, Nerd Revolt and Mynus. The second release is an electro single by Anglo Satellite titled “Bangin Bogus Basin”. Several remixes to choose from on this one from the likes of Will Bailey, Spenza, Titan, Pellusje, and Anglo’s alternate moniker Snowman. We’re also expecting a new 4 track EP from Nerd Revolt this autumn as well as the highly anticipated novaTRON full length. You can purchase our music on Beatport.
They are throwing “West Coast” theme parties in Bali right now. Is Innerflight part of this West Coast Future Sound Movement? Is Seattle? How is Seattle different from all other EDM communities?
Didn’t make it to Bali, but I would imagine a “West Coast” theme party would have a So Cal motif rather than a NW. Personally, I think knit caps and old growth trees are so much sexier than board shorts and breast implants.
How is Innerflight working to bring new faces into the electronic music community?
We believe in our local artists and trust in their creativity to bring new sounds into the scene. Part of the focus of my travels was to discover and network with other artists and promoters in order to bring exposure on both sides.
Where do you see the Innerflight sound headed, and EDM in general? Any new fads that you think are here to stay? Any you wish would go away?
EDM is always looking for new creative sounds and so are we. There is always a new style of music coming out that draws from previous influences, but still has something new and fresh to keep people interested for a time. Then it blows up, goes commercial, and it’s onto the next cool thing. Then again, what’s popular isn’t always what is good. We focus on what we think is good whether it’s popular at the moment or not. The best labels and music are timeless. Aren’t people bored with dubstep yet? I know I am….
How important is unity in the EDM culture? Do you think Innerflight’s multi-genre sound contributes to community cohesion? How?
Seattle promoters do their best to get along and I think we are a great example of unity within the EDM culture. I can only hope that by representing multiple genres at our parties and on our label we are helping to bring people together. I get bored when I go to a party and it’s the same style of music for 8 hours.
Which artists that you work with are super hot right now?
Tell me the truth: is novaTRON from another planet?
Sure, if you consider Shoreline another planet….
Will Innerflight be involved in the Decibel Festival in Seattle again this year? How?
Being a contributing partner in the Decibel Festival again gives us great pride. We’ll be hosting The Red Eye Afterhours event, exclusively showcasing Innerflight label artists. The party will represent the diversity of the label and feature all live sets from Phil Western, Novatron, Nerd Revolt, & Gel Sol.
Innerflight has a thick and very loyal fan base in the Pacific Northwest. To what do you attribute that?
I’m not really sure. You’ll have to ask our audience about that one, but maybe it’s because THE DJs ARE HOT!!
Are you looking for new DJs/producers to join your crew?
I think we have enough residents, but we are always interested in expanding our label roster.
Tell me about the art car airplane, especially the “elixir bar” in the back- what kind of fun do you guys serve up under the tail?
We built a 50 foot long art car in the shape of an airplane with a bangin’ sound system on one side and an elixir bar in the tail section. We made the elixir bar non-alcoholic, serving up fresh juices and baby coconuts to thirsty citizens of Black Rock City. I spent the entire summer of 2008 working on this project with an amazing crew of friends, and it all paid off in the end!
What will Innerflight be doing in five years? Where would you like to see the label? Will you stay in Seattle?
In 5 years, our label artists will be well established internationally. Seattle will have a stronger resonance on the global music radar, and Innerflight will still be rocking the local underground parties.
Free for your listening pleasure, a taster of artists from Innerflight Music:
Download Mynus’s Original Mix “Follow Me” here.
Download m.0′s “Lift Us Up” remixed by Spektre here.
Download Anglo Satellite’s “Bangin Bogus Basin” remixed by Spenza here.
Thank you Jason, and welcome home! Catch the Innerflight Red Eye Afterhours at the 2009 Decibel Festival in Seattle Friday, September 25 at the Electric Tea Garden featuring Phil Western, novaTRON, Nerd Revolt, Gel-Sol, Manos and Kadeejah Streets.
Droid Interface 28 goes down tonight at my favorite LA venue, TBA, with Tim Xavier (Live PA), Luis Flores (Live PA), Drumcell vs. Audio Injection and more.
And DEAR GOD do yourself a favor and download the music at the bottom of the write up. I don’t care where you are, what you are doing, or what kind of music you think you like. DO IT.
PS I LOVE LA
ill-esha from Vancouver, BC is one of my favorite producers, DJs and vocalists out there. Her recent whompcast blew the hinges off my mind, pissed off my neighbors and made a motherlover out of me; I have been handing out burned CDs of her mix like rocks to fiending crackheads.
ill-esha performs tomorrow night (Thursday, July 16) at Thirdsdaze in Seattle at THE REBAR. Get out for some ridiculous new music and hear what the future holds. I am jealous! Also on the lineup are locals Zacharia, Aksion and Kat1lyst, who will be bringing their unique brands of bass music to the rain-slicked streets of the Emerald City.
Check out my email interview below with ill-esha who is holding down the far Pacific Northwest with mountains of bass and a forest of talent:
1. What actions can we as members of the EDM community take to encourage more female creators in the electronic arts?
I don’t think that lacking females in music production is a product of lack of community support; in fact I believe the latter is only a symptom of the greater global stereotype of females in general. We are still taught to be submissive, pretty, placating… and it translates into a fear of taking on anything that would be competitive to a man, or anything that’s “too hard” or “too technical”. That being said, I think there should be more workshops put on by females – for both males and females – giving people friendly intros to all that “technical” stuff. Without making it a girls-only club, the message subtly gets across that capable people exist in both genders and hopefully inspires something. I love doing workshops with youth and have made appearances at high schools and community centres to show people how much fun it is to geek out.
2. What is West Coast sound?
West Coast sound is hype and chill at the same time. I think glitch hop is a direct product of this… really crunk synths and basslines with half-time tempos. We love to surf and snowboard, but we also love to party!
3. What can save drum and bass? Do you think this genre even needs, or wants, to be saved? Who are the innovators right now in DnB?
Drum and bass has shut itself down because people hoard their dubs, and labels hoard their releases. The music that’s coming out for the average citizen to buy was often made several years ago. There is some great stuff being made now that is either too risky for the labels to sign or simply won’t come out for another few years; bah!! People that still get me going are B-Complex from Slovakia (an incredible musical prodigy), Dan Marshall from Wales (teenage talent!), as well as UK producers Alix Perez and Sabre. I’m also liking the drumfunky, more minimal stuff from North Americans like Sinistarr and Mutt.
4. What can stop dubstep? It seems to be taking over the West Coast. Any thoughts on this?
Dubstep can and already is going the same way as drum n bass. Innovative ideas being eclipsed by overcompressed wanky bass slams and headbanging programming. Hey, I love the bangers as much as anybody, but when that’s all there is it gets tiring and monotonous. I enjoy a Rusko tune, but not five in a row. Vancouver has some great dubstep parties right now, but I do hope that more experimental producers like Eskmo start to take over the limelight from the more commercial stuff. There’s also that really boring stuff my friends and I call “dubstand” which is sleepy and repetitive – no thanks!
5. What do you want to tell girls out there who want to learn to make electronic music or DJ? Who are your favorite female producers and DJs?
Girls, quit worrying about being girls. And be prepared to give up your social life if you want to be a producer. But it’s not as hard as you think, computers are less scary than ever with easy to learn programs like Ableton. Favourite females? Well, Reid Speed and Empress have proved for many years that they are fierce forces to reckon with behind the decks, and both have continued to evolve in their sound and production. Mieka du Franx is spirited, soulful and successfully runs her own record label.
6. How can girls learn to have the confidence they need to create and perform the electronic arts?
I guess it can be hard when society tells you that it’s a boys’ game to do these things. But screw it. Honestly, I originally came from a point of pretty low self-confidence and at some point you have to toss that aside and go, “Whatever, I’m making music now, no time for this garbage.” Oh, and stop reading beauty magazines. Even just to kill time in the airport. That stuff brainwashes you.
7. What is the bass music scene like up in Vancouver? How is it unique, and what is it contributing to the West Coast Future Sound Movement?
It’s crazzzy!!! I am in love with it!! Glitchy + Scratchy have almost singlehandedly built a loyal, energetic young scene that is absolutely thriving on glitch hop, dubstep, aquacrunk, skweee and whatever else we can throw them. There is a great lack of pretension – we have costume themed parties and nearly everyone not only dresses up but goes totally overboard. Also, our beautiful setting is very conducive to great outdoor festivals. There’s a lot of extremely talented young producers about to break out here, like Jay Wikid… lots of tunes to add to the movement. And we made Glitch Hop Forum, which has proved to be the greatest resource yet for this style of music to connect talent all over the world.
8. You are playing Seattle tomorrow- do you see more collaboration in the future for the two flagship cities of the Pacific Northwest?
I certainly hope so. It’s not easy to jet back and forth in these times but I think there’s great energy that should be linked up.
9. You are one of the founders of GlitchHopForum.com. Why did you start it, and where do you see it going?
Well, there just wasn’t anything like that on the internet. Really the site was the brainchild of Dewey dB and The Mongoose of Glitchy + Scratchy. Once we all realized it didn’t exist, Dewey decided to create it – he’s been responsible for a lot of other great music sites like dubstep.ca, dubstepradio.com and downtempo.ca – and it’s been growing ever since. I think it’s going to be the biggest resource the scene has, and at least as big as sites like dubstepforum.com have become.
11. What artists inspire you most? What music are you loving right now? Who are you listening to the most?
Vibesquad can really do no wrong in my opinion. Eskmo makes the best dubstep I’ve ever heard. Also a lot of the Australian cats are great, like Spoonbill and Opiuo – they’ve really got some great things going on. Antiserum is a great friend and inspiration.. we’ve got some stuff on the go. I’m listening to a lot of glitch hop, since it’s so new.
12. Shambhala? Going and/or playing there?
I’m supposed to be playing on a smaller unofficial stage.. but it’s not official.
13. Your mixes are full of fresh, eclectic tracks. Where do you find them? (Ha ha ha and you can just tell me personally if you want
Most of them are made by me or my friends. I am proud to be connected to so much talent.
14. What music did you grow up or come of age listening to?
Really lame folk music till I was old enough to buy my own. I entered high school the year Kurt Cobain killed himself, so there was a lot of grunge, punk and industrial. Then I switched to a high school downtown and got flyered on the street one day and went out of curiosity – rave on!
15. How would you describe your sound?
Musical bass? Harmonic dissonance? I guess my trademark is having really lush, symphonic or vocal elements over top of juicy fat bass and hard beats.
16. How do you think the weather of Vancouver affects the music produced there?
Well, we have fabulous summers and rainy blah winters. I’d say the only way it really affects things is I get a lot more done in the winter and say goodbye to the studio for the beach in the summer.
17. Any plans to come to LA?
I’d love to – book me!
18. Who would you most like to collaborate with?
19. What equipment/software do you use?
I’m a die hard Cubase user, but until I have enough saved up for version 5 I’ve been using Logic 8 because it goes with my Mac. Can’t stand the audio editing though so I always have to rewire Ableton to it. I have a lot of nice microphones and an Avalon tube preamp for recording, and plenty of fun plugins. Alchemy is my favourite synth at the moment.
20. What is next for you? Any exciting news or big future plans?
I’m trying to plan an Australian tour and another one of Europe. We’re also about to launch a new record label featuring all this great Vancouver talent so stay tuned!
Last week I had the pleasure of interviewing Infected Mushroom at the video shoot at the Roxy for their new video, “Smashing the Opponent” featuring the vocals of Jonathan Davis of Korn. All five guys were in the room but Duvdev (Amit Duvudevani) did almost all of the talking; they were all really nice and amiable and were doing one interview after another with nary a hint of exhaustion.
Infected Mushroom’s new album, Legend of the Black Shawarma, drops September 9 on Oakenfold’s label Perfecto, and the boys will be at the Electric Daisy Carnival this weekend along with me and 100,000 other dancing freaks.
Here you go:
DF5K: You guys are LA-based, and there are a thousand locations in this city- why film your video at the Roxy?
IM: Well first of all, all the videos of Infected Mushroom (which is one, by the way) were shot in Canada, we never shot a video in the United States. We live in LA, the Roxy’s pretty close to our house, a landmark, and many people have been here, many bands have played, and it is just a cool place to shoot a video.
DF5K: A lot of people are talking about the West Coast and specifically LA as the new epicenter of electronic music in the United States, that things are shifting from the East Coast to the West. Do you guys think this is true and if so, where do you see your band in the West Coast Future Sound Movement?
IM: I think that Infected Mushroom is kind of a different breed in the electronic music, we have so much emphasis on heavy metal and rock, so we are not considered any more so electronic. But we are an electronic band, we mix trance with heavy metal. I don’t know how we fit in the East Coast/West Coast thing. We like LA, we live over here, we like the weather. Fuck the East Coast and uh, fuck Baltimore by the way, and especially fuck Baltimore, and yeah- we kind of like it over here.
DF5K: Me too, me too! So the new album coming out, Legend of the Black Shawarma: how is it different? How is it fresh? What is new for you guys?
IM: First of all, you know the guests on the album, Jonathan Davis of course the lead singer of Korn is in the video clip we are shooting today; Perry Farrell from Jane’s Addiction, Paul Oakenfold working with us on the album. Me and Erez we took a bit different approach on this album, bringing people that are not familiar with our kind of style; actually they were but nevermind. So you know they come from different genres and we put them on the album. We wanted to do it actually with Vicious Delicious two years ago and didn’t have the chance; now we have the time, they have the time and we are happy that it came out.
DF5K: How is it working with Paul Oakenfold, the greatest legend ever and shit?
IM: It is really great, you know Paul helped us a lot in many directions even in electronic music we didn’t know. Me and Erez have been doing this for so many years but Paul took it to a much higher level, especially here in the States. He met us with so many people and so many things, and so it actually, it was great.
DF5K: You guys are in the middle of a tour. Where do you go next?
IM: We’re doing Russia, Moscow this weekend then we are coming back again to the United States doing Salt Lake City and EDC here in LA downtown, a great party and yeah actually July, a little bit of the States and then going to Europe again.
DF5K: How do you see the crowds and community, how is it different in Europe as opposed to here?
IM: I think that the rave scene here now in the States got a new fresh crowd, a different crowd than used to be before. In Europe, they’ve been seeing raves for twenty years, you know. For me and Erez, we feel much more excited playing here in the U.S. because the crowds are much more into it.
“Especially Baltimore!” interjects one of the other band members.
(Duvdev continues) Fuck Baltimore! Actually Baltimore is wonderful, the best spot…
“Suddenly Baltimore is on the page again!”
(Duvdev continues) By the way, fuck Baltimore.
IM: But anyway yeah the crowds in the United States are really appreciative, they go mental at the shows and me and Erez, we kind of like it for the moment over here.
DF5K: I saw you guys in Seattle last year and I noticed the crowd was younger and lots of females too, a big female draw…
IM: Good times, good times!
DF5K: You don’t often see that for techno shows and other genres of EDM.
IM: Good times, by the way! Especially in Baltimore! No- there are no girls in Baltimore.
DF5K: If you bring the girls, the boys will follow. Right on. So where are you most excited about going for your next show?
IM: Moscow is really exciting, always good shows over there; back to the States EDC is one of the biggest, here in downtown, we look forward to that.
DF5K: Are you guys playing on Friday or Saturday?
IM: Saturday, and we are looking forward to that because we did two EDCs already, a huge show, great reaction. Looking forward to Salt Lake City, one day before ON the Salt Lake, last time was a great show- mucho mucho mucho girls. We like Salt Lake City. Utah! And fuck Baltimore.
DF5K: So who is inspiring you guys, what music do you listen to all the time, right now: who are you really digging?
IM: You know me and Erez we listen to everything, from electronic, heavy metal, radio, hip hop, whatever comes along. We like Depeche Mode, everything. This album is influenced by so many bands.
DF5K: Are there any particular LA artists you like?
IM: Actually, I don’t know. I like Incubus lately. I didn’t before but I do now.
DF5K: What do you guys think about dubstep? It’s blowing up here in LA and all over.
IM: I have heard of them but I didn’t hear their music.
DF5K: It’s a new genre, real bass heavy and whompy and underground.
IM: I have heard the name but not the music yet so I don’t know.
DF5K: Awesome. So are you gonna be here all day shooting the video? How long does it take?
IM: We are here for the morning and we have some night scenes to shoot, basically you are coming to a club and it has to be night.
DF5K: Yeah I was confused walking up here in daylight hours, like ‘Where is the Roxy?’ It’s daylight and I didn’t recognize anything!
IM: Yeah so we are doing the shoot now and it is gonna go all through the night.
DF5K: Are you pretty involved in the design of the video?
IM: Well we came up with the script and then we leave it to the guys who know what they’re doing; we do the music and hopefully it will come as we envision it.
DF5K: Do you go out a lot in LA to hear music?
IM: Actually no because we do three to four shows a week, then we come and we have our families, babies, and to produce and stuff, so actually I don’t go out so much. We are in clubs anyway. Yesterday the Lakers won…
DF5K: Did you riot? Throw a trash can on a cop car?
IM: I went rioting, I had a beer.
DF5K: Run down the interstate?
IM: I went crazy, yeah.
DF5K: Do you think you’ll stay in LA for a while?
IM: I know we’re feeling pretty cool now over here, we have homes over here, good times, quiet times, and for now we are here.
DF5K: What about Baltimore?
IM: Fuck Baltimore!
Read my account of the video shoot for “Smashing the Opponent” here.