Kevin Saunderson in the 80s (click for more)

Detroit techno founder Kevin Saunderson, hinted that he’s considering retiring from full time DJing when he’s 55, this week, revealing that he’s already started building a thriving hair care empire.

“Outside of music I’m kind of an entrepreneur, I like doing other things,” the 47 year old grandfather and father of four kids told the Independent.

“I have a chain of hair salons,” he revealed, “there are about 23 stores in America and that’s growing.”

Chicago School of Shoe-making- click for more

42 year old Chicago legend Derrick Carter also hinted that he’d been thinking about life after DJing via his Facebook Band page last month, proudly posting a photograph of a custom made pair of blue and brown loafers.

“I know it’s meant to be a music page but I’ve been going to shoemaking school and just finished my first pair,” the Classic Recordings legend declared.

“I’m proud of them so I’m sharing! — at Chicago School of Shoemaking,” he added.

The School itself offers two day courses including Basic Tie shoe to So You Wanna be a Cobbler.

“We are dedicated to teaching the art of hand-making shoes to promote self-sufficiency and sustainability. Our goal is to empower all people to enjoy a satisfying and liberating experience around the art of footwear construction,” the School says on their own Facebook page.

“Now people who’ve always dreamed of making their own shoes can learn this valuable skill and craft. Please spread the word!” they add. (http://on.fb.me/txLtM5 )

Whether either DJ ever actually stops performing remains to be seen, a point legendary New York manager Judy Weinstein recognized in an interview with (ironically long defunct) British Magazine One Week to Live in 2007.

Chatting about her Def Mix stable of 40 and 50 something stars including Frankie Knuckles, David Morales and Satoshi Tommie she said none were even close to stepping aside.

“We laugh because a lot of the younger DJs, they were always like: ‘When are the old ones gonna’ retire so we can get a break, back in the 70s and 80s . . . and 90s,’ she told One Week To Live.

“And the older ones, they’re not going anywhere. This is what they do. And until their last breathe, they’ll still be doing it, because the real ones- they last forever,” she laughed.

http://bit.ly/ykMLEq  (the future of DJing?)

http://www.mohawksrock.com/ (Happy customers?)

http://bit.ly/14dmd8 (Kevin Saunderson documentary)

Jonty Skrufff: http://listn.to/JontySkrufff

Click on the picture to listen to the new mix on demand

Acapellas by Marlon Brandon, Bonnie Raitt

1. Jet Project: Alright (Snatch Records) 6.07
2. Mark Holmes – Coming Home (MUM) 12.13
3. Solo: The Flea Circus (Kling Klong) 17.39
4. Red Snapper: Jack (V2) 23.47
5. Harvey Mackay: Want You (Soma Records) 28.58
6. Zenbi; Double Trouble (Great Stuff): 32.49
7. Graphics: Mama Grizzlies (Made To Play) 39.43
8. Mick Finesse: Sex Machinas  (Perc Trax) 44.49
9. Aeroplane: Storm Queen: (Jamie Jones RMX) (Defected) 49.50
10. Dosem: Tales Of Tomorrow (Tronic) 54.39
11. Meda: Curtain Call (Neverending Records) 59.39
12. Rockers Revenge: Walking on sunshine (Jonty Skrufff Vocal RMX) (white label)

click on the picture for instant listening

Special Case (Roustam stage left)

“Basically Russia is a large country with tremendous resources and almost unlimited opportunities. If the majority of the club industry stops striving for the lowest possible denominator with which to earn money, we will have a music scene to rival that of any other big electronic scene in the world.”

Growing up listening to Mid-western house and rave techno as he divided his time between Detroit and Moscow, Roustam Mirzoev received an impeccable grounding in electronic music, honed his knowledge still further after he opened a record shop in St Petersburg.

Promoting parties in Russia along the way, as a DJ he became well known for spinning acclaimed back 2 back sets with many of his headline guests such as Matt Tolfrey, Clive Henry, Valentino Kanzyani, culminating in him dipping his own toes in production in 2010.

“I recorded a track called ‘round:about’ just before Kazantip of 2010 with some gear I got for my birthday and sent it to a lot of my DJ friends just for fun,” Roustam recalls.

“To me I considered the track as already a great success and the highest point in my (then-non existent) musical career when Rhadoo played it with [a:rpia:r] one morning at Kazantip, during what was probably the most amazing Z-session ever,” he smiles.

“Honestly I thought that would be the pinnacle of my music career and I was happy with it.”

“Then to my surprise I came home to find an email from (Droog producer) Andrei Osyka, which included a video of him playing the track at LA’s Avalon and the place just exploding. He wanted to sign it to Culprit immediately, which was more than I’d ever hoped for, for my first real production.”

Long-term friend Arram Mantana also loved the track, introduced him to fellow Russian producer Tripmastaz and a mutual passion for each other’s music led to the trio teaming up as Special Case.

“I knew Arram from way back in the day when he used to buy records from me at my record shop in St.Petersburg and we’d stayed in touch ever since,” Roustam recalls.

“Anyway they made a great track with Tripmastaz which became Aurum — I knew immediately it was going to be a hit and would fit perfectly with the Culprit sound.”

“So I sent it to Andrei and he also loved it right away. After some deliberations (doing a split EP, etc) we just decided that we’re going to start our own brand new thing and to see how our three very different styles and creative approaches to music production and DJjng would turn out. The rest is as they say history.”

18 months on, they’ve released a follow up single with Tiefschwarz’ Souvenir Records and continue to work closely with Andrei Osyka and his label Culprit, performing together next weekend at Culprit’s label showcase at the Sochi Winter Music Conference (Saturday February 11). Musically, Roustam personally leans towards a ‘more minimal, reduced sound’, though Special Case he points out is different.

‘The concept for Special Case is simple,” he chuckles, “We make dance music for orgies.”

Skrufff (Jonty Skrufff): Starting with your upcoming show at Sochi Winter Music Conference (SWMC), what’s your perception of SWMC and its importance for Russian nightlife?

Special Case (Roustam): “This is my 5th year coming to SWMC and I think its importance can’t be overstated enough. It really brings the crucial majority of important nightlife professionals together for one awesome weekend in Sochi. For me personally it has lead to great panels, some of my most favorite and memorable gigs amongst my peers and really helped with my DJ career and bookings as many promoters discovered my sound during some of the night time SWMC events that I’ve played before.”

Skrufff: How has the event changed over the years? Are the Winter Olympics having much of an effect yet?

Special Case (Roustam): The conference is definitely improving every year. The quality of the daytime panels is becoming increasingly relevant and more interesting with every year that passes. Nighttime events are definitely also improving in quality. This year with the big foreign presence in both I think it will be the best and most diverse conference yet. As far as the Olympics I haven’t felt much effect yet, except for increased traffic and construction. Maybe this year we’ll see something else.”

Skrufff: Most dance producers work solo or in pairs: why did you decide to do a trio? 

Special Case (Roustam): “We’re quite different in our styles. Tripmastaz is on a housier vibe, he’s good friends with DJ Sneak, releases on his Magnetic label, has been on two Fabric compilations and numerous great labels and out of the three of us is the most technically proficient in the studio. His skills make it possible for us to quickly realize our ideas and projects in the best possible ways in the studio.

Arram has been a veteran of the tech house scene in Russia for the longest time. I remember just starting out, going to his sets and he was already a legend, very much respected by his peers and a renowned DJ. I grew up in the States and have lived all around there and Russia — and have gone through everything from Midwestern rave techno to New York house, owever, I lean towards a more minimal, reduced sound these days (laughing).

What can I say, I spend a lot of times with Romanians who have influenced me a lot and also taught me just as much, I feel privileged to have their support and friendship to rely upon — plus I get sent the most amazing music.)

So these quite different three styles can lead to very excellent results that have a unique and “special”, if you will, sound. That is when we don’t try to strangle each other — we’re quite passionate guys when it comes to music.”

Skrufff: How do you physically work together in terms of making music?

Special Case (Roustam): “As far as working together it’s always different — sometimes the guys will create a track, sometimes I will do one, at other points I’ll send them a piece I’ve been working on and they develop it, or I’ll be in the studio with Tripmastaz when I catch him during some tour stops in Moscow or St.Petersburg.

But honestly we’ve never sat down the three of us to make one specific track in one room — this is something that lies in the future and we’re excited, but kind of nervous about it. It’s always been two in the studio, one over the internet or in some other capacity. But I’m kind of anxious to see what happens when all three of us finally come together and we don’t set the building on fire. This may lead to our beat work yet.”

Skrufff: SWMC’s very much intended as a gateway event: what’s your view of the Russian club scene today; how different is it (if at all) from scenes in say Germany or America?

It’s quite a unique scene. I think that Moscow sometimes has an excess of great parties and bookings — no matter how much the locals complain, almost every weekend there are amazing parties in great clubs with cool artists. We’re a bit spoiled over there in the capital I think. Unfortunately for the regions it can’t be the same — it’s very commercial and rarely do they book interesting foreign artists.

While the many of the local “Russian stars” that haven’t done anything worthwhile on the global scene or the Russian scene in years, but were just some of the first ones starting out back in the day — which lead to their popularity, enjoy a healthy touring schedule and quite large fees (our domestic market doesn’t make any sense to most foreigners).

So the regions I think have still a lot of room to grow and the local promoters, residents and clubbers are quite behind unfortunately. Which doesn’t mean there aren’t amazing places and people, but of such a large country it’s quite sad. SWMC actually helps that out quite a bit as it brings in promoters and DJs from all over Russia and this year particularly will expose them to some fresh new ideas and music.

Resident Advisor; click for more

Skrufff: Mixmag, Resident Advisor and DJ mag are all coming out; how much attention do you and your peers pay to these media; how much influence do they have on Russian clubbers and music fans?

Special Case (Roustam): “I don’t know about my peers, but I read Resident Advisor regularly. To me it’s the most professional, objective and relevant publication that fits my tastes and preferences in music. It also gives me new information about some other styles, genres and artists that I wouldn’t normally check out, but they present it in a great way and I can’t complain.

The other ones I’m used to reading more in print and unfortunately they don’t have versions in Russia, so I haven’t been following those as much lately. As for Russians — if they would read more RA and listen to more RA podcasts etc., I think it would only serve the industry better. Perhaps some would even know that their fellow countrymen got a great review of their debut release on RA, for example:)

Skrufff: How much has the Russian scene been affected by the rise of cheap technology, making DJing- and music making loads easier: how much are you seeing (or do you expect to see) a new wave of Russian talent emerging?

Special Case (Roustam): “As much as everywhere in the world — in the worst possible way. No matter what Mr.Hawtin says about beat-matching these days, I remember catching his “decks, fx and 909″ tour and the man could mix some vinyl records before he became the golden technology god or whatever he is now. However, most young DJs don’t understand these processes here and I’m very saddened by the rise of those DJS uneducated in the history and culture of the art; talentless wannabees that illegally downloaded some music, bought the cheapest tractor box available and are playing horrible music on auto mix.

This brings pain to me and makes me very sad — it’s spreading like a bad virus. So not a lot of young djs are really striving to do much. I still drag a case of vinyl and some CDs with me everywhere and make sure it’s in my rider, to me this is essential for a DJ’s performance. I can’t picture myself these days without digging for old records in Chicago’s Gramaphone or ordering new goodies from Decks. This is part of what makes playing and performing special, most others sound, look and play the same boring bullshit.

However new technology has helped in the production field quite a bit and while there aren’t many new DJs I can point out (at least ones that have emerged in the last year or so) there are numerous young talents making some amazing music. Alongside established producers like Anton Zap, Nina Kraviz and our very own Tripmastaz, I see a great young crowd from all over Russia that are being adventurous and exciting with their music.

One of my favorites so far has been Unbroken Dub. 001A is another one to watch out for. He’s got a unique style. Our neighbors and close relatives, as I like to think, in the Ukraine are also full of great talents with Technique and Yaroslove and Etapp Kyle coming to mind right away. So I don’t know if we’ll ever take the world by storm via DJing (Special Case will certainly try — for me and Arram it’s essential), but production-wise the former Soviet Union is on the right path indeed it seems.”

Skrufff: Plans for the future?

Special Case (Roustam): “Just to conquer the world one EP and 12 hour dj set at a time. The third Special Case ep just got finished and we have big plans for that as long as several great remixes that we just finished for our friends. So we’re looking to expand on what we built last year and keep going.”

Special Case: Round:About: click here to listen; http://bit.ly/wh5PCJ

http://www.swmc.ru/ru/days_en/

Jonty Skrufff (Skrufff.com)

Arma 17 (click for more)

Dutch minimal tech-house type Lauhaus visits Moscow’ Arma 17 this weekend where he’ll be spinning alongside Skrufff mainman Jonty Skrufff and Russian producers Mike Spirit and Special Case.

Starting his career ten years ago, he was initially best known for being one half of minimal tech duo Polder, as well as being one of 6 men laptop collective “Amsterdam 661”, though nowadays is increasingly standing alone.

“In the beginning of my career Polder was definitely my priority, but in the last few years, it’s been more about my solo Lauhaus stuff. But David Labeij (his Polder collaborator) and me are still best friends, so Polder definitely isn’t over,’ he says.

“How do I decide between ideas for Lauhaus and Polder? It’s all about a feeling,” he continues, “but in general Polder is more techno heavy then Lauhaus.”

Skrufff (Jonty Skrufff): Starting with Friday’s Arma gig; what’s your expectation of the gig?

Lauhaus; “Arma is a famous club which I have heard about many times, so I’m definitely looking forward to it. I’m expecting an industrial underground club filled with an enthusiastic crowd.”

Skrufff: Now that thousands more DJs can instantly mix with Traktor synching etc: how much has this changed the game for your sets?

Lauhaus; “Before I used to play vinyl but for some years now I have changed to Traktor. And I have to say I really like it. It gives me many more options during my set; either when it comes to looping, EFX or music selection. But in general Traktor lowered the bar for people to start DJing which is a good thing.”

Skrufff: How important is performing? What you wear?

Lauhaus; “Performing and fashion is certainly an element of being a DJ but not the most important one. Sure I like to wear something fashionable and show my appreciation to the crowd, but you won’t see me dancing on the turntables.”

Skrufff: And how much are you always making a point of playing your own tracks in sets?

Lauhaus; “I prefer to play my own productions, but not too many. I like to keep it exciting for myself and for the crowd.”

Skrufff: How long does it typically take you to create a track/ do a remix? How much do you start with a typical ‘Lauhaus’ sound?

Lauhaus; “Normally when I find a good idea or concept for a track, it can go really fast. But fine-tuning always takes a while.”

Skrufff: It’s over 10 years since you started: how much has your day to day life changed? (how much of your time is spent on social networking?)

Lauhaus; “My day to day life has changed in the fact that I can spend all my time working on music and don’t have to go to my day job, which is great. Social networking is of course, very important, and you can’t do without it nowadays. So people can definitely find me on Facebook.”

Skrufff: Dutch mainstream trance DJs such as Tiesto/ Armin Van Buuren are now global pop stars; how much does their success influence/ or affect the club scene you’re in?

Lauhaus; “It doesn’t affect it much I think. The places and venues they play are totally different from where I play.”

Skrufff: How much of a temptation is it to dilute your sounds to emulate their commercial success?

Lauhaus; “I don’t work like that, I just do what I feel in the moment. I try to stay original with my music and not to get stuck in the past.”

Skrufff: What’s been the greatest gig you’ve done?

Lauhaus; “i would say playing in Watergate (Berlin) and Studio 80 (Amsterdam) are my favourite clubs. Great people and great vibe.”

Skrufff: And what’s been the biggest disaster?

Lauhaus; “well once I came close to a disaster on my way to Ibiza when my plane had to return to Amsterdam Airport twice on the same flight. Firstly because a bird flew into the engine and second time because the anti-freeze system had a failure.”

Skrufff: Given your name, was there a gothic period in your youth (ie Bauhaus)?

Lauhaus; “haha, no I was never a goth. Not my thing . .  . it’s just a nickname my friends gave me.”

Lauhaus DJs at Arma 17 on Friday 27 January (immediately after article author Jonty Skrufff).

Jonty Skrufff (Skrufff.com)

Popof

Undoubtedly one of France’s great producers of the last ten years, Popof is one of those people who can be relied on to deliver something special: in particular, catchy, thumping, killer tech (house) tracks that almost always work superbly well on the dancefloor.

These three below show why:

Click on the picture for more from Perc

According to the Mayan Calendar the world (or at least civilisation) is due to end cataclysmically on December 21^st 2012.  With economists and futurologists also almost all predicting a year of upheaval, Skrufff asked a bunch of our favourite DJs and personalities for their predictions for 2012; both musically and apocalype-wise . . .

Perc: Berghain Bandwagon Jumpers and Despicable Dubstep (interview)

“In the sub-niche that I work in there will be a continuation of more and more people jumping onto the Berghain/ industrial techno bandwagon.”

Though he’s more than adept at producing top quality underground serious house, Perc, aka Ali Wells, is best known for delivering highly original and idiosyncratic industrial techno such as that featured on his new artist album Wicker and Steel. Adored by critics (Resident Advisor chief Todd Burns loves it, and Quietus dubbed it ‘an antidote to wishy washy electronica’ in making it one of their albums of 2011: http://bit.ly/tXckuu ) the new album has more than a few producer fans too, though copyists are unlikely to impress Ali.

“I’m not bothered 95% of people making this stuff get it so incredibly wrong, with such a lack of vision, that it barely registers on my radar.” he laughs.

“If you were making Minus style minimal two years ago, then big room white noise laden techno last year, then anyone who has any actually knowledge of this music can see your fakery from a mile off,” he warns.

Despite name-checking Berlin’s best known club Berghain (where he performed twice this year) he’s got no plans to join the thousands of other DJs who’ve made the city their home.

“The most inspiring place should be the city you have a local connection with,” he explains.

“People should try to build things up in the city where they are, not dream of moving to Berlin, then getting there and realising that unless you already have some profile you will just become one of the masses scratching around for DJ gigs in bars.  For me that city is London, there is a combination of innovation, open-mindedness and energy that is unique to the city,” he says.

Skrufff (Jonty Skrufff): What do you expect will happen to clubland in 2012?

Perc: “Clubland will continue to tick over as always, it always seems slow to react as (understandably in these times of financial woe) promoters play it safe with DJs they see as sure-fire profit makers.”

Skrufff: How about for genres such as dubstep; and for David Guetta-style dance-pop?

Perc: “The two will merge and become even bigger. Producers and MCs that had a few years as leaders of an emerging underground scene will trade on the cultural capital they acquired during their underground days and shamelessly embrace a more pop-led, commercial edge, chasing money and fame; conveniently forgetting their original supporters. This is already happening in UK hip-hop and dubstep but this model is now starting to be applicable to once great techno DJs and labels.”

Skrufff: how concerned are you (if at all) by the Mayan Prophecy and their end time prediction of December 21^st? Or anything else apocalyptic kicking in?

Perc: “This stuff worries me little. I believe that if everybody looks after themselves and does not mess with others then we should be fine. My close circle of friends, family, labels and artists is my main concern and I try to do the best to look after everyone involved. That said if some semi-apocalyptic event shakes up the old-boys network that still dominates and restrains parts of the dance music industry then I will be a very happy man.”

Skrufff: what about the financial crisis; what do you expect for next year? (How concerned are you if at all: for clubland? for London; are more riots likely?)

Perc: “If it affects people’s income and therefore their disposable income then it is a worry to every individual and business. People still need enjoyment and entertainment and will always find a way to scrape together the money to go out. It does concern me but as someone with very little knowledge of economics it feels as much out of my hands as the daily weather. But I think more riots, especially during the summer of 2012 are very possible. Of course I do not wish for this to happen but if it happens during the Olympics then it could be a very sticky situation for the British government.”

Skrufff: How much do you believe in destiny/ fate generally? (what’s been the biggest stroke of luck/ serendipity you’ve experienced? and the worst luck you’ve encountered?

Perc: “I believe in fate but I also believe that you make your own luck via the chances you take and the way you treat people. I tend to try to forget bad luck, but missed flight connections due to bad weather or London’s unreliable transport structure are harder to shift from the memory. The best luck I have had is when a friend introduces you to someone that leads to great opportunities or the random meeting at a pub or club that leads to amazing gigs and recording possibilities. Anything is possible at any time.”

Skrufff: Anything else to add?

Perc: “I just hope that in this era of dwindling record sales that labels see it as an opportunity to experiment and try new things. Pushing your label towards a more commercial sound to try and gather up a slightly larger share of what revenue remains is short-sighted and bad for dance music/techno in general. Now is a better time than ever to push boundaries both with music and technology and I just wish more labels and producers would do that, rather than just churning out low-quality copies of what is currently grabbing the media’s attention.

http://perctrax.bandcamp.com/

Jonty Skrufff: http://listn.to/JontySkrufff

Click for more on Patrice

According to the Mayan Calendar the world (or at least civilisation) is due to end cataclysmically on December 21^st 2012.  With economists and futurologists also almost all predicting a year of upheaval, Skrufff asked a bunch of our favourite DJs and personalities for their predictions for 2012; both musically and apocalype-wise . . .

Patrice Baumel: The New World Order & the Coming Chaos (interview)

“Democratically elected governments are taking decisions against the very people who put them into office, all to protect banks, oil and big money in general. We are already living right in the middle of a New World Order.”

Growing up in Dresden East Germany, nowadays Amsterdam based tech-house-eclectic producer Patrice Baumel was 14 when the Berlin Wall came down and 22 years later, sees more than a few cultural parallels between then and now.

“People are more educated and better connected than ever, so it becomes harder and harder to suppress the truth,” he continues.

“And once the mob gets angry because their pension is gone and their jobs are gone and their kids are hungry, they will mobilize and turn against the powers that be. It will get ugly,” he predicts.

“At the same time people will have to find other ways to happiness than consumption, which will lead them closer towards the truth in life and each other. Overall, change is good.”

For more on Patrice (who as well as touring the world as a DJ nonstop is also a resident and co-promoter of Amsterdam’s top underground club Trouw) click here: http://www.patricebaumel.com/

Skrufff (Jonty Skrufff): What are your musical predictions for 2012?

Patrice Baumel: “The trend of indie music crossing over into EDM (Caribou, Radiohead etc) will continue. The house-hype will collapse. Hoards of bandwagon-jumpers will frantically scramble into the next safe haven of rehashed old ideas – I’m betting on straight techno. The trend away from boring laptop acts and towards exciting stage shows will continue in a big way. DJs will become even less relevant, bands will start to dominate the clubs. I predict a tough year for tested-and-approved big money formulas like Ibiza, WMC (Winter Music Conference) and many of the festivals.”

Skrufff: What do you forsee is the future for dubstep: for David Guetta-style dance-pop?

Patrice Baumel: “To me, dubstep has passed its artistic peak. The fact that it’s aggressive, loud and feels like hip-hop will make sure it will keep growing further in the mainstream and have a strong influence on more commercial r’n'b and pop productions. It’s the new Ed Banger. Fun, loud and shallow party music. I have no doubt that dubstep will be much bigger than house and techno combined in 2012.

I cannot say much about Guetta-style dance pop as I have very little contact with that music but it has been around for such a long time, but I’m sure it will play the same role within dance music it has always played – giving people without much musical education and interest a good time in the clubs, at company parties or at corporate sponsored events. There’s nothing wrong with that.”

Skrufff: How concerned are you (if at all) by the Mayan Prophecy and their end time prediction of 21^st December 2012?

Patrice Baumel: “I am not concerned about the Mayan Prophecy at all. The worst thing that can happen is that mankind is going to get wiped out. As a race, we have to start asking ourselves whether we deserve any better. The way we exploit land, nature and each other is a fucking disgrace. A fresh start, whatever it looks like, would be great and necessary. Massive change is coming without a doubt. I know global warming is taking place and changing the face of the planet. Life will find new ways to adopt to it but it’s a certainty that it will not tolerate 7 billion people continuing to live the way they are living today, something’s gotta’ give.”

Skrufff: What about the financial crisis?

Patrice Baumel: “We are witnessing the end game of our monetary system – you can’t pay debt with more debt and get away with it. Einstein called compound interest the strongest force in the universe for a reason. Everybody will feel it, also the club scene. Our paper currencies will probably collapse sooner or later, a lot of paper wealth will evaporate into nothing. Many businesses will get wiped out.

But get educated, understand the likely scenarios and prepare yourself accordingly and it’s a great opportunity to get rid of a lot of competitors. Plus a bad economy often means great creative opportunities. I see empty office buildings everywhere with the potential to be transformed into studios, underground party locations or galleries. Focus on the positive side of things and everything starts to look really exciting. But the times of state welfare, job security and perpetual economic growth are over. Instead of striving for MORE, we should aim for LESS BUT BETTER.”

Skrufff: How much do you believe in destiny/ fate generally?

Patrice Baumel: “I believe that whatever happens to you in life is determined by your thoughts. Thoughts materialize themselves, so if you have an optimistic, positive mindset you will be rewarded with a positive life. The opposite is also true. I therefore do not believe in fate or destiny as a passive, predetermined quality but as something you shape with your mind.”

Skrufff: What’s been the biggest stroke of luck/ serendipity you’ve experienced? And the worst luck?

Patrice Baumel: “I have had some incredible luck, for example with how I met  my current partner and I put it down to visualizing exactly what I was looking for in a partner. I also had some close financial calls that miraculously got resolved by an amazing booking or financial stroke of luck. I’ve had very little bad luck, the worst luck for me are moments of mediocrity, the days that don’t leave any memories behind. Too many of those are just draining.”

As well as releasing his acclaimed debut artist album Vapour this year, Patrice recently made the music for a new Nike commercial. Click here to watch and listen:

http://www.youtube.com/watch?v=LY10aH2-lWY

http://www.patricebaumel.com/

Jonty Skrufff: http://listn.to/JontySkrufff

Click for Lars on Facebook

Growing up in Scotland in the 90s, Funk D’Void  (aka Lars Sandberg) started DJing when just 15, running two under-18 clubs himself.

Signing to Soma in the mid 90s, he’s since released tracks under various pseudonyms including Chaser, X-Funk, Hellfire Club and Francois Dubois though it’s as Funk D’Void that he remains best known; as both a producer and DJ specialising in top quality underground techno.

Skrufff (Jonty Skruff): What was your key career break?

Funk D’Void: “It was in 1996 with my first release on Soma records called ‘Jack Me Off’. After that, I left my day job because I had run out of days off in 3 months after using them all up for gigs. From that moment on I was full-time pro (professional).”

Skrufff: How aware were you at the time of how significant the event would become?

Funk D’Void: “I had seen good responses from DJs when dabbling in production work before and when I got the record deal with Soma it cemented the fact that this was what I was going to do with my life as a career. I had been DJing since I was 15 but this was really the turning point for me – and it felt amazing of course.”

Skrufff: How much had you been actively working towards transforming your position? If so, had you had any/ many false dawns? What was different about this event?

Funk D’Void: “There were three noticeable stages of my transformation: the first time I heard Detroit techno in a club, the first time I actually held my own production on a vinyl record, and finally seeing thousands of people reacting favourably to my music in a live setting. I have been lucky enough to have made enough records over the years that continue to connect whilst still retaining the respect of my peers and avoiding blatant commercial sell-out.”

Skrufff: Have you experienced any crises of confidence? What was the closest you came to quitting beforehand?

Funk D’Void: “This feeling of quitting has only happened a couple of times over my career, and only though boredom of the scene. Recently I have discovered a newfound interest in searching for amazing music that isn’t available through the usual digital channels – that feeling of being surprised again by music has come back, and was missing for a long time.”

Skrufff: What advice would you have for someone starting out as a DJ/ producer/ today?

Funk D’Void: “The competition is fierce but if you’re good at something, excel in it and don’t play for free. If music is in your blood, then this job’s for you.”

http://www.facebook.com/pages/Funk-DVoid/8709108603 (Upcoming DJ dates include Panorama Bar and Kater Holzig (Berlin) and Russia’s new club Pravda.)

WWW.SOUNDCLOUD.COM/FUNKDVOID

WWW.TWITTER.COM/FUNKDVOID

Jonty Skrufff: http://listn.to/JontySkrufff

Click for more on pig and dan

“He is an amazing DJ in my eyes and I really love the fact that someone who seems to have his heart in the right place and with his feet on the ground is at the forefront of the scene. I think people think he’s cheesy out of envy.”

Though Pig & Dan’s own particular style of dance music has always been firmly centred on underground house and stripped, sometimes minimal, techno, Dan Duncan admits he’s more than impressed with David Guetta’s pop-centric success.

“I’ve seen him play damn good dirty-ass tech tracks that blew away a very uneducated crowd,” he enthuses.

“They expected the hits and he played something different and shows them a taste of what we are all trying to get across. He has opened more respect for the scene than most and I take my hat off to him. Rock on David G.”

Joining Dan (as Pig) is Igor Tchkotoua (the pair met on a flight to Spain in 1999 and teamed up in the studio soon after), though today he’s solo, chatting to Skrufff to promote their latest artist album, ‘Then & Now’ (out now on Yoshitoshi).

Skrufff (Jonty Skrufff): Then & Now is your third artist album; how much easier or harder was it to make than the first two?

Pig & Dan (Dan): “To be honest we never set out to actually work on an album, we just compile a collection of songs that we feel fit together for a long player. We produce a lot of music generally and often end up with far too many to release as singles over the year so it’s sometimes good to offer out a collection of our work as a package we feel represents a spectrum of sonic madness. Music is often a mistake of experimentation.”

Skrufff: Technology’s shifting continuously with more and more DJs using laptops and DJs to play with; how much are you consciously making the tracks DJ friendly (eg with easy mixable intros and out-tros: with drops/ FX that are designed specifically for the dance floor?

Pig & Dan (Dan): “We always were DJs so have always created mixable records because we play them ourselves. We also try to create enough dynamics and interest within our tracks so that DJs don’t have to get their FX out of the bag. We hope we have enough going on in our records to keep everyone fruitful and active.”

Skrufff: There are new DJs every day and even more new producers: what impact does this ever-increasing competition bring?

Pig & Dan (Dan): “It’s always a breath of fresh air to be inspired by newcomers and their amazing inputs into the scene. I love competition, it’s healthy and actually we don’t often look as people as competitors, rather we see them just another part of the techno family. We are all here to create good times and take time out from the everyday slog right. Never envy, just admire.”

Skrufff: Noel Gallagher said recently ‘“Dance music sounds like a walk in the park now’, adding “Any fucker can do it – and quite frankly, every fucker is doing it”: what do you forsee happening for DJs in 5 years time when it will be even easier to make music/ DJ perfectly?

Pig & Dan (Dan): “Well anyone can paint on a canvas, right? I think it’s great that technology allows people without musical skill to create. I’ve studied music my whole life but that didn’t necessarily make me a better writer than some folk who didn’t.

The DJ thing is different, however. Now you can sync and for me it’s a little cold and soulless. I love groove and error and sometimes computer DJs lack that little mistake-making moments that are so special and human. Also a computer can’t tell you when to mix or what to play; that’s still a skill. The feel of where the crowd want to be taken is something that comes with experience and knowledge of this job; and passion. I will say that for sure there are talented computer DJs out there and they know their shit, but I love that little push or pull when a track just slips into position. It’s sexy and sync can take that away from me.”

Skrufff: How much do you see ‘Pig and Dan’ as a brand?

Pig & Dan (Dan): “I’ve never thought about it, really. We do this out of love and passion and we are damn lucky to eat from it. I think if we did this as a business it would be the end for us. We are still nervous before every gig and are excited about what’s going down. People feel and sense that energy when we play, I hope. We are there as entertainers and are devoted to it. We don’t want to be a Coca Cola.”

Skrufff: How do you strike a balance between reaching a mass audience and alienating your core club fans?

Pig & Dan (Dan): “I really don’t think about it. I’m not being a duck up my own ass but we are creatives and that’s it. It’s simple. I of course love playing tracks and seeing something lighting up the fire in somebody on the dance floor, it’s a dream come true but we don’t do this for any particular amount of people we just do it and hope for the best. We just want people to have a good laugh when they play our music. It is after all dance music so we want to see people just get in there and let loose.”

Skrufff: Cocoon boss Sven Vath remains famously attached to vinyl; how much do you share his enthusiasm?

Pig & Dan (Dan): “Vinyl is something I miss dearly, however, after years if making dub plates and breaking my back to play something nobody has yet was a pain in the ass. I love the fact Sven is still there banging the black plates but I’m happy to get a CD out or shove a USB stuck in a CDJ 2000; after it’s about the music not the medium or, in fact, us or the equipment. We are there to entertain and Sven’s a master whether with vinyl or not.”

Pig & Dan: ‘Then & Now’ is out now on Yoshitoshi (click HERE to buy)

Jonty Skrufff: http://listn.to/JontySkrufff

Click on the picture for instant listening to last week's radio show

Berlin DJs Jonty Skrufff and Fidelity Kastrow present and produce ‘Germany Calling’ – a weekly hour long radio show, showcasing cutting-edge upfront house, electro and techno tracks alongside classics and rarities from the vaults of electronic music. 

This week, ‘Germany Calling’ digs deep into the vaults, unearthing two seminal drum machine rock classics from Big Black and Sisters Of Mercy. Joining the alternative 80s icons, are upfront future tech and house club cuts from Marco Lys and Ismael Alonso as well as a slamming epic piano house production from UK garage pioneer Tim Deluxe - Tunes You Can Believe In

1. • Marco Lys: Kama (Solo Remix)
2. • Ismael Alonso, Mikel Ayerra: Pena Capital (Gonzalez & Gonzalo Dub Revolution Remix )
3. • Tim Deluxe: Transformation
4. • Claptone: Make Me Feel (Exploited)
5. • Luca Bacchetti: Tango
6. • Sisters of Mercy: Lights
7. • Carl Craig: Sandstorms Neve
8. • Ramon Zenker & Harada – Rappelkiste (Original Mix)
9. • Big Black: Kerosen