Two of Miami’s Music Venues Are Closing Their Doors This Year

Miami’s nightlife is set to take a hit before the year is out, as two of the city’s venues plan to shutter their doors in the near future.

As reported this week by Miami New Times, management behind Mansion and Grand Central have confirmed that their establishments are closing; though the former originally planned to shut down this weekend, further updates indicate that the date has been pushed back “a few weeks, with a final closing date still undetermined.” Grand Central closes on September 26.

Both venues were seen as staples in the city’s nightlife. Grand Central, which opened during Miami Music Week in 2010, hosted a genre-spanning variety of artists over its five-year run such as Diplo, Dillon Francis, Peaches, Danny Brown, Tiefschwarz and Schoolboy Q; plus MMW parties for Fool’s Gold and HARD. According to MNT, a specific reason for its closure is not stated, but the imminent construction of the Miami Worldcenter might be a factor.

The shutdown of 11-year veteran Mansion, however, comes less as a surprise to nightlife locals. Miami.com reports that the club’s original owners left earlier this year, and its management group, Icon Hospitality, is currently in the midst of a $5-million lawsuit after security for former sister club Cameo attacked a patron. “Mansion has been going downhill for a long time,” an anonymous source told the outlet.

Despite the closures, there’s still a silver lining. Miami.com also reports that the new owners of Mansion are planning to reopen the space under a new name, and are reportedly in the process of acquiring multiple nightlife spaces around town.

[Article photo by SoBe Politics]

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This is What the Opening Night at Studio 54 Was Like

Studio 54, the most famous club in the world, opened in New York 38 years ago, on a drugs and disco high, and crashed three years later, when the AIDS epidemic hit. Socialite-author Anthony Haden-Guest, reported on the club extensively, publishing the definitive Studio 54 memoir, The Last Party: Studio 54, Disco, and the Culture of the Night in 1997.

“On a good night Studio 54 was the best party of your life,” Haden-Guest recalled. He was at the club on its opening night, and many late nights afterwards, and has now written a piece for The Daily Beast about the memory, ‘The Opening Night of Studio 54 Was Exactly The Hedonistic Riot You’d Expect,’ and we’ve pasted some excerpts below. If you like them, you should probably read the book.

The scene was kind of a nightmare.

Robin Leach, on a gig for CNN, escorting then-11-year-old sensation Brooke Shields on 54’s opening night, and being taken up to the DJ booth by Steve Rubell. 

Leach looked down on the joyous human froth, the cocaine spoon traveling to the nose of the Man in the Moon. “There were no rules. Sodom and Gomorrah met the High Street that night.”

But at the door, it was pretty much the same as today.

One of his people, a doctor, was being generous with a giant bottle of Quaaludes.

“They took about 15 or 20 minutes to kick in,” he said. “About 30 people standing around us took them, and then everybody started having this mad sexual orgy. All the men had their dicks out … the women were showing their tits … everybody was feeling everybody else …

AIDS and cocaine ushered in the end, but Haden-Guest suspects that another culprit may have also been responsible for Studio 54 being “The Last Party.”

Want another culprit? Hi-tech. The naughty pleasures that made Studio 54’s unappealing basement such a delicious adventure are impossible in a world in which the smartphone somebody is using or the button on a jacket could be taping your words and shooting your picture.

Respect.

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Watch: Explore 20 Years of Pioneer DJ Innovation in 3-Part Video Series

As the old adage goes, it’s all about having “the right tool for the job.” In the case of the modern DJ, that tool is undoubtedly the Pioneer CDJ — the accepted industry standard.

Pioneer DJ has just released the third and final video in its three-part series celebrating two decades of designing leading-edge DJ technology. Released last year, Part 1 focused on the evolution of the CDJ, featuring personal insights from heavy hitters like Carl Cox, James Zabiela, Jazzy Jeff, Laidback Luke, Paul Oakenfold, and others.

Then, Part 2 continues with the ongoing evolution of Pioneer mixers and FX, ranging from the introduction of popular effects like reverb and flange on the DJM-500 in 1995, to the more recent release of the club standard DJM-900NXS mixer in 2011. Leading figures in the scene like DJ Shadow and Sander Kleinenberg also discuss how Pioneer technology has inspired their development both in the studio and on stage.

Finally, Part 3 centers around the historic rise of dance music — particularly its recent digital revolution — in the words of the DJs that were there, including Skream, Benga, Tensnake and many more. From Arthur Baker’s humble beginnings during the 1980s in a local record shop to Laidback Luke’s first CDJ and the birth of digital downloads, this final clip spotlights the ever-changing evolution of music technology — and the ways in which it has shaped global dance music culture. Forever. Dive into this informative three-part video series now.

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Weekend Weapons: Riva Starr’s 5 Rawest Records

Throughout his career, Riva Starr, has made a name for himself with a steady stream of top tracks and remixes on labels like dirtybird, Made To Play and Southern Fried, among others. Now, the Italian DJ is celebrating five years of his underground imprint Snatch! Records.

To mark the occasion, the Snatch! boss is releasing a massive, 30-track compilation, Square Pegs, Round Holes: 5 Years of Snatch! Records, out Sunday May 24, that includes a slew of unreleased tracks from the likes of Tuccillo, Pirupa and Starr himself, as well as some crowd-pleasing Snatch! classics.

“With Snatch! we’ve managed to develop our own sound and approach to music, and people recognize it,” Starr tells us. “In the past, I’ve had producers tell me, ‘Hey I just did this tune and I think it sounds very Snatch!’ and I’m like a proud dad.”

In honor of Snatch!’s recent anniversary, we asked him for his top 5 tracks in this week’s Weekend Weapons.

Check out Starr’s current hitlist below, featuring cuts from Alexkid, Santos, Upercent and more. It’s raw just like Starr likes it – also, we’ve included a 10-minute mini-mix to get a taste of the new 5 Years of Snatch! collection.

Riva Starr’s Weekend Weapons

1. Upercent — “Spaceman”

“This track has been my secret weapon for a while now and I’m super excited to release it on my own imprint. It’s one of those tunes that really stands out from the rest.”

2. Right On — “Craycray”

“I love to totally smash the club with this, one of those slow burners…synth, percussion and groove all build nicely and lead the crowd toward madness.”

3. Santos — “Flow”

“It’s no secret that I have a passion for raw sounds and this is one of those tunes that will stay in my bag for a while. So different and full on the big soundsystem. My mate Santos never fails.”

4. Makam — “Loleatta”

“All I can say here is, this is ONE HELL OF A BANGER! Big room business…I’m loving the half-beat intro that really allows it to build a very nice atmosphere in the club.”

5. Riva Starr feat. Horace Andy — “Dublife” (Alexkid Dub Remix)

“This is still in my bag after almost a year. Alexkid did such an amazing job on one of the main tunes from my last more indie-sounding album. It’s a deep, bassy house favorite at parties like FUSE London.”

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Kickstarter Launched to Make ‘The Paradise Garage Movie’

Although it has long since closed its doors, the Paradise Garage looks like it’s finally making its return. Open from 1977 to 1987, the legendary NYC institution was easily the most revered and influential nightclub in underground music’s history, essential in the birth of dance music and club culture, and now it’s coming back to life on the silver screen.

A Kickstarter campaign has been launched in support of The Paradise Garage Movie: Larry Levan & Michael Brody Story, a documentary about disco pioneer Larry Levan, sole proprietor Michael Brody, who died in 1987, when the club also closed, and the legendary Paradise Garage. While it’s still early in the campaign, and writer/director/producer Jonathan Ullman and producer Jay Malla Maldonado, are still a fair amount short ($9,793 of contributed by 156 backers) of the $175,000 they require, there are still 18 days to bring the Paradise Garage back.

“This scripted feature film will take audiences on a journey from Michael’s early struggles with the club to its marathon closing weekend. It will follow Larry’s rise to prominence as a world renowned DJ, his unique ability to create hit records – which were always the heartbeat of the Garage – and it will candidly detail the tragic circumstances that led to the closing of the club,” explains the Kickstarter.

“Since the original Paradise Garage was built on the premise of a group of like-minded people pooling their efforts to create something extraordinary together, we thought it was only fitting that the film spring to life in much the same way as the Garage did, with an online, members-only Construction Party.”

Backers can score everything from replica Paradise Garage membership cards to speaking roles in the film, along with “a Paradise Garage Victory Package, complete with everything you need to celebrate our goal being met!”

Click here to contribute, and do yourself a favor and watch the video here. Real history.

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Carl Cox Reveals the Lineups for His 14th Season at Space Ibiza

Having notched up 13 seasons in Ibiza, Carl Cox is a bona-fide White Isle icon. This summer, the DJ returns to his chosen mega-club, Space, for a 12-week run of Tuesday night parties. The season – running from July 7 through September 22 – will feature an all-star cast of techno and house heavyweights, and Resident Advisor has revealed the lineups for the first eight weeks.

The season begins on July 7 with Drumcode players Ida Engberg and Adam Beyer going back-to-back in the Discoteca alongside a headline set from Cox himself. Slovenia’s own Umek will command the terrace for opening night.

Other guests announced so far for the heaving main room over summer include Marco Carola, Joseph Capriati, Nicole Moudaber and Eats Everything. The covered terrace will feature Sasha on August 4, an Intec showcase on July 28, Yousef and the Circus crew on July 14, and much more. Stay tuned for the remainder of the dates to be announced right here.

In an interview with Mixmag last year, Cox spoke about what makes Space Ibiza special. “Space was always one of my favourite places to go anyway, even when I was a punter,” he said. “Inside the club it was always techno, while the terrace would play house classics and Balearic stuff. You’d be dancing in the sun, chilling on the cushions and getting trashed in the fresh air. There was nowhere else on earth with that vibe. A lot of places try to emulate Space, but nowhere else has its je ne sais quoi.”

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Check Out an Exclusive Mix from Output Club Residents Layton Giordani & Nikola Baytala

Tonight (April 18), New York club Output, will be hosting its first ever resident’s night, announcing the new residencies of respected DJs DJ Three, Nikola Baytala, and Layton Giordani. The club’s current roster includes icons Cassy, Seth Troxler, Soul Clap and Horse Meat Disco, along with Anthony Parasole, who will join the three new initiates to complete a diverse bill showcasing the range of programming that has cemented Output’s reputation as one of the world’s best dance clubs.

“To officially be a resident at one of the best underground nightclubs in North America is the beginning of something special,” Layton tells us. “Output to me has undoubtedly became the home and future of New York’s Techno movement. I really can’t wait to see whats in store for my journeys with this amazing venue.”

Output, like any nightlife institution, is ultimately defined by the resident DJs who champion its musical vision. We support them, and we support their DJs, so we decided to offer two exclusive mixes from new residents, Layton Giordani  Nikola Baytala so you can check the technique.

They play tonight, and admission is free before midnight with RSVP, and includes a limited edition Outuput USB drive featuring mixes from all of the DJs, for the first 500 guests through the door.

“It truly has been an awesome experience having my Dj career come full circle where it all began in NYC and Brooklyn 15 years ago,” Nikola Baytala tells us. “This club maintains a underground free-form music booking policy for it’s artists, at the same time focusing on quality sound.”

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The Beatport Chart Report: Flosstradamus and the PLURNT Effect

“They hit the club and turn the crowd into a mosh pit!” Wocka Flocka Flame yelps a bunch of times, each successively higher-pitched than the last, on his Flosstradamus collaboration “Mosh Pit,” a track that, in its original version, hit number 1 on Beatport’s Hip-Hop list nine days after its December 13, 2013 release date.

Now that’s what you call a hit – and a formula, easily replicable, not to mention remixable – “Mosh Pit” got the treatment from Meaux Green, Caked Up and Headhunterz during its initial moment of contact. So it stands to reason that a new version would do just as well.

Remixes may extend a track’s life, but often they do less well than the original, and that’s the case with “Mosh Pit” as well. The track has two new incarnations on Flosstradamus & Wacka Flocka Flame’s PLURNT: The Remixes EP – currently number 87 on the Beatport Releases chart, and both are charting decently: TroyBoi’s remix is currently number 40 Hip-Hop (it was number 24 on Wednesday), while Willy Joy’s is number 31 on the Dubstep chart (down from number 18 on Monday). But the new EP also features new versions of two other well-charting Flockadamus pair-ups that are besting their blueprints.

The original version of “Drop Top,” featuring Travis Porter and released at the beginning of April 2014, peaked at number 3 late that month. Today, on its seventh day in the Hip-Hop top ten, it has reached number 1. Then again, peak position isn’t the same thing as long-term sales: “Drop Top” is the top track on Flosstradamus’s artist top ten, one position ahead of Meaux Green’s version of “Mosh Pit,” which peaked at number 5 last June 3. (The original “Mosh Pit” is fourth on the Flosstradamus list.)

“TTU (Too Turnt Up)” is another story – or two. On the Hip-Hop chart, the TroyBoi version is a respectable number 9 (it was fifth on Tuesday). But the Valentino Khan remix, with its serrated bass builds and water-torture keyboard plinks, is now in its third day at number 1 Dubstep – a good sight better than the original version, which peaked at number 5 on the Hip-Hop list last July. A ready-made chant – or instrumental hook – can go nearly anywhere.

WHAT’S THAT SOUNDALIKE?

The PLURNT EP shows that it’s common enough for a track to appear twice in a Beatport Top Ten in different mixes. More unusual is what’s happening on the Pop / Rock list right now. At number 5 is Mark Ronson & Bruno Mars’ “Uptown Funk” – currently in its tenth week atop the Billboard Hot 100. And at number 9 is “Uptown Funk (BBop and amp Roksteadi Ext Remix).” No, not the Ronson & Mars track: This one is by some entity calling itself Band of Funk, which has no other releases on Beatport – or anywhere else.

Sound-alike cover versions go back to the 1950s, when cheapo labels like Bell Records would record bad carbon copies of rock & roll hits and sell them for cheap in order to grab dollars from the credulous.

For decades, the practice was generally limited to drugstores and other non-music-intensive retailers. But the Internet has expanded the practice considerably – see Kid Rock’s “All Summer Long,” which in 2008 peaked lower on the chart than a sound-alike “group” called Hit Masters’ version since the Devil Without a Cause wouldn’t allow his version to be sold digitally. (For more background, see Maura Johnston on Pitchfork last month. Naturally, that was “covered” too, by a piece we won’t link to.)

The same thing is at work here. The difference, bizarrely: Band of Funk’s version costs $1.99, while Ronson & Mars’ is 50 cents cheaper.

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Berghain is Releasing a 10th Anniversary Book

Since Berghain opened its doors in 2004, the Berlin institution has become a mythic destination, renowned for its open-ended parties and stringent door policy. (Insert Felix Da Housecat comment here.) Having already celebrated its landmark 10th anniversary with an epic-length party and exhibition, Resident Advisor reports that the club’s next move is to publish a book.

The book, appropriately titled 10, will be a way for dancers to re-live the memories from inside Berghain’s hallowed walls (as general photography is prohibited), and for those turned away at the head of the queue, it’ll be the next best thing to being there. 10­ will be published in both German and English, and features a wealth of contributing writers including DJ and scribe Stefan Goldmann, plus images of club staff, artwork and installations. It is expected to arrive sometime in May 2015.

Those seeking more material on the nightclub can also look to Die Nacht ist Leben (The Night is Life), the memoir of its infamous bouncer Sven Marquardt, which was released last year. Marquardt has reportedly also contributed insider photos for 10. If you’re looking to really enhance the reading experience, soundtrack it with longtime resident Ben Klock’s 10 tracks that “capture the spirit of Berghain.”

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House Icon Lil’ Louis’ Possibly Deafened by Sankeys Promoter’s “Airhorn”

On Saturday (Jan. 24), Lil’ Louis was scheduled to appear in Manchester, to headline the opening night of Sankeys. Upon arrival, the Chicago house veteran went straight to the club for a pre-gig soundcheck, during which an “idiot” thought to be a promoter or manager of the club, sounded an airhorn just inches from the “French Kiss” producer’s ear.

“This idiot came into the booth and without notice, decided to show off a new toy (a very powerful fog or horn machine), which seemed 12 inches from my left ear,” Louis explains in a candid Facebook explanation addressed to his Manchester fans. “As he shot it, the compressed air that blasted out was louder and more shrill than anything I’d ever heard. It hurt so bad, I jumped in the air and screamed. The pain was followed by an intense ringing and muffled silence. The left side of the room went dead, and I couldn’t hear anything except that ring. I was taken to the hospital, where I spent the night being passed around a bevy of doctors including an ENT specialist.”

This tragic incident has left the house icon with permanent hearing loss and difficulty walking straight/equilibrium problems, casting serious doubt about Louis’ ability to carry on his career.

“I am fucking upset, because this idiot, (a manager no less) should have known better. And not only did he prevent me from playing for you, he may have ended my career as a DJ and Artist,” Louis explains. “This is beyond my control, so I have to accept whatever comes. But I’m praying, because I’ve made the best album of my life, and want to give you that, the film, and the best DJing, which is still in front of me.”

This is the latest in a string of unfortunate incidents involving the Sankeys brand, which attempted to open, and was forced to close two NYC locations in the last four months.

We wish Lil’ Louis a successful recovery. Read his complete statement regarding the incident below:

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Get an Up-Close Look at Deadmau5’s New Live Set-Up

Get an Up-Close Look at Deadmau5’s New Live Set-Up

As the headliner of the last-ever party at Toronto nightclub the Guvernment on January 25, hometown hero Joel ‘Deadmau5‘ Zimmerman was committed to delivering a special set. With tickets sold out well in advance, the producer decided to build an all-new live rig for the Guv’ finale. In early January, he shared his progress with fans – which you can see in the photo below. (Not to mention those exhaustive Twitch videos.) “Planning a live set for the Guv show while Meowingtons does fuck all,” he wrote. “Building the stage back line/synth set-ups on my floor. No CDs or DJM mixers this time. Feels right. Feels good.”

studio setup

On Sunday night, that back line/synth arsenal made it to the club for its trial run. As Zimmerman worked the synths live, his ‘mau5bots’ (featured prominently during his Las Vegas residency at Hakkasan) towered at either side of the DJ booth. You can check out an overhead photo and soundcheck video of his live set-up below. The ‘mau5 also pointed his horde towards a fan-shot video of his 20-minute “Strobe” redux, completed with the ‘Guv show in mind. While the audio quality leaves something to be desired, it’s enough to clock up over 50,000 views.

It should be noted, of course, that this is Zimmerman’s live set-up for a club show, so we can look forward to something even more ambitious when he takes the stage at US festivals Governors Ball and Bonnaroo this summer. The Guv’ set was just a precursor to the full live overhaul he’s planning. As he put it in his recent Reddit AMA: “I’m more and more keen on taking a mixing console and a whole lot of synths on stage now as opposed to being the Ableton guy with a laptop in a massive show production.”

DEADMAU5GUV

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Ben Klock’s 10 Tracks That “Capture the Spirit of Berghain”

As techno haven Berghain prepares to celebrate its 10-year anniversary on Dec. 13, longtime resident Ben Klock has revealed that he will be sharing one track that captures “the spirit of Berghain” each day, for the next 10 days. “Each track has a story, memory, or feeling, that connects me and I’m sure so many others to that magic place. So here we go,” Klock explained in a Facebook post.

Klock has described the club’s less-heralded predecessor, Ostgut, as an “island” where he would go to feel like “wow, there’s hope.” Sadly, Ostgut closed down in 2003, but when Berghain opened its dark doors in 2004, Klock began his residency, and his “Dawning / Dead Man Watches The Clock” 12″ with Marcel Dettmann launched the Ostgut Ton record label shortly after, in 2006. “That kept me going, and suddenly everything changed. I found my own voice and my productions,” Klock said in a 2012 interview with Mixmag. “It was a total turning point.”

In celebration of that turning point, Klock, whose name has since become synonymous with the club’s, has vowed to post one track every day, until Dec. 13, when Berghain celebrates its 10th anniversary. We’ll update this post as the tracks come in, so check back daily, and revel with us. Wish we were there.

Ben Klock’s 10 Tracks That “Capture the Spirit of Berghain”

9. DVS1, “Pressure” (Transmat)

“When I hear of Berghain affectionately described as ‘church,’ one tune always comes to mind. ‘Pressure’ has something spiritual about it with its church-like organ – and played at the end of a long long set this tune can really lift you up to a higher sphere.”

10. DJ Hyperactive, “Wide Open” (EC Records)

“I’ve been playing it since it was released in ’98, but not till I played it at Berghain for the first time did its stomping beat and the simple but amazing staccato chords reveal their full potential – within these walls, the track was reborn.”

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Caribou Talks 8-Hour DJ Sets, ‘Can’t Do Without You’ Remix

Can’t Do Without You,” the lead single from Caribou’s latest album, Our Love, is a lovely piece of lo-fi pop masquerading as house music. It’s built from next to nothing – a cooing pair of looped vocals backed by a synth-and-drum circle of music that rises steeply, emotionally. Yet it somehow sounds ready to take on the world, and crush it. By summer’s end, that’s exactly what it was doing. Not long after Pitchfork nominated “Can’t Do With You” for “Best New Music,” a collaborative remix from Berlin duo Tale of Us and Irish disco-house phenom Mano Le Tough fully-established it as a crossover hit, entering Beatport 100’s Top Ten in September, and peaking at #6.

This may not have been how Caribou aka Dan Snaith planned it, but the result seems familiar. Encouraging indie purists to dance to house music and the club kids to engage with live instruments is something the man behind Caribou and the more dancefloor-oriented Daphni has been doing for 15 years. A constant critical favorite, Caribou’s 2010 album, Swim, his fifth, finally struck a commercial nerve and established him as an indie star; while ensuing tours opening for Radiohead, eight hour-long back-to-back DJ sets with the likes of Four Tet and Jamie xx, and house hits as Daphni (especially 2012’s monster, “Ye Ye”), pushed his reputation further, still. The results may continue to surprise some, but the fact that he continues to take his recent success in stride was evident when Beatportal spoke with him recently; Dan Snaith just wants to “make people dance.”

Congratulations on the “smash hit”! Tell me how the track came about. Were you the one who chose Tale of Us and Mano Le Tough to remix “Can’t Do With You”? Did you bring them together?

With this record, I’d actually made a concerted decision not to have lots of remixes. With Swim, I was so excited by lots of young producers, that I was just like, “Hey, nice to meet you. I love your music. Do you want to do a remix?” I choose and approach all those people. This time I thought I’ve got to calm down on the remixing a little bit. And then immediately after “Can’t Do Without You” was released, I got an email from [Tale of Us] directly saying, “We love this song. We want to remix it. Can you please give us the parts so we can make a version to play in our sets all summer?” Which was kind of the intention. I wanted the song to have that kind of life – I imagine DJs playing it at festivals. I was excited by the idea, and I liked their music. It just seemed such a natural genuine way for things to come about. Like, I could feel their excitement about it. I didn’t know Mano Le Tough was going to be involved. The collaboration came from them. There wasn’t even really a plan to necessarily release [the remix], but they sent it back and it was fantastic, so we did. The whole process was natural and lovely.

How do you know when a piece of music is done? There was an interview with Richard D. James recently about the new Aphex Twin record. He said something along the lines of “it’s done when I’m sick and tired of it.”

Oh, right, right. That’s a very Aphex answer, isn’t? It couldn’t be much more different for me. For example, the Daphni stuff, [those tracks] were done the first time I had a six-minute-long version. I never went back to them. I never changed them. It was just like, here’s a raw jam and that’s it. It’s either done or it’s going in the garbage. So it better be done.

Caribou tracks sit and sit and sit. I might write the verse and then write the chorus six months later. They evolve so, so slowly. It’s partly about that time of them sitting there and then coming back to them with fresh ears and being able to hear them. It’s also kind of about being annoyed; when nothing jumps out and says, ugh, that’s wrong, that’s when things are finished I guess. Or when there’s no niggling sense ¬– just when it feels right. The first time that I listen to [Caribou songs] and it feels right, that’s when it’s done.

Does that mean that by its very nature a Caribou album will always take longer to produce than a Daphni album?

I think so. The Daphni record was so easy and quick to make that I thought maybe this will happen every time from now on. No. There’s just so much more breadth with Caribou. There’s compositional stuff, and all kinds of vocals obviously, and wanting to pack more song structure in there. The songs are soaking in all the stuff from my life, whether it’s lyrically or less literally and more metaphorically in the sound of the record. Getting a sense of where my life is at, how that should be absorbed into the music, that takes time for me. That’s why it’s important [the songs] sit there and accumulate a sense of being lived with, or lived in, or whatever.

You are famous for doing these mega-long DJ sets, either solo or as a tag-team. How does one prepare for eight-hour DJ set?

I find them easier to prepare for than one-hour sets. If you’re playing at a festival stage for one hour, in between two other DJs who are trying to fucking bang it out as hard as they can, there’s this intense pressure. You’ve only got this restricted range of music you can play. Whereas, in an eight or nine-hour DJ set, you’ve got the club all night – [laughing] because if they’ve given me the club all night, it’s going to be a smaller room – there’s a sense that you can play whatever you want. So you bring a bunch of music and you do it on the fly – and it just happens. You get to build it up and then break it right down. At peak time play like a dub record or play something that starts everything over again because presumably nobody’s going anywhere. There’s not another stage next door for them to check out. I love those. Those are my favorite gigs to do. Actually, I think after this Caribou touring cycle – during which I’m not going to do much DJing – I want to book exactly those shows, go back to all my favorite little clubs, play all night, do that again. I’ve been doing more festival slots recently, which definitely can be great in a different way. But it’s not why I got into DJing, you know, sharing all the music that I love. You don’t get to do that as much when you’ve got 90 minutes.

Doing those types of DJ sets gives you some time to get weird. Tell me about a record you like to play or a vibe you like to invoke. What’s your favorite leftfield turn in a DJ set?

I mean, my favorite DJs are the ones that are going to surprise you. And that was one thing I learned early on about DJing: if you’ve got your head down and you’re focusing on all the mixes to be seamless, and then two hours later everybody’s like, “I haven’t noticed any transition, it’s just been too monotonous.” And those moments when you just play something totally unexpected – like a Kraftwerk record or any record you play at the beginning or end of the night – those are big moments. Like play a Shuggie Otis record, or Albert Ayler’s “Love Cry” is one of my favorite random ones that I throw in there. A Nina Simone track, especially something with lots of live instrumentation, that’s wonderful. If you’ve been building the set up with lots of programmed stuff, it’s great to play something that changes the pallet completely, like a Dorothy Ashby record.

The big realization while making Swim was that people from the outside world, who aren’t involved in dance music, think of it as being this very constricting, constrained genre where you have to conform. That it has to be functional in these ways. But my take on it is actually, that’s not it at all. The intent is to make people dance. But that’s kind of like the train tracks, or the framework underneath everything. And as long as you satisfy that [framework], then you can go much further afield than you can if you’re a band with two guitars and a drummer. You can have any sounds you want, any kind of palette, any kind of tempo, and it’s much more freeing. That applies to the senses as well. As long as you keep in mind that there are people dancing to this, and staying in that same frame of mind. For me, that’s easy because I get so excited DJing that I’m dancing along in the booth. Then you can kind of intuit when to take those big left turns that can be those moments when everybody’s like, “YES! What the fuck is going on? This is crazy!”

Caribou’s Our Love is in stores now.

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David K – Sneakers & Playground (NAU02)

David K – Sneakers & Playground (NAU02)

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Stefano Noferini Club Edition 030 2013-04-26 Tracks

Stefano Noferini Club Edition 030 2013-04-26 Tracks

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