WEBVTT - Ep 108: Soulwax 0:00:01.000 --> 0:00:02.920 You should take one year off because sometimes you do 0:00:02.960 --> 0:00:04.840 the thing where the you know, when people wear headphones 0:00:04.840 --> 0:00:05.800 and yeah. 0:00:05.640 --> 0:00:08.799 Exactly, that's how this podcast start. 0:00:09.400 --> 0:00:12.920 Hello and welcome to Midnight Chats, a podcast of casual 0:00:13.000 --> 0:00:17.760 interviews with leading musicians, published weekly at midnight to suit 0:00:17.800 --> 0:00:22.960 these informal and often under researched conversations. This week's episode 0:00:23.000 --> 0:00:26.400 is hosted by me Stuart Stubbs, editor of Loud and 0:00:26.480 --> 0:00:31.080 Quiet magazine. Apologies for the delay in episode one hundred 0:00:31.080 --> 0:00:33.559 and eight of the podcast. We've had a busy couple 0:00:33.600 --> 0:00:36.120 of weeks here at Loud and Quiet, launching a whole 0:00:36.200 --> 0:00:38.680 new membership plan for what we do to try and 0:00:38.680 --> 0:00:41.960 get some more support for the magazine, the podcast and 0:00:42.000 --> 0:00:45.000 the other things we do. That's now all done and dusted. 0:00:45.040 --> 0:00:47.840 You can check it out at loudon quiet dot com, 0:00:47.880 --> 0:00:51.080 forward slash subscribe. If you do want to sign up 0:00:51.120 --> 0:00:53.840 and become a supporting member of Loud and Quiet, you 0:00:53.840 --> 0:00:59.639 will receive our magazines, playlists, some more podcasts, and there 0:00:59.680 --> 0:01:03.200 is even a tier where you can come bowling with us. 0:01:03.560 --> 0:01:06.360 It's all allowed on Quiet dot com, forward slash subscribe. 0:01:06.560 --> 0:01:09.720 That's my plugout the way, because the podcast is back 0:01:09.720 --> 0:01:13.039 from today and my guests this evening on episode one 0:01:13.160 --> 0:01:17.600 hundred and eight are Stephan and David Devali, the two 0:01:17.640 --> 0:01:22.600 brothers also known as Solwax, Too Many DJs and Dewe. 0:01:23.080 --> 0:01:25.679 These guys have created a lot of work over the 0:01:25.720 --> 0:01:28.920 last twenty five years under a few different names, so 0:01:29.000 --> 0:01:32.480 let's just quickly set that out now. Sol Wax is 0:01:32.520 --> 0:01:34.920 the name of the four piece rock band that the 0:01:34.959 --> 0:01:38.200 brothers play in. Too Many DJs is the name of 0:01:38.440 --> 0:01:41.399 the DJ duo that they go by, who released a 0:01:41.440 --> 0:01:44.320 mix album in two thousand and three called as Heard 0:01:44.400 --> 0:01:47.960 on Radio Solwax Part Two. That was an album that 0:01:48.000 --> 0:01:52.120 mixed together punk and rock and pop with dance music 0:01:52.200 --> 0:01:54.880 and techno in a way that up until that point 0:01:54.920 --> 0:01:58.000 hadn't really been done, and it really did break down 0:01:58.040 --> 0:02:01.360 a lot of boundaries in music between genres for the 0:02:01.400 --> 0:02:02.000 first time. 0:02:02.080 --> 0:02:02.400 Really. 0:02:02.880 --> 0:02:06.320 I remember that album very fondly. I was at university 0:02:06.600 --> 0:02:08.800 and I was very excited to talk to the brothers 0:02:09.120 --> 0:02:12.160 about that time in their lives and about that record 0:02:12.440 --> 0:02:15.000 as well as that. They also run their own record 0:02:15.080 --> 0:02:19.240 label and studio in the middle of the hometown of Ghent, Belgium. 0:02:19.480 --> 0:02:20.400 It's called Dwee. 0:02:20.960 --> 0:02:23.080 It's an incredible looking place, and I have put some 0:02:23.160 --> 0:02:25.720 links to some photos of it in the show notes 0:02:25.800 --> 0:02:28.640 of this podcast. That's where we pick up the conversation 0:02:28.800 --> 0:02:31.680 talking about the dwee building on what they've got going 0:02:31.720 --> 0:02:34.560 on there. There's also a link down there to the 0:02:34.560 --> 0:02:37.399 film that we talk about. That's a documentary about soul 0:02:37.440 --> 0:02:40.040 Wax and too many DJs being on the road. It's 0:02:40.160 --> 0:02:42.880 very fun, it's very silly. It's called Part of the 0:02:42.880 --> 0:02:45.799 Weekend Never Dies, and you can watch the whole thing 0:02:46.040 --> 0:02:50.359 on YouTube for free. Other than that, we talk about Ibitha, 0:02:50.880 --> 0:02:54.680 and we also talk a bit about dwe TV, which 0:02:54.960 --> 0:02:57.400 at the time of recording this a few months ago, 0:02:57.800 --> 0:03:01.119 they were making their new TV show, which is also 0:03:01.160 --> 0:03:05.280 available on YouTube. There's a link for that also. It 0:03:05.320 --> 0:03:07.440 hadn't launched at that point. They were still putting some 0:03:07.440 --> 0:03:10.959 finishing touches to it. But since then the first episode, 0:03:11.200 --> 0:03:14.000 or maybe the first couple of episodes, are already up, 0:03:14.120 --> 0:03:17.720 so you can also check that out. Thank you for listening. 0:03:17.960 --> 0:03:21.320 As I say, we're now back. This is episode one 0:03:21.440 --> 0:03:24.840 hundred and eight with Soulax. Thank you to David and 0:03:24.880 --> 0:03:28.040 Stephan for talking with me, and if you would like 0:03:28.080 --> 0:03:31.480 to support Loud and Quiet this podcast. The place to 0:03:31.520 --> 0:03:33.840 now do that is at loudon Quiet dot com forward 0:03:33.919 --> 0:03:37.720 slash Subscribe, where you can see what we've been up 0:03:37.760 --> 0:03:40.800 to for the past two weeks and why this podcast 0:03:41.200 --> 0:03:48.440 has come a little later. This episode of Midnight Chat 0:03:48.560 --> 0:03:51.040 is supported by some very good friends of ours at 0:03:51.120 --> 0:03:56.040 Visions Festival, which will return this year on the seventh 0:03:56.040 --> 0:03:59.920 of August twenty twenty one. The festival will go ahead 0:04:00.200 --> 0:04:04.040 here in London, based around the Oval Venue across free 0:04:04.160 --> 0:04:08.000 venues nearby. One ticket will get you into the whole thing. 0:04:08.640 --> 0:04:13.480 It costs thirty pounds twenty five pence at visions Festival 0:04:13.600 --> 0:04:16.279 dot com and there you'll see just how good the 0:04:16.279 --> 0:04:19.760 lineup is. It's always a great festival, there's a good 0:04:19.800 --> 0:04:24.640 community spirit to it is very diy proper independently run. 0:04:25.360 --> 0:04:28.240 There's always great bands on and this year they have 0:04:28.360 --> 0:04:31.560 chosen to concentrate on up and coming new British artists, 0:04:31.640 --> 0:04:35.040 many of which have been featured in Loud and quite recently, 0:04:35.480 --> 0:04:41.919 from Porridge Radio and Wolu to Yard Act, Geicer, Flow, Hio, Billy, 0:04:42.000 --> 0:04:45.640 No Mates, Caroline, I could go on. All the information 0:04:46.000 --> 0:04:48.880 is at visions Festival dot com. So we'll hopefully see 0:04:48.920 --> 0:04:51.920 you there. The seventh August is also my birthday, so 0:04:52.720 --> 0:04:55.240 there's really no excuse for you to not come. Thanks 0:04:55.279 --> 0:04:58.760 to Visions for supporting this episode. At midnight chats. 0:05:00.040 --> 0:05:00.880 The main control room. 0:05:00.920 --> 0:05:05.080 This is where everything that we've released on Dewie has 0:05:05.160 --> 0:05:08.440 gone through. This desk, the one that you're I'm gonna 0:05:08.480 --> 0:05:11.520 show to you. This is our desk. 0:05:12.240 --> 0:05:14.880 Okay, that's a serious that's a serious set up. I'll 0:05:14.880 --> 0:05:16.480 show you. I'll show you what I'm recording on. 0:05:17.839 --> 0:05:18.119 Wow. 0:05:18.279 --> 0:05:19.520 Great, this is great. 0:05:20.000 --> 0:05:23.840 I can't do this, but I mean your Your microphone's 0:05:23.839 --> 0:05:24.600 fancier than our. 0:05:25.400 --> 0:05:27.920 That's true. Yeah, I'm winning. I went on the microphone. 0:05:28.000 --> 0:05:30.159 This is a great radio. By the way, every the 0:05:30.200 --> 0:05:31.160 listeners are going to love this. 0:05:31.760 --> 0:05:34.200 Yea, they're gonna love love all this visual stuff. Well, 0:05:34.200 --> 0:05:36.320 I did actually want to ask you about a certain 0:05:36.400 --> 0:05:39.479 visual aspect of that building, of the building that you're in, 0:05:39.680 --> 0:05:42.880 because it's incredible to look at. Anyone listening to this 0:05:42.920 --> 0:05:45.880 should do a Google image search of the DWI building. 0:05:46.160 --> 0:05:48.200 It looked when I first saw a picture of it, 0:05:48.279 --> 0:05:50.479 I thought it was a render, you know, I didn't 0:05:50.520 --> 0:05:55.320 think because it looks it looks like an architect render. 0:05:55.000 --> 0:05:57.480 But also don't forget that those pictures were taken when 0:05:57.480 --> 0:06:00.880 the building was like fresh and new, fresh, brand new, 0:06:00.920 --> 0:06:03.200 and it doesn't look at state now, but there's like 0:06:03.640 --> 0:06:05.400 makes like you know, it's a it's a lived in 0:06:05.480 --> 0:06:08.039 building right now, so if you if you were to 0:06:08.080 --> 0:06:10.640 come now, it would look more realistic. 0:06:10.720 --> 0:06:13.480 I think it's like a beautiful the outside is like 0:06:13.520 --> 0:06:20.440 a beautiful, sleek black like a monochrome block. Really is 0:06:20.520 --> 0:06:23.000 design and architecture and that side of things something that 0:06:23.040 --> 0:06:26.080 you to have always been influenced by and into since 0:06:26.120 --> 0:06:27.599 you were like super young. 0:06:28.000 --> 0:06:33.640 Yeah, And I guess it's it's not just architecture. I 0:06:33.720 --> 0:06:40.720 think it's uh, things that I don't know, like that 0:06:40.839 --> 0:06:45.120 make you, that move you in a way. It could 0:06:45.120 --> 0:06:48.240 be it could be paintings, it could be graphical, it 0:06:48.279 --> 0:06:51.719 could be instruments, it could be like, really, I don't know, 0:06:52.120 --> 0:06:57.400 it's a very wide and random thing. Deeve didn't go 0:06:57.440 --> 0:06:59.120 to art school, but I went to art school, and 0:06:59.160 --> 0:07:01.240 I think some of the other people in the band. 0:07:01.880 --> 0:07:07.640 So I guess it's always been in your subconscious. Where 0:07:07.680 --> 0:07:12.360 we were building this place, I feel like we were 0:07:12.480 --> 0:07:16.320 using a lot of the stuff that we like A 0:07:16.360 --> 0:07:19.080 lot of the references that came up were things that 0:07:19.600 --> 0:07:22.080 throughout the years, I think they've been very interested in 0:07:23.080 --> 0:07:27.640 a little bit of super studio guys, the Italian collective. 0:07:28.920 --> 0:07:32.120 It was also this idea of having a smaller building 0:07:32.680 --> 0:07:35.040 in the middle of a town, a medieval town, because 0:07:35.120 --> 0:07:38.040 Kent is very it's a bit like, I don't know 0:07:38.080 --> 0:07:41.120 what the comparison could be, but it's like we have 0:07:41.200 --> 0:07:44.240 the oldest castle we have, like the Lamb of God 0:07:44.360 --> 0:07:46.920 is here. I mean, it's it's it's pretty old school 0:07:47.880 --> 0:07:51.000 to have an hyper modern building in there. 0:07:52.120 --> 0:07:53.120 It took some persuading. 0:07:53.960 --> 0:07:55.840 I was gonna say, what did the what did what 0:07:55.840 --> 0:07:59.480 did the local community think? As this thing was being 0:07:59.520 --> 0:08:02.120 built and and it's there because it you know, as 0:08:02.160 --> 0:08:06.160 you say, it's completely it's a monoloch almost like a yeah, 0:08:06.200 --> 0:08:08.000 it's like a space ship that's landed. 0:08:07.760 --> 0:08:09.480 In the middle of this That was actually the one. 0:08:09.800 --> 0:08:11.480 The one's concern was the fact that we don't have 0:08:11.520 --> 0:08:14.440 any windows, Like if you're standing in front of the building, 0:08:14.440 --> 0:08:16.720 you don't see any windows. And that was the maybe 0:08:16.760 --> 0:08:21.080 the biggest objection that we had to defend. But other 0:08:21.120 --> 0:08:23.280 than that, I think, I mean, I think it helps 0:08:23.280 --> 0:08:26.400 that that. You know, we and the architect that we 0:08:26.440 --> 0:08:28.800 did it with, a friend of ours called Glenn Saystick. 0:08:30.360 --> 0:08:32.600 You know, they they they knew us and they knew him, 0:08:32.640 --> 0:08:35.559 and I think they were quite you know, there's a 0:08:35.640 --> 0:08:40.319 lot worse architectural buildings to have to deal with it 0:08:40.520 --> 0:08:41.079 than this one. 0:08:41.120 --> 0:08:43.360 But in the first design, in the first design, we 0:08:43.480 --> 0:08:47.480 had the facade the front, the front of the building 0:08:48.040 --> 0:08:52.360 was really a block, and they wouldn't allow us to 0:08:52.400 --> 0:08:55.040 do it in one line because they felt like people 0:08:55.040 --> 0:08:57.960 would think it was a factory or like a power 0:08:57.960 --> 0:09:02.760 station or something else, and so they asked us to 0:09:02.800 --> 0:09:06.920 make an ornamental change to the front. And I think now, 0:09:08.040 --> 0:09:10.800 I think for a lot of people starting to know 0:09:11.000 --> 0:09:14.080 that it's a studio and it becomes like it's like 0:09:14.120 --> 0:09:16.480 this weird building that people look at, you know, like they're. 0:09:16.280 --> 0:09:16.960 Like, huh. 0:09:17.040 --> 0:09:21.080 It feels I imagine, quite sacretive and cool. Like if 0:09:21.120 --> 0:09:22.720 I was walking past that burn and I'll be thinking, 0:09:22.960 --> 0:09:25.400 what's it like in there, what's like going, what's going 0:09:25.400 --> 0:09:27.080 on in there? What magic's happening in there? 0:09:27.240 --> 0:09:29.959 Have you have you ever been to in l A 0:09:30.520 --> 0:09:34.199 on the Sunset Strip? I guess there's the there's a 0:09:34.240 --> 0:09:37.120 Devo building and it's it's been there since the seventies, 0:09:37.160 --> 0:09:40.280 I guess, yeah, And and it's just insane. 0:09:40.440 --> 0:09:44.080 It's an amazing lips Well it's like I think it's 0:09:44.120 --> 0:09:49.640 a circular like a building. It's it's luescent green, fluorescent green. 0:09:49.720 --> 0:09:49.920 Yeah. 0:09:50.000 --> 0:09:52.960 Yeah, and like we've no it was yellow ones as well, 0:09:53.000 --> 0:09:55.560 I think, And I think from the first time we 0:09:55.600 --> 0:09:57.440 went to La we've always been like, what is that 0:09:57.559 --> 0:10:01.280 building because it's there's no advertise, it's not a shop, 0:10:01.800 --> 0:10:04.240 it's not a and then people would be like, Oh, 0:10:04.280 --> 0:10:07.320 that's the Devo studio and you're like, wow, I see 0:10:07.320 --> 0:10:10.640 that that's always been and maybe the aesthetics are very different, 0:10:10.640 --> 0:10:14.040 but this idea that there was a studio and you 0:10:14.120 --> 0:10:16.120 always were like like like you would say, like. 0:10:16.280 --> 0:10:17.520 What are they doing in there? 0:10:18.320 --> 0:10:21.440 Yeah, almost like hiding in plain sight, like you're in 0:10:21.440 --> 0:10:24.240 the middle of this major city. Yeah, And it's just 0:10:24.280 --> 0:10:25.240 this mysterious thing. 0:10:25.520 --> 0:10:28.120 And I guess we needed that, Dave and me because 0:10:29.000 --> 0:10:31.600 as Slovaks or too many DJs or everything else that 0:10:31.640 --> 0:10:35.240 we're doing, we I think for us having a place 0:10:35.240 --> 0:10:39.360 where we could disappear in or like even if it's 0:10:39.360 --> 0:10:41.600 in Ghent or it could have been anywhere else. It's 0:10:41.679 --> 0:10:47.040 just it's a place where we can lock ourselves away 0:10:47.120 --> 0:10:49.040 from the outside world a little bit. 0:10:49.679 --> 0:10:53.040 And so far we I think we've we've achieved to 0:10:53.080 --> 0:10:53.280 do that. 0:10:54.000 --> 0:10:56.880 What else is in there other than what I can 0:10:56.920 --> 0:10:59.920 say now and what I can imagine. I know I've 0:11:00.080 --> 0:11:02.280 seen some pictures where there's some bedrooms in there. 0:11:02.360 --> 0:11:03.959 Right, there's one bedroom. 0:11:04.200 --> 0:11:08.040 There's one bedroom, so people could come and stay on 0:11:08.120 --> 0:11:08.800 the top floor. 0:11:08.960 --> 0:11:09.559 We have. 0:11:10.920 --> 0:11:14.079 Sort of a lounge. I think you could call it, 0:11:14.840 --> 0:11:17.600 but I guess maybe we should preference to people that 0:11:17.960 --> 0:11:21.680 in the building. There's four floors, but everywhere in the 0:11:21.720 --> 0:11:25.160 building we put a patch be so we could record. 0:11:25.360 --> 0:11:28.920 So let's say in the elevator hall or in the stairs, 0:11:29.160 --> 0:11:32.960 or I don't know, anywhere, we could plug in and 0:11:33.120 --> 0:11:35.240 go to this board and we could record. So it 0:11:35.280 --> 0:11:37.439 had to be multifunctional for us. 0:11:37.640 --> 0:11:38.680 So you all sat there. 0:11:38.720 --> 0:11:42.000 But essentially, if somebody says, I want to record this synth, 0:11:42.520 --> 0:11:45.320 but I want to record it in the lobby, yeah, 0:11:45.000 --> 0:11:47.040 but that they can go and they can go and 0:11:47.080 --> 0:11:50.679 do that. And I suppose is that just an acoustics thing, 0:11:50.840 --> 0:11:51.640 just to think like. 0:11:51.800 --> 0:11:54.839 Yeah, in the with the you'll give an example of 0:11:54.920 --> 0:11:58.480 a synth, it wouldn't necessarily make much different. 0:11:58.200 --> 0:12:03.319 Drums or that a singing or something like that. I 0:12:03.559 --> 0:12:07.040 guess we want because because this is like the main 0:12:07.080 --> 0:12:10.320 control room and it's acoustically treated, and then next to 0:12:10.360 --> 0:12:13.679 it is our recording room, which is like huge, a huge, 0:12:13.679 --> 0:12:17.160 it's like the biggest the room in the building. Those 0:12:17.200 --> 0:12:20.560 are all acoustically treated, but everything else is like concrete 0:12:20.760 --> 0:12:26.400 or like metal or or our records or whatever we have, 0:12:26.960 --> 0:12:29.199 and so it makes it different acoustics. And so when 0:12:29.200 --> 0:12:31.120 you put a drum kit there, or like a microphone 0:12:31.200 --> 0:12:33.679 or a namp, it will have a very different thing. 0:12:33.760 --> 0:12:36.920 And we just wanted that building to be multifunctionals so 0:12:36.960 --> 0:12:37.480 we could do that. 0:12:37.880 --> 0:12:39.760 So the whole thing is the studio. 0:12:40.000 --> 0:12:43.000 I have to point out that everything except for the toilets. 0:12:43.320 --> 0:12:45.120 I mean that is to. 0:12:45.160 --> 0:12:48.360 Draw the line somewhere, draw the line what is Ghent 0:12:48.679 --> 0:12:51.920 like as as you guys grow up there right? Yes, yes, 0:12:52.080 --> 0:12:54.440 grown and bread the whole time, born and bred gent 0:12:54.679 --> 0:13:00.160 Ghent boys did obviously you you like, obviously you love 0:13:00.200 --> 0:13:02.760 the experience as you would have moved away our presume, 0:13:02.840 --> 0:13:04.880 but like, what is it? What is it like as 0:13:04.880 --> 0:13:07.120 a place to move, to grow up in and also 0:13:07.200 --> 0:13:08.200 to live in now. 0:13:08.640 --> 0:13:13.760 It's a it's a strange question because for us, you're 0:13:13.760 --> 0:13:15.880 asking us this question right now at a point where 0:13:15.920 --> 0:13:19.200 we have been here for like a year NonStop, so oh, 0:13:19.280 --> 0:13:21.880 of course, yeah, and for the first time in maybe 0:13:21.880 --> 0:13:25.040 more than twenty years, where we would have been traveling 0:13:25.080 --> 0:13:28.280 more than ever and for a long time, for maybe 0:13:28.960 --> 0:13:33.160 thirteen years, we would move between here and London and 0:13:33.559 --> 0:13:35.040 sort of the rest of the world, like you know, 0:13:35.559 --> 0:13:39.040 Singapore one day and Australia next. 0:13:39.080 --> 0:13:39.800 Yeah, and. 0:13:41.440 --> 0:13:46.000 So we've been here now for the first time for 0:13:46.040 --> 0:13:49.959 so long, and we've sort of had to rediscover our 0:13:49.960 --> 0:13:55.000 own home town again after yes, just a little bit 0:13:55.000 --> 0:13:59.800 more of twenty years of being abroad more than home, 0:14:00.320 --> 0:14:02.640 and and each time we were home it's sort of 0:14:02.679 --> 0:14:05.960 like you're just catching up on on like just catch 0:14:06.080 --> 0:14:08.080 like you know, male that you haven't seen or like 0:14:08.400 --> 0:14:11.240 the things that you and we've been in this constant 0:14:11.360 --> 0:14:15.640 state of we were actually just talking about prior to 0:14:15.679 --> 0:14:19.960 this interview, we've been in this constant state of escapeism 0:14:20.040 --> 0:14:27.200 from reality because every everything that you don't really want 0:14:27.200 --> 0:14:29.880 to do, you have a perfect excuse because you are 0:14:30.040 --> 0:14:35.000 away you're busy, you're gone, so you know, like yeah, 0:14:35.920 --> 0:14:39.120 but but equally you miss you know, you missed your 0:14:39.120 --> 0:14:41.920 best friend's weddings and birthdays and all this stuff because 0:14:41.920 --> 0:14:46.360 people don't even check anymore. People don't expect you to 0:14:46.560 --> 0:14:51.240 be there anymore. So you don't even count as a 0:14:51.240 --> 0:14:53.560 as a as a as an even like as a 0:14:53.640 --> 0:14:58.720 social opportunity. So so being here right now, it's it's 0:14:58.880 --> 0:15:01.200 very strange for us. 0:15:01.400 --> 0:15:04.640 Are those friends that you that that kind of would 0:15:04.680 --> 0:15:06.560 just be like, well, those guys are doing that thing, 0:15:07.200 --> 0:15:09.160 so we might might not invite them to the birthday 0:15:09.160 --> 0:15:11.240 part because that's probably on tour. Yeah, those types of 0:15:11.280 --> 0:15:14.920 people you've been now that you've been back for a 0:15:15.000 --> 0:15:17.320 year of they are you're all still friends. 0:15:17.440 --> 0:15:21.360 Yeah's birthday because it's called puts it a bit weird, 0:15:22.120 --> 0:15:24.560 Like I don't think we were still in contact. But 0:15:24.960 --> 0:15:28.680 they would all like, hey, I'm getting married, but you're 0:15:28.680 --> 0:15:31.360 going to be No, they were good like this. They 0:15:31.360 --> 0:15:34.800 were like I'm getting married and I see you're in America. 0:15:35.920 --> 0:15:40.120 Are You're like yeah, damn oh man. And it's been 0:15:40.160 --> 0:15:42.760 pretty much like that for twenty five years. But you're 0:15:42.800 --> 0:15:46.080 still friends. And then I mean because of the pandemic, 0:15:46.200 --> 0:15:49.160 it wasn't. Also it was we weren't allowed to all 0:15:49.200 --> 0:15:51.080 hang out all the time and stuff like that. So 0:15:51.680 --> 0:15:53.800 but we would go for walks now and you do 0:15:54.040 --> 0:15:58.760 different things. Another other thing is that so many people 0:15:58.840 --> 0:16:01.920 from a from a think from UK now and other 0:16:01.960 --> 0:16:07.440 places are moving to Ghent and we're rediscovering our city 0:16:07.520 --> 0:16:13.240 through them. Like one of our friends is living from London, 0:16:13.320 --> 0:16:15.920 is living here now for three years, and during the 0:16:15.920 --> 0:16:18.000 pandemic he was like, oh, you know where you can 0:16:18.040 --> 0:16:21.040 get really good this or second hand books? There's a 0:16:21.080 --> 0:16:22.440 place there a guy. 0:16:22.280 --> 0:16:25.600 And and like I'm like, I've. 0:16:25.440 --> 0:16:28.360 Walked past this for like my whole half of my 0:16:28.440 --> 0:16:32.640 life and I didn't know. So it also has benefits. 0:16:32.320 --> 0:16:36.240 And it's a fun thing to do because we've been 0:16:36.280 --> 0:16:39.920 in that like our friend's situation. We've been in his 0:16:40.000 --> 0:16:44.000 situation when we had girlfriends in London or New York 0:16:44.040 --> 0:16:47.640 where where they sort of rediscover their city through our eyes. 0:16:47.760 --> 0:16:49.680 Because for us it's all new. We're like, hey, what's 0:16:49.720 --> 0:16:51.040 that building, Hey what's this? 0:16:51.640 --> 0:16:54.040 That's so that is fun, but but being being the 0:16:54.120 --> 0:16:57.920 person who was who has grown up in Ghent and 0:16:57.920 --> 0:16:59.560 and then sort of being here for such a long 0:17:00.040 --> 0:17:05.440 stretch of time during COVID has been it has been yeah, strange, 0:17:05.480 --> 0:17:08.640 but not that strange. It's just been strange because we've 0:17:08.680 --> 0:17:12.479 been so incredibly busy this year that it's not like 0:17:12.520 --> 0:17:16.280 we you know, it's not like we've spent huge amounts 0:17:16.280 --> 0:17:18.600 of time outside of this particular bubble. 0:17:19.160 --> 0:17:22.000 Yesterday, because knowing that we were going to speak today, 0:17:22.080 --> 0:17:26.239 I rewatched part of the Weekend Never Dies, which is 0:17:26.560 --> 0:17:31.600 currently on Stephan's shaking his head there, what's the shake 0:17:31.720 --> 0:17:32.120 of that head? 0:17:32.640 --> 0:17:34.440 What does that mean? It just feels like. 0:17:36.160 --> 0:17:39.560 We we re released Night Versions and a couple of 0:17:39.600 --> 0:17:42.439 months ago, and we had to do interviews about it 0:17:42.480 --> 0:17:45.080 as well, and people would reference that movie all the time, 0:17:45.080 --> 0:17:48.520 with that documentary all the time, and I kind of 0:17:48.560 --> 0:17:51.400 find it weird now having gone through everything we've gone 0:17:51.400 --> 0:17:55.440 now in our lives, to go what how I mean, 0:17:55.880 --> 0:17:57.119 how are we all still alive? 0:17:58.680 --> 0:17:58.920 Yeah? 0:17:58.960 --> 0:18:02.520 Well that is like I'm like, wait, and then when 0:18:02.520 --> 0:18:08.280 you look at it, I feel the the non sleep, 0:18:09.000 --> 0:18:13.159 the a lot of anxiety, but I also feel a 0:18:13.200 --> 0:18:15.400 lot of partying, and I also feel a lot of 0:18:15.480 --> 0:18:20.399 like loudness, and it's like a really intense world that 0:18:20.640 --> 0:18:23.399 I think now, especially in COVID times is for a 0:18:23.480 --> 0:18:26.080 lot of people's gone maybe. 0:18:25.840 --> 0:18:27.480 Stale a little bit, it's not. 0:18:27.760 --> 0:18:30.520 Yeah, sure, And so when I watched a little bit 0:18:30.880 --> 0:18:32.680 a little bit when we're doing this interview, and I. 0:18:32.600 --> 0:18:35.119 Was like, oh, whoa wow. 0:18:34.840 --> 0:18:37.560 We've been going on like it's like a really fast car. 0:18:38.600 --> 0:18:39.960 Yeah yeah, really fast car. 0:18:40.600 --> 0:18:43.600 Well, it does still felt so the was the film 0:18:43.640 --> 0:18:46.600 released in two thousand and eight or two thousand and 0:18:47.119 --> 0:18:50.919 around that time, Ish, you guys don't know, let's say that, 0:18:51.000 --> 0:18:54.160 we'll say that. Let's say that it is, by the way, 0:18:54.160 --> 0:18:56.040 for anyone listening available, you can watch the whole thing 0:18:56.080 --> 0:18:59.840 on YouTube now. It's on your official channel, isn't it? 0:19:00.800 --> 0:19:02.480 Seven doesn't know, still shaking. 0:19:02.240 --> 0:19:04.920 His head but still not see it. 0:19:06.720 --> 0:19:09.239 Rewatching yesterday. There was a couple of things I did 0:19:09.320 --> 0:19:12.119 from it. One, it made me feel just super super 0:19:12.119 --> 0:19:15.560 nostalgic for that time and for the different artists that 0:19:15.600 --> 0:19:18.800 are talking on that film, Justice and busyp and all 0:19:18.840 --> 0:19:23.400 of those people, and the music of course. But yeah, 0:19:23.600 --> 0:19:27.359 as you say, like the editing on it really does 0:19:27.680 --> 0:19:31.560 communicate the craziness of that time, how wild it was, 0:19:31.800 --> 0:19:34.000 how much you were touring, you were just playing like 0:19:35.359 --> 0:19:39.160 you know, shows, every single night. For there's a part 0:19:39.160 --> 0:19:41.080 in the film I think, Stephan where you talk about 0:19:41.080 --> 0:19:42.800 how you get to it. By the time you've got 0:19:42.800 --> 0:19:44.840 to sound check to leaving the venue, you might have 0:19:44.920 --> 0:19:48.119 been there for thirteen hours or something ridiculous. Yeah, and 0:19:48.119 --> 0:19:50.480 then you'd go and do that the following day. At 0:19:50.480 --> 0:19:53.640 what point did you start to tone down that intensity 0:19:53.640 --> 0:19:57.560 of touring or have you it? Has it been COVID 0:19:57.600 --> 0:19:59.160 that's made you just stop. 0:20:00.280 --> 0:20:02.560 COVID's the one thing that's made us, of course, grind 0:20:02.600 --> 0:20:08.080 to a halt. But I think that really the answer 0:20:08.119 --> 0:20:11.720 to your question is this building. Like up until this building, 0:20:11.800 --> 0:20:14.160 it was it was sort of like that, and then 0:20:14.280 --> 0:20:19.280 gradually something's shifted in our heads because that that period 0:20:19.359 --> 0:20:21.639 of a part of the weekend never dies is a 0:20:21.640 --> 0:20:22.359 perfect example. 0:20:22.359 --> 0:20:23.280 It's like peak. 0:20:24.880 --> 0:20:29.080 Of peak, moment of the balance being tipped the other way, 0:20:29.119 --> 0:20:31.800 which is that we would be just gone most of 0:20:31.840 --> 0:20:35.359 the time and come back maybe for like four or 0:20:35.359 --> 0:20:39.920 five days too, you know, do your laundry and finish 0:20:39.960 --> 0:20:42.719 a real mob. Yeah, you see your parents, that that 0:20:42.840 --> 0:20:46.040 kind of thing, and then you'd be gone again. And 0:20:46.080 --> 0:20:49.280 I think gradually, since we built this building, and so 0:20:49.400 --> 0:20:51.920 the other thing I should actually mention is that in 0:20:51.960 --> 0:20:57.600 that period we that we didn't really leave much time 0:20:58.359 --> 0:21:03.560 to create a main, a main sort of thing that 0:21:03.600 --> 0:21:05.640 we were doing back then, other than a few remixes 0:21:05.680 --> 0:21:08.479 here and there, is we were just touring the world, 0:21:08.960 --> 0:21:11.840 and even though we were making new music to play live, 0:21:11.880 --> 0:21:14.199 we never we never released it, like it was just 0:21:14.440 --> 0:21:19.160 it was like an that was like an ongoing work 0:21:19.200 --> 0:21:23.120 of art, if you will. But what changes when when 0:21:23.160 --> 0:21:26.160 we built this building, we we grew into a lot 0:21:26.600 --> 0:21:31.520 more different state of productivity in that this opened our 0:21:32.000 --> 0:21:35.919 headspace to like, oh, wow, we can work with different 0:21:35.960 --> 0:21:38.720 kinds of people. We can we can take on jobs 0:21:38.760 --> 0:21:42.679 that we would maybe never do like a play or 0:21:42.920 --> 0:21:47.200 a film soundtrack or you know, like another crazy project 0:21:47.240 --> 0:21:50.520 that that we would never have time to do otherwise. 0:21:50.640 --> 0:21:54.080 And that it sort of came with the building. I mean, 0:21:54.520 --> 0:21:58.000 just prior to the building this building, we'd done another 0:21:58.040 --> 0:22:00.680 project called Radio Soax, where we did twenty four hours 0:22:00.680 --> 0:22:04.840 of music with visuals, and that sort of instigated that 0:22:04.840 --> 0:22:09.520 that sort of sense of instead of instead of the 0:22:09.600 --> 0:22:12.200 escapism that I was talking about earlier, which is about 0:22:12.280 --> 0:22:16.680 hiding in travel, we started to more hide in work 0:22:17.320 --> 0:22:19.920 and uh, and now we're in a similar state where 0:22:21.560 --> 0:22:24.080 we can we can still get away with not going 0:22:24.119 --> 0:22:27.959 to people's birthdays and weddings just because we're so busy 0:22:28.880 --> 0:22:31.960 in the studio, and that sort of started with radio. 0:22:31.960 --> 0:22:35.359 Soax, is it safe to say that your workaholics? 0:22:36.480 --> 0:22:38.480 Or are we afraid of or are we afraid of 0:22:38.880 --> 0:22:45.760 just what's looking in the mirror of going like the 0:22:45.840 --> 0:22:52.840 amateur psychologist, there's so much here now. But but it's 0:22:52.920 --> 0:22:55.480 it's a really good question because I never thought about it. 0:22:55.560 --> 0:22:59.520 But David's right, though we kept do like when you 0:22:59.640 --> 0:23:02.880 look at part of the weekend ever dies that intensity. 0:23:04.119 --> 0:23:07.360 I mean it did change a bit because that particular 0:23:07.440 --> 0:23:11.560 documentary talks about us playing as Solwaks but also DJing 0:23:11.840 --> 0:23:17.920 taking friends with us along super a long period of 0:23:18.160 --> 0:23:22.040 a couple of years of really constant touring. After that, 0:23:22.119 --> 0:23:24.920 I think also the world changed a little bit, like 0:23:25.040 --> 0:23:27.240 I think with what we did with night versions and 0:23:27.320 --> 0:23:31.440 as too many DJs kind of changed dance music and 0:23:31.760 --> 0:23:34.560 the way that people all of a sudden, a lot 0:23:34.600 --> 0:23:37.400 of teachers were playing rock festivals. It became the norm 0:23:37.720 --> 0:23:40.040 where I think at that point we were making a 0:23:40.080 --> 0:23:43.640 clear effort to play with as a live band, say, 0:23:43.720 --> 0:23:49.760 for instance, at Fabric, something that both LCD and have done. 0:23:49.760 --> 0:23:52.359 I think there was this idea of us of like 0:23:53.000 --> 0:23:56.800 what if we would can we have the same impact 0:23:57.040 --> 0:24:00.280 as a live band on an audience that comes just 0:24:00.320 --> 0:24:04.359 for clubbing, And I guess that was the thing that 0:24:04.440 --> 0:24:07.439 we achieved for ourselves and then it. 0:24:07.520 --> 0:24:08.280 Became the norm. 0:24:08.880 --> 0:24:11.160 And then we kind of wrote that wave a little 0:24:11.160 --> 0:24:14.680 bit because we're djaying a lot. And then but I 0:24:14.800 --> 0:24:18.840 think the intensity of us doing other stuff Radiosolax, the 0:24:19.520 --> 0:24:23.320 app all these other things, it was super big until 0:24:24.000 --> 0:24:27.920 we started building the building and then we kind of 0:24:28.000 --> 0:24:30.399 had to sit down here and think about, Okay, how 0:24:30.440 --> 0:24:31.680 are we going to do all these things and what 0:24:31.760 --> 0:24:35.040 are the things that we want to focus on and do. 0:24:35.640 --> 0:24:37.320 And the first things were like, we want to make 0:24:37.320 --> 0:24:41.640 a Sowax record again, we want to produce mix rite 0:24:41.760 --> 0:24:45.440 with other people, but let's make it into a manifest 0:24:45.520 --> 0:24:48.119 that if people come here, we have to work together 0:24:48.160 --> 0:24:51.440 and then release it. And that kind of calmed things 0:24:51.560 --> 0:24:55.080 down a little bit, and then the pandemic kind of 0:24:55.760 --> 0:24:59.639 made it go from zero two hundreds. All of a sudden, 0:24:59.720 --> 0:25:03.800 you're in the studio all the time, which has also 0:25:03.880 --> 0:25:06.000 been an amazing thing because that's never happened in the 0:25:06.080 --> 0:25:07.000 last twenty five years. 0:25:07.640 --> 0:25:10.600 I mean, you're completely right, Like music changed in that way, 0:25:10.840 --> 0:25:14.080 like as you say, loads of DJs would play rock 0:25:14.160 --> 0:25:17.880 festivals and things like that. Like a huge, huge part 0:25:17.920 --> 0:25:21.920 of that was the Too Many DJs album, that mix 0:25:22.720 --> 0:25:24.800 that came out when I was around twenty. You know, 0:25:24.880 --> 0:25:27.359 the Internet was around, but it wasn't like what it 0:25:27.520 --> 0:25:30.600 is now and people now talk about like we live 0:25:30.640 --> 0:25:33.440 in a post genre world where everybody likes everything, and 0:25:34.000 --> 0:25:36.720 but that record, I think is the thing was for 0:25:37.320 --> 0:25:39.600 certainly for a generation like that was a real starting 0:25:39.680 --> 0:25:43.280 point for that. I'm sure you guys are fully aware 0:25:43.280 --> 0:25:45.080 of that. And I'm not saying anything original here, but 0:25:45.240 --> 0:25:48.560 like at the time, did you were you aware of 0:25:48.640 --> 0:25:51.760 how original that mix was in doing that? 0:25:52.119 --> 0:25:54.600 Actually that No, Like I don't think we were aware 0:25:54.640 --> 0:25:58.119 of how uniqueaed it was. Yeah, but we saw the 0:25:58.160 --> 0:26:01.040 impact and it almost it Amos grew to a point 0:26:01.080 --> 0:26:04.920 where because that the impact of that record, because it 0:26:04.960 --> 0:26:06.880 came out in two thousand and two, but that lasted 0:26:07.000 --> 0:26:09.399 till about two thousand and five, and so during that 0:26:09.520 --> 0:26:14.920 whole period, I think we were we were we grew 0:26:15.040 --> 0:26:19.640 to be aware of that there was something special about 0:26:19.680 --> 0:26:22.399 what we were doing, but initially no. But what did 0:26:22.480 --> 0:26:24.399 happen is after maybe a year and a half, it 0:26:24.560 --> 0:26:27.440 felt like it was out of our hands like that, 0:26:27.680 --> 0:26:29.520 like the record was living its own life. 0:26:29.600 --> 0:26:34.080 Yeah, well it's like it Yeah, it wasn't like it 0:26:34.240 --> 0:26:36.720 was ours and we were linked to it, but it 0:26:36.840 --> 0:26:40.439 became another monster. It's like it's like you can detach 0:26:40.520 --> 0:26:43.320 yourself from it. But I guess to come back to 0:26:43.440 --> 0:26:48.639 your to your question, we we didn't the impact of 0:26:48.680 --> 0:26:53.119 the album, no, but before that it all because it 0:26:53.240 --> 0:26:55.960 all begins with us playing as Solwax as an indie 0:26:56.080 --> 0:26:58.040 rock band, and we were playing a lot in the 0:26:58.160 --> 0:27:02.720 UK and we got that hang out with Errol really 0:27:02.800 --> 0:27:05.320 because it just came to us after we played a 0:27:05.440 --> 0:27:08.840 show with the Dandy Warhols, I think, and he was like, 0:27:08.920 --> 0:27:11.720 we would come play trash and we did it. We 0:27:11.800 --> 0:27:15.000 had exactly the same records in our boxes, which was 0:27:15.359 --> 0:27:19.119 a little bit weird because like this guy has n 0:27:19.440 --> 0:27:24.359 window liquor and rolling and scratching and motorhead asa spades. 0:27:24.560 --> 0:27:26.840 It's a bit with this, you know, like there was 0:27:26.920 --> 0:27:31.320 like similarities that were like uh, And so we started 0:27:31.359 --> 0:27:36.119 making these mixes for ourselves, just to play out and 0:27:36.520 --> 0:27:39.639 to make a long story short. The thing where you 0:27:39.800 --> 0:27:41.320 know is something that's happened is that we would go 0:27:41.400 --> 0:27:46.280 to rough Trade with Errol and we would look to 0:27:46.359 --> 0:27:48.920 the records and there'd be some randomly and our guy 0:27:48.960 --> 0:27:50.800 coming in and go like, oh my god, I heard 0:27:50.840 --> 0:27:54.639 this mix on XFM or something. I need it, And 0:27:54.800 --> 0:27:57.160 the guys like, I have no idea what you talked about, mate, 0:27:57.240 --> 0:27:59.480 I mean what is this And Errol Dave, I mean 0:27:59.520 --> 0:28:03.120 look at it, go like, yeah, it's ours, like completely 0:28:03.240 --> 0:28:06.560 like and you could see that through the Internet and 0:28:06.680 --> 0:28:08.879 through the fact that we were making these things, playing 0:28:08.960 --> 0:28:14.080 them the the speed of it. There was no need 0:28:14.200 --> 0:28:17.480 for like a record company or like all all the 0:28:17.560 --> 0:28:21.320 whole system that we still till today fight against. I 0:28:21.400 --> 0:28:25.000 think that was gone. We found we found a way 0:28:25.119 --> 0:28:27.239 to go direct it to people and to go make 0:28:27.320 --> 0:28:30.960 them blow their minds. And I guess that's we we 0:28:31.119 --> 0:28:34.159 understood the impact of that. That was something. And then 0:28:34.200 --> 0:28:35.800 when PS came up to us and they were like, oh, 0:28:36.000 --> 0:28:39.120 we should do the mix album. I actually remember DA 0:28:39.120 --> 0:28:42.320 even me saying, come on, it's old. We've done it, 0:28:42.440 --> 0:28:44.480 you know, Like it's like we've done this part for 0:28:44.560 --> 0:28:47.160 the last two years, and then they'll be like, yeah, 0:28:47.160 --> 0:28:48.960 we're gonna try and clear some tracks. And then it 0:28:49.040 --> 0:28:51.080 came back with a list and we were like, wait, 0:28:51.400 --> 0:28:55.520 you got the sturges in the valvel the underground, Okay, And. 0:28:55.640 --> 0:28:57.800 At that point you've got to put it out. You're like, yeah, 0:28:59.480 --> 0:29:00.120 down to what. 0:29:00.160 --> 0:29:02.840 They could get. We were like, oh oh, and I 0:29:02.920 --> 0:29:05.600 guess that's where I go. Where a lot of that started. 0:29:06.200 --> 0:29:10.240 And then something where it happens is when people start 0:29:10.320 --> 0:29:12.440 to really freak out about the record. And the way 0:29:12.520 --> 0:29:15.479 that people reacted to us DJing was a little bit 0:29:15.520 --> 0:29:18.800 similar to like going to see, for lack of a 0:29:18.840 --> 0:29:22.840 better reference, a Simpultura show. Like we would play and 0:29:23.000 --> 0:29:26.360 people would stage dive, they'd be like stage invasions, people 0:29:26.400 --> 0:29:29.720 would lose their minds. I remember reading and leads where 0:29:30.160 --> 0:29:32.520 people were climbing up and then and it was like 0:29:33.080 --> 0:29:35.920 like literally mayhem, and it was like a rock concert. 0:29:36.000 --> 0:29:38.680 They were like this like a proper concert. And that's 0:29:38.720 --> 0:29:42.680 where I think a lot of promoters who were completely 0:29:42.800 --> 0:29:45.320 not into dance music all of a sudden went, oh, 0:29:45.440 --> 0:29:48.800 but these guys can play after the White Stripes or 0:29:49.200 --> 0:29:52.240 Depeche Mode or any headliner. They can do this, and 0:29:52.360 --> 0:29:53.080 that's where a lot. 0:29:53.040 --> 0:29:53.640 Of that happens. 0:29:54.120 --> 0:29:57.880 It becomes like the ultimate after party for a rock show, 0:29:58.240 --> 0:30:05.239 essentially the cheapest have and it's the that's true, I mean, 0:30:05.600 --> 0:30:08.760 but because that project, because you guys started I'm right, 0:30:09.120 --> 0:30:11.920 I think in saying that you started djaying because after 0:30:12.240 --> 0:30:16.000 the band would play, you'd want to like do something. 0:30:16.040 --> 0:30:17.760 You'd be in a city somewhere and you'd be like, 0:30:17.800 --> 0:30:19.640 I want to go out, so you'd go to clubs 0:30:20.000 --> 0:30:21.880 and then you'd start DJing in those clubs, and it 0:30:22.040 --> 0:30:25.320 kind of happens almost through boredom, like you're a band 0:30:25.680 --> 0:30:28.520 and then you start djaying because it's what happens. 0:30:28.240 --> 0:30:29.800 What can happen after a show. 0:30:30.080 --> 0:30:32.960 So when you're at reading, for example, and you're you're 0:30:33.040 --> 0:30:36.080 playing as too many DJs and that records like on 0:30:36.280 --> 0:30:39.760 fire and everyone's loving it, are you kind of thinking 0:30:40.880 --> 0:30:44.240 this is kind of ridiculous because this is our hobby. 0:30:44.400 --> 0:30:47.080 This is like a hobby to the to the band, 0:30:47.280 --> 0:30:47.440 you know. 0:30:47.600 --> 0:30:53.480 Yeah, there was some super surreal instances where we would 0:30:53.520 --> 0:30:59.400 tour with with LCD because we'd become friends with them. 0:31:00.800 --> 0:31:04.840 Nancy was my girlfriend, so we would constantly play together. 0:31:04.920 --> 0:31:07.000 We would make an effort that too many DJs would play, 0:31:07.200 --> 0:31:09.840 an LCD would play, and LCD would sometimes play like 0:31:09.960 --> 0:31:14.760 the smaller tent in the festival because there was starting 0:31:14.800 --> 0:31:17.360 out and then Dave and me were like head letting 0:31:17.480 --> 0:31:19.960 the dance plays or something or like another tent. And 0:31:20.040 --> 0:31:22.440 it happened a couple of times that we were supposed 0:31:22.480 --> 0:31:24.960 to play at the same stage and then the promoter's like, no, no, no, 0:31:25.840 --> 0:31:29.320 too many have to finish off on the main stage. 0:31:29.920 --> 0:31:32.400 And we'd be like, are you insane, and they're like, yeah, no, 0:31:32.560 --> 0:31:34.640 you have to do it. And so a couple of instances, 0:31:34.720 --> 0:31:38.720 I remember we'd be in front of like fifty thousand 0:31:38.800 --> 0:31:44.120 people with just two turntables and then like James and 0:31:44.200 --> 0:31:48.320 Nancy and everyone being our dancers on stage, and then 0:31:48.400 --> 0:31:50.600 like it was like the weirdest thing, you know, like 0:31:50.760 --> 0:31:51.600 and people. 0:31:51.360 --> 0:31:51.880 Would love it. 0:31:52.000 --> 0:31:57.120 They totally got it. But it was a weird world 0:31:57.240 --> 0:32:03.160 where I think we yeah it over. It's hard to explain. 0:32:03.680 --> 0:32:06.520 I think for a very long I was just trying 0:32:06.520 --> 0:32:08.120 to while stuff are saying this. I was trying to 0:32:08.160 --> 0:32:11.280 think until when, But I think it's until now. 0:32:11.760 --> 0:32:14.160 James and Tyler were the Eclectic Dance Troupe. 0:32:14.560 --> 0:32:16.320 That's when he was dancing. No, but I was trying 0:32:16.320 --> 0:32:19.040 to think of like when it became normal, because it 0:32:19.560 --> 0:32:22.880 had like what you were describing, yes, one hundred percent. 0:32:23.000 --> 0:32:24.760 We were saying it in interviews also like we were like, 0:32:24.840 --> 0:32:26.760 we don't understand it's it's like we're living in a 0:32:26.800 --> 0:32:32.640 science fiction movie where people's values have just gone upside down. 0:32:32.800 --> 0:32:37.040 Like we we would we were. 0:32:38.400 --> 0:32:41.400 We understood how it worked before. We understood that you 0:32:41.480 --> 0:32:43.160 had to play small clubs and then maybe a bigger 0:32:43.200 --> 0:32:44.960 venue and then you you know, get some radio play. 0:32:45.080 --> 0:32:48.640 Like we understood how that worked, and we didn't understand 0:32:49.000 --> 0:32:53.840 what was happening to us in for I mean, it's 0:32:53.840 --> 0:32:55.680 silly to say now the dance world because that it 0:32:55.760 --> 0:33:00.280 doesn't it doesn't. That division doesn't even existing more. We've 0:33:00.320 --> 0:33:02.560 were talking about rock festivals. They don't exist anymore, like 0:33:02.640 --> 0:33:04.760 it's a festival, just a festival, and they have everything. 0:33:05.200 --> 0:33:10.400 But but back then there was this division. And what 0:33:10.640 --> 0:33:14.320 was very clear is that the the dance side of 0:33:14.560 --> 0:33:17.640 of the of the industry or the music world was 0:33:17.720 --> 0:33:20.840 really embracing us in such a way that was so insane, 0:33:21.480 --> 0:33:27.400 and we were we were suddenly living this ab like 0:33:27.800 --> 0:33:31.800 upside down world. That's and and while Steph was uttering this, 0:33:32.360 --> 0:33:34.120 I was trying to think, like, oh, well when I 0:33:34.200 --> 0:33:37.400 remember thinking this vividly and when did it end? But 0:33:37.640 --> 0:33:39.920 I don't really think. It's like I think still to 0:33:40.000 --> 0:33:44.840 this day, the amount of importance that's being given to 0:33:45.000 --> 0:33:48.719 djaying and we feel comfortable saying this because we're DJs, 0:33:49.360 --> 0:33:55.160 is is it's it's it doesn't merit the it's like 0:33:55.480 --> 0:33:57.920 we're giving the the the amount of value that we're 0:33:57.920 --> 0:34:00.240 putting on on the act of DJing, even though it's cool, 0:34:00.280 --> 0:34:03.520 we love doing it, it's amazing, it's it's a it's 0:34:03.720 --> 0:34:07.400 a real you know, it's a source of joy and pleasure. 0:34:08.640 --> 0:34:13.600 But we are putting so much importance, and not only 0:34:13.719 --> 0:34:17.600 in terms of value culturally, but like financially, it's it's 0:34:17.680 --> 0:34:18.280 just insane. 0:34:18.400 --> 0:34:19.880 It's also I think for a lot of people it 0:34:19.960 --> 0:34:25.120 becomes a singular part of their art, so you're just 0:34:25.239 --> 0:34:29.760 the DJ and I guess for us, And that's another 0:34:29.840 --> 0:34:33.640 thing I wanted to because it's it's really weird. Also, 0:34:33.680 --> 0:34:37.120 but we never talk about these things unless it's second interview, 0:34:37.200 --> 0:34:40.759 So something like this, but what It's also very clear 0:34:40.800 --> 0:34:44.360 for me is like at say like four festivals in 0:34:45.040 --> 0:34:47.400 they even me start to go, oh, wait a minute, 0:34:49.360 --> 0:34:51.920 if we play this track on this speed, or we 0:34:52.080 --> 0:34:55.600 do this, or we have I don't know, the gossip 0:34:56.160 --> 0:34:58.400 standing in a way of like we we need to 0:34:59.000 --> 0:35:02.239 use this and this and this. Our remixes or some 0:35:02.400 --> 0:35:05.839 of the stuff that we've done from then on are 0:35:06.000 --> 0:35:09.359 influenced by what we what we saw happening in front 0:35:09.400 --> 0:35:11.920 of our faces when we were playing these big audiences. 0:35:12.480 --> 0:35:14.960 So it did we did take that and use it 0:35:15.040 --> 0:35:17.799 for something else. And I think what Davis talking about 0:35:17.840 --> 0:35:20.359 is that there's a world now where I think people 0:35:21.800 --> 0:35:24.840 this this world of DJing, it's just that it's just 0:35:25.600 --> 0:35:27.759 and I guess for us it was a way of 0:35:27.920 --> 0:35:29.480 having a direct. 0:35:31.440 --> 0:35:36.719 A direct view on how people react to what you make. 0:35:38.280 --> 0:35:40.759 You kind there was kind of more of a feedback 0:35:40.880 --> 0:35:44.000 loop between what you'd play out. You'd then go away 0:35:44.040 --> 0:35:45.160 and you'd adjust it before you. 0:35:46.440 --> 0:35:48.399 One hundred percent, and there would be a radio show 0:35:48.440 --> 0:35:51.200 that we could do maybe two weeks or three weeks later, 0:35:51.200 --> 0:35:53.080 where we could then play that track and then somebody 0:35:53.120 --> 0:35:55.759 would like have downloaded it and stuff like that, and 0:35:55.920 --> 0:36:02.239 and that's that's where it becomes that whole instantaneous. This 0:36:02.400 --> 0:36:04.799 is before Instagram and I think Facebook and a lot 0:36:04.800 --> 0:36:08.640 of that stuff. Was it just yeah, it was really 0:36:08.680 --> 0:36:14.520 exciting for us. The record companies were completely caught out 0:36:14.640 --> 0:36:17.680 because we were way faster than them in every on 0:36:18.000 --> 0:36:21.560 every level, the audience, us, even the artists that we 0:36:21.600 --> 0:36:22.200 would remix. 0:36:22.520 --> 0:36:26.319 There's a line actually in the film that James Murphy says, 0:36:26.880 --> 0:36:29.160 what you were just saying. Then Dave reminded me of 0:36:29.719 --> 0:36:32.520 where he says that every DJ, he feels every DJ 0:36:32.640 --> 0:36:34.360 should go and tour as a punk band for a 0:36:34.640 --> 0:36:39.279 year because he feels that DJing is up there with 0:36:39.400 --> 0:36:44.759 one of the most ludicrously paid compared to workload things 0:36:44.920 --> 0:36:47.680 along with and he compares it to being a games game. 0:36:49.800 --> 0:36:54.280 I mean, listen, we're called too many DJs, so it's it's. 0:36:54.239 --> 0:36:59.560 We still does anyone beat any and we feel like 0:36:59.600 --> 0:36:59.960 it's a true. 0:37:00.719 --> 0:37:03.480 But the weird thing is that over over us a 0:37:03.719 --> 0:37:08.920 twenty year span of time, we we have appreciated, like 0:37:09.080 --> 0:37:11.360 I can be honest, like I when we started djaying, 0:37:12.120 --> 0:37:16.560 I had I had no DJ heroes. I had know 0:37:16.719 --> 0:37:17.279 like it did. 0:37:17.400 --> 0:37:18.279 It wasn't like. 0:37:21.040 --> 0:37:27.000 Like the the act of djaying to it was something 0:37:27.080 --> 0:37:29.080 that we of course had been around all of our lives, 0:37:29.120 --> 0:37:31.560 because our dad was one, and we'd been around the radio, 0:37:31.719 --> 0:37:35.120 and we'd been around club culture and dance music our 0:37:35.160 --> 0:37:39.760 whole lives. But I think the reason why it lasted 0:37:39.800 --> 0:37:43.440 for so long is because we had zero respect for it. 0:37:44.040 --> 0:37:46.960 That's right, I think. I think if you really care 0:37:47.040 --> 0:37:51.520 about it, you start to make choices based around it, 0:37:51.920 --> 0:37:56.640 and and we have had very little. 0:37:57.080 --> 0:37:58.840 We we we had no. 0:38:01.040 --> 0:38:04.680 Awareness of any of the rules that, by the way, 0:38:04.800 --> 0:38:08.680 are no rules. So we just played loose by the 0:38:08.719 --> 0:38:12.320 Stooges and then went straight into a techno track and 0:38:12.400 --> 0:38:16.000 we were like, yeah, that's exactly the same vibe and 0:38:16.360 --> 0:38:17.400 it's connected with people. 0:38:17.920 --> 0:38:20.320 But it's so crazy that we're even life with it. 0:38:20.760 --> 0:38:21.480 It's another thing. 0:38:21.760 --> 0:38:23.520 Look, it's like the fact that we're even saying this, 0:38:23.640 --> 0:38:25.480 and then it sounds like as if it was like 0:38:25.600 --> 0:38:30.160 everyone does that now, like everyone, but it felt strange then. 0:38:30.360 --> 0:38:32.520 But the weird thing is like we were doing it 0:38:32.600 --> 0:38:35.640 at that time, there was like maybe two hundred people 0:38:35.680 --> 0:38:41.080 there and one hundred and eighty five hated us, yeah, 0:38:41.360 --> 0:38:47.840 but fifteen really liked us. And I think we're a 0:38:47.920 --> 0:38:50.440 little bit. I don't know, like maybe we are a 0:38:50.520 --> 0:38:55.280 bit we kind of like being friends with those fifteen 0:38:55.320 --> 0:38:57.880 guys and we don't care about the other hundred and 0:38:58.000 --> 0:38:59.960 eighty five who didn't wanted to hear Cruder and Dorf 0:39:00.320 --> 0:39:04.279 three And it's okay, but we just yeah, it wasn't 0:39:04.280 --> 0:39:04.799 in our world. 0:39:06.000 --> 0:39:10.600 Have you two always shared tastes quite quite neatly, like 0:39:10.800 --> 0:39:14.279 you know when just in terms of not necessarily the 0:39:14.360 --> 0:39:17.560 too many DJ tracks that you selected, but just just 0:39:17.840 --> 0:39:20.320 growing up, did you enjoy the same music? Did you 0:39:20.400 --> 0:39:21.680 have the same reference points? 0:39:21.719 --> 0:39:22.920 Did you or did you? 0:39:23.160 --> 0:39:26.200 Were you brothers that? Because my brother I'm younger than 0:39:26.200 --> 0:39:29.040 my brother and we are polar opposites in our tastes. 0:39:29.080 --> 0:39:30.800 We have how many years do what you do? 0:39:31.120 --> 0:39:33.840 How many years? Two years? Two years? So we have 0:39:33.960 --> 0:39:35.239 five so between us. 0:39:35.520 --> 0:39:38.160 Okay, I'll take this because I think this is it's 0:39:38.160 --> 0:39:41.719 important for me to point this out, is that I 0:39:41.880 --> 0:39:45.000 am I'm five years younger and Steph, which means when 0:39:45.000 --> 0:39:47.960 I'm Tenny's fifteen, when I'm twelvey seventeen, when I'm fourteen 0:39:48.040 --> 0:39:50.399 years like, that's it. He lives in a different world. 0:39:50.400 --> 0:39:50.799 Big gap. 0:39:50.920 --> 0:39:54.200 Yeah, it's a big gap. Which means that. And also 0:39:54.600 --> 0:39:58.480 we grew up in a house with our dad being 0:39:58.520 --> 0:40:01.680 a DJ and and our mom sort of being the 0:40:01.800 --> 0:40:04.759 real music fan of the of that couple, so she 0:40:05.040 --> 0:40:10.040 was quite often going through the records that he was 0:40:10.080 --> 0:40:16.040 sent and compiling them for his radio shows. So in 0:40:16.160 --> 0:40:19.520 a household with three people who were very much involved 0:40:19.560 --> 0:40:22.600 in music, I think for me it wasn't until the 0:40:22.640 --> 0:40:25.960 age of maybe fifteen or sixteen that music became a thing. 0:40:26.840 --> 0:40:30.279 And up until that point, for Steph, very early on, 0:40:30.360 --> 0:40:33.280 I once say age seven, he was already like obsessed 0:40:33.480 --> 0:40:39.800 with everything in music, And a lot of my musical upbringing, 0:40:39.840 --> 0:40:43.920 if you will, comes from Steph and his friends, five 0:40:44.000 --> 0:40:49.359 year old gang of people and what they like. When 0:40:49.400 --> 0:40:51.960 Steph went through his deaf jam period, I went through 0:40:52.000 --> 0:40:56.080 my deaf jam period when I mean when Steph goes 0:40:56.120 --> 0:40:58.799 to London and buys pump up the Volume by Mars 0:40:59.400 --> 0:41:02.080 I listened to would extend because my my door, the 0:41:02.880 --> 0:41:04.799 we share we didn't share a room, but like there 0:41:04.880 --> 0:41:06.960 was like one door dividing our rooms. When he was 0:41:06.960 --> 0:41:09.880 blasting music, I was hearing it. So that so a 0:41:09.960 --> 0:41:13.000 lot of this when whenever whatever period Steph went through, 0:41:14.600 --> 0:41:19.560 I was very much exposed to it. And Steph and 0:41:19.600 --> 0:41:23.200 I are very very different people, like the way we 0:41:23.640 --> 0:41:25.560 the way we go through life and the way we 0:41:25.680 --> 0:41:28.359 deal with problems or the way we deal with people's 0:41:28.600 --> 0:41:32.960 extremely different. But if there's one thing that we almost 0:41:33.080 --> 0:41:37.319 always agree on, it's that that you point out, it's 0:41:37.400 --> 0:41:41.200 the taste in in sort of in music. And and 0:41:41.640 --> 0:41:44.920 I doubt that it would be the same if I 0:41:45.040 --> 0:41:50.120 hadn't been exposed to like whatever ten years of his 0:41:51.040 --> 0:41:55.320 musical journey from such a close because. 0:41:55.200 --> 0:41:58.480 Dave's the first first rack was a Roland red soup 0:41:58.520 --> 0:42:02.480 star rat wrapping. 0:42:02.600 --> 0:42:03.800 But interestingly who bought it? 0:42:05.680 --> 0:42:09.560 I bought it for him? How how how O would 0:42:09.560 --> 0:42:10.080 you have been? Like? 0:42:10.200 --> 0:42:11.439 When I was ten? Ten? 0:42:11.960 --> 0:42:14.840 Was Steph like my brother will like this. 0:42:15.160 --> 0:42:18.800 Steph was really into simple minds and he and and 0:42:19.000 --> 0:42:23.879 uh and he he bought the roll because we good 0:42:23.920 --> 0:42:31.400 friend of our parents was a Belgian, asked juwardous and 0:42:31.560 --> 0:42:35.000 she'd married a guy in Birmingham and we we was 0:42:35.080 --> 0:42:38.040 sometimes sent to like spend a week in Birmingham and 0:42:38.200 --> 0:42:41.080 hang out, you know there. And I remember I was 0:42:41.120 --> 0:42:44.080 ten and I discovered rolland rapt and I loved like. 0:42:44.440 --> 0:42:46.799 Well, I loved it. He loved watching it on TV. 0:42:46.960 --> 0:42:48.440 So remember when that Racord came out, I was like, 0:42:48.480 --> 0:42:50.600 I gotta buy this, and Steph bought me the twelve inch. 0:42:50.680 --> 0:42:52.880 Jave's got to have the twelve inch of this. I mean, 0:42:53.120 --> 0:42:55.200 you have you still have? You still got it? Yeah? 0:42:56.920 --> 0:42:59.960 See, that's one of those records that I was completely wrong. 0:43:00.120 --> 0:43:05.640 Now it's so politically incorrect, but I mean, but for him, 0:43:05.680 --> 0:43:10.000 it was like this, yeah, so yeah, that's it's good. 0:43:10.040 --> 0:43:11.520 It's they've explained it really well. 0:43:11.560 --> 0:43:14.600 I think at the time it was so innocent. Rat 0:43:14.680 --> 0:43:16.799 rapping there's so many things. 0:43:17.640 --> 0:43:21.000 I mean, I was aware of of of it being 0:43:22.520 --> 0:43:26.600 knaf is the word, I guess, but he was who 0:43:26.760 --> 0:43:33.279 was the other character that Kevin? Kevin does Kevin the 0:43:33.360 --> 0:43:35.800 Gerbil have a Does he have a firse on rat rapping? 0:43:36.800 --> 0:43:38.640 I think he does, But but there's I think on 0:43:38.760 --> 0:43:40.120 the b side he has his own song. 0:43:40.920 --> 0:43:44.600 Okay, right, I guess it's. 0:43:45.080 --> 0:43:49.440 The equivalent of people when they grow up now who 0:43:49.480 --> 0:43:52.640 would say that they got to compare the Mirkat Doll? 0:43:53.520 --> 0:43:58.799 Remember that. I feel like that's what we're living in now. 0:44:03.480 --> 0:44:05.279 How are you guys doing? For time? I realized that 0:44:05.400 --> 0:44:09.040 we're like we're good. We're good. We're good for now. Cool. 0:44:10.520 --> 0:44:12.400 One thing I wanted to ask you about was d 0:44:12.520 --> 0:44:15.880 wee t V. Mm hmmm, what can you tell me 0:44:15.920 --> 0:44:19.000 about the wee t V? It's coming early May? 0:44:19.200 --> 0:44:22.840 Right, Yeah, we're actually when you're asking us, do you 0:44:22.840 --> 0:44:24.680 we are we good for time? That's the thing that 0:44:24.719 --> 0:44:28.480 we're going to go back to when we're recording some 0:44:28.600 --> 0:44:32.640 stuff right next door. I don't know if you can see. 0:44:33.040 --> 0:44:36.279 Ye oh, okay, that's like this is that the set 0:44:36.400 --> 0:44:41.520 that's like the the show set, studio interviews. Okay, I 0:44:41.600 --> 0:44:42.840 can see yeah, yeah, yeah, So. 0:44:42.920 --> 0:44:47.239 This idea, this idea of dv TV. I think this 0:44:47.360 --> 0:44:49.520 idea of TV. Yes, it's really annoying. 0:44:49.800 --> 0:44:54.440 Microphone, it's a bit weird, but not hearing yourself. We 0:44:54.760 --> 0:44:58.880 got asked to do live streams, and I guess, like 0:44:59.000 --> 0:45:01.480 every artist in this pandemics like, oh could you live 0:45:01.520 --> 0:45:06.320 stream this? So that we just weren't feeling the live streams. 0:45:06.360 --> 0:45:09.759 We're like, nah, it's a bit weird. And then I 0:45:09.840 --> 0:45:13.360 think when because they go here, let's do the do 0:45:13.560 --> 0:45:16.480 the compilation, they were like, but could you show the 0:45:16.960 --> 0:45:22.920 studio to people? And then we've already we've always had 0:45:22.920 --> 0:45:24.320 this thing in our head, like, hey, why don't we 0:45:24.440 --> 0:45:27.120 just make like TV like the way that we would 0:45:27.120 --> 0:45:31.120 want to make it, you know, like as a zapping 0:45:31.200 --> 0:45:34.640 experience but just like our world. And that's a little 0:45:34.680 --> 0:45:38.080 bit what we're trying to do. And we're we're taking 0:45:38.120 --> 0:45:41.160 it way too serious, are we. 0:45:41.280 --> 0:45:43.480 I mean, I'm sad that we've never we never got 0:45:43.560 --> 0:45:45.520 it was never part of British culture to have public 0:45:45.600 --> 0:45:47.520 access TV like they had in the States. 0:45:48.000 --> 0:45:51.600 It would be it's honestly okay, but I don't know 0:45:51.640 --> 0:45:53.840 if I can say this. There is public We have 0:45:53.920 --> 0:45:56.839 public TV in Belgium and it's reach. It's a bit 0:45:56.960 --> 0:46:00.880 like you would have, don't you have like York Yorkshire 0:46:01.239 --> 0:46:03.800 to BBC Yorkshire, you would have the West Midlands, so 0:46:03.840 --> 0:46:06.720 you would have you have like different areas of like BBC. 0:46:07.719 --> 0:46:10.080 We have a little bit of that, but it's it's 0:46:10.080 --> 0:46:11.680 not as it's not as. 0:46:14.080 --> 0:46:17.120 It's not TV Party in the in New York where 0:46:17.120 --> 0:46:19.279 it's amazing where you have like one hour of just 0:46:19.400 --> 0:46:24.200 like the crazy stuff. Honestly, it's been number one on 0:46:24.239 --> 0:46:25.800 our list because it's the thing that we wanted to do, 0:46:25.960 --> 0:46:28.680 but of course, with everything that's going on, we kind 0:46:28.680 --> 0:46:30.800 of want to manipulate it a little bit and control it, 0:46:31.200 --> 0:46:33.560 but it would be our ultimate dream to just err 0:46:33.600 --> 0:46:38.080 it on the regional channel and just have some old 0:46:38.080 --> 0:46:39.960 people look at it and go like what is this? 0:46:41.360 --> 0:46:43.640 So that also, I think one thing that we we 0:46:43.719 --> 0:46:47.919 should we should probably point out that to avoid people 0:46:48.000 --> 0:46:52.000 getting wrong expectations. It's not like that they've taken down 0:46:52.040 --> 0:46:54.480 the expectations. It's not like a long form thing. I 0:46:54.560 --> 0:46:56.800 think in this day and age, we're quite aware that 0:46:58.400 --> 0:47:02.719 the people's attention span is even shorter than what you know, 0:47:02.760 --> 0:47:07.759 we were talking about radio soaks earlier. So so it's 0:47:07.800 --> 0:47:11.000 going to be like a switching channels experience where you 0:47:11.120 --> 0:47:13.560 like just going from one thing to the other and 0:47:14.080 --> 0:47:17.799 very on like very short bits as opposed to one 0:47:17.880 --> 0:47:20.520 sort of like an hour long stream. And that's I 0:47:20.600 --> 0:47:22.399 think because you know, we live in a time where 0:47:23.800 --> 0:47:26.040 either you go all the way and you do a 0:47:26.239 --> 0:47:27.239 one topic. 0:47:28.400 --> 0:47:34.560 Deep dive it's called a podcast, yeah, or or you make. 0:47:34.520 --> 0:47:37.520 A thing that's sort of that stays visually exciting and 0:47:38.160 --> 0:47:40.279 has you know, has. 0:47:40.320 --> 0:47:41.960 A short detention spend like us. 0:47:42.360 --> 0:47:45.680 You're going to have an interview with faruk Ganji, right, 0:47:46.160 --> 0:47:46.719 have you done that? 0:47:46.920 --> 0:47:49.840 Well, no, that's actually that's it's a it's something that 0:47:49.920 --> 0:47:54.279 we have had for five years and we released an 0:47:54.320 --> 0:47:56.680 exhibition on it. Yeah, we we We did a small 0:47:56.719 --> 0:48:02.520 exhibition maybe five years ago in Paris about our cool 0:48:02.840 --> 0:48:07.040 Abitha collection and that's been like an ongoing thing because 0:48:07.280 --> 0:48:09.960 it grows and sometimes it'll do like a big exhibition though, 0:48:10.200 --> 0:48:12.560 and we'll lend some of our collection. 0:48:12.880 --> 0:48:15.800 Maybe it's good to explain to people because it's like 0:48:16.320 --> 0:48:19.440 it sounds a bit we're our collection, but I think 0:48:19.960 --> 0:48:22.920 something that's very part of this building because we never 0:48:22.960 --> 0:48:25.520 really got into it, but one floor in the building 0:48:25.960 --> 0:48:29.520 has our books, another floor has our record collection, and 0:48:30.440 --> 0:48:31.960 I guess what we wanted to do with the building 0:48:32.160 --> 0:48:34.640 was to house all the things that we've been collecting 0:48:34.719 --> 0:48:37.560 over the years, because it looks impressive now, but it's 0:48:37.640 --> 0:48:40.719 stuff that we've been doing for twenty to thirty years. 0:48:41.280 --> 0:48:43.080 And one of those things is to say when we 0:48:43.160 --> 0:48:47.759 would go to Ibitha, we completely didn't fit in with 0:48:48.000 --> 0:48:51.560 the ibitha esthetic or the or the whatever was going 0:48:51.600 --> 0:48:53.719 on when we were being booked a safe from two 0:48:53.719 --> 0:48:56.000 thousand and none. And then we would start to dig 0:48:56.080 --> 0:48:58.400 into the history of Ibitha and we would all of 0:48:58.440 --> 0:49:02.120 a sudden discover things that were interesting and we'd be like, oh, 0:49:02.160 --> 0:49:02.560 what is this? 0:49:02.719 --> 0:49:03.719 What? Wait? What what? 0:49:04.360 --> 0:49:07.320 And so whenever we would go to Ibitha, Dave and 0:49:07.400 --> 0:49:09.680 me would start calling people who would live their their 0:49:09.719 --> 0:49:13.000 whole lives and started collecting posters and getting into who 0:49:13.080 --> 0:49:14.080 was making the graphic design. 0:49:14.560 --> 0:49:14.799 And so. 0:49:16.719 --> 0:49:19.960 This whole Farrook thing was something that we would do 0:49:20.160 --> 0:49:24.080 whenever we would go and play Pasha or ibetha Rock 0:49:24.160 --> 0:49:26.839 so something like that. You would be there, we'd be like, hey, 0:49:27.239 --> 0:49:29.680 can we interview you about the times? And he would 0:49:29.680 --> 0:49:30.960 be the yeah, and I have an old friend there 0:49:31.040 --> 0:49:34.239 and we would drive and then like, I still have 0:49:34.320 --> 0:49:37.280 a poster? Could we all this stuff? Like it's something 0:49:37.360 --> 0:49:40.680 it's work of like years and years and years and 0:49:41.200 --> 0:49:45.040 and so what we started with the studio We're building 0:49:45.239 --> 0:49:48.640 Dewey Hill Studio where they were always like, oh, well 0:49:48.680 --> 0:49:50.400 we come to your studio. It's full of all these 0:49:50.440 --> 0:49:55.600 amazing things. We should do something about it. And d 0:49:55.719 --> 0:49:58.680 WEE shouldn't just be a record label. It shouldn't just 0:49:58.800 --> 0:50:01.720 be about music. It should be about Dave and Steph 0:50:01.760 --> 0:50:06.279 and all the and the hordes that you are and 0:50:07.160 --> 0:50:10.520 maybe tell that story and and I guess that's where 0:50:10.719 --> 0:50:11.719 a lot of that comes from. 0:50:13.040 --> 0:50:16.000 So I should probably just say that for Rick Angie, 0:50:16.200 --> 0:50:18.560 the guy we're talking about, he he was like a 0:50:18.680 --> 0:50:22.919 key club promoter in ib for in the eighties, right, Yes, 0:50:23.160 --> 0:50:25.520 and the club the club was the Ky It's now 0:50:25.680 --> 0:50:26.520 called Privilege. 0:50:26.640 --> 0:50:30.680 Yes, and when you and this is another amazing anecdote 0:50:30.760 --> 0:50:34.680 that is pretty Dave and me have played Privileged many, many, 0:50:34.760 --> 0:50:40.440 many times. The first time we played Privilege is I 0:50:40.480 --> 0:50:43.800 think one of the last MANU missions, the tenth University 0:50:43.840 --> 0:50:48.480 and University of the legendary MANU mission night, and we 0:50:48.600 --> 0:50:51.960 were asked to go and DJ and LCD was playing 0:50:52.000 --> 0:50:53.759 as well, by the way, so it was Elsid and 0:50:53.880 --> 0:50:57.640 Dave and me uh and and Electric six Electric six 0:50:58.000 --> 0:51:00.640 and we all it's really weird enough, by the way, 0:51:00.880 --> 0:51:01.120 this is. 0:51:01.560 --> 0:51:04.040 The first time you're playing the first time you play Privilege. 0:51:04.080 --> 0:51:04.840 What year is it? 0:51:05.000 --> 0:51:09.479 What is two thousand? Yeah, two thousand and three were booked. 0:51:09.880 --> 0:51:14.760 Electric six are high like they're on the main stage 0:51:14.880 --> 0:51:16.520 and Dave and me and I don't know if everybody know, 0:51:16.600 --> 0:51:19.880 Privileges like this huge mega discotheque and they have a 0:51:20.000 --> 0:51:23.920 pool in the middle and we were playing in the 0:51:24.000 --> 0:51:26.800 middle of that pool for the for the people, and 0:51:26.840 --> 0:51:29.360 then like Alsidi was playing in like a small, tiny 0:51:29.440 --> 0:51:32.560 little room, so what they call the backroom, the back 0:51:32.640 --> 0:51:35.320 room for like three hundred people with Evan sm with 0:51:35.480 --> 0:51:41.160 Evan smug And it was really weird because I think Nancy, Pad, James, 0:51:41.840 --> 0:51:45.719 Dave and me, We're like, we're not your Ibitha people. 0:51:46.440 --> 0:51:48.600 We were like the Indy kids who took the wrong plane. 0:51:48.840 --> 0:51:52.160 It's it's not we we were not fitting in and 0:51:52.320 --> 0:51:54.279 it was a really weird thing. But we played, people 0:51:54.400 --> 0:51:58.320 loved their people went nuts. But what David never realized 0:51:58.440 --> 0:52:01.040 is that still till today, that pool is in there 0:52:01.440 --> 0:52:04.160 and it has the cool logo in there. So it 0:52:04.320 --> 0:52:07.360 has the beautiful Coup logo in the mosaic of the 0:52:07.520 --> 0:52:10.960 of the pool. And we've now done that many times 0:52:11.640 --> 0:52:14.080 and from the last ten years for us, whenever we 0:52:14.200 --> 0:52:16.160 go there, we always ask them, oh, could we have 0:52:16.239 --> 0:52:18.959 a look because it's the it's the original Coup logo. 0:52:19.040 --> 0:52:19.520 It's on there. 0:52:19.920 --> 0:52:22.160 And what made Coup so special was that it was 0:52:22.920 --> 0:52:24.959 it was maybe the precursor of a lot of stuff 0:52:25.000 --> 0:52:27.680 that we are talking about now, mega clubs, VIP rooms, 0:52:28.760 --> 0:52:31.360 but it was also the precursor of a lot of 0:52:32.680 --> 0:52:36.520 uh musical genres and way of partying that were happening there. 0:52:36.600 --> 0:52:39.279 And I think for Rucas one of those people who 0:52:39.520 --> 0:52:44.600 was a conduit for that kind of lifestyle, and it 0:52:45.280 --> 0:52:47.680 went hand in hand with a guy called Eve Euro 0:52:48.040 --> 0:52:51.480 who was also a designer who after a lot of research, 0:52:51.640 --> 0:52:54.160 turns out spend a lot of time in Brussels. So 0:52:54.239 --> 0:52:56.719 there was like a Belgian connection again. And so yeah, 0:52:56.800 --> 0:53:01.360 it's it's been this never ending discovery us. So we 0:53:01.480 --> 0:53:05.839 have a very double relationship with Ibitha because we weren't 0:53:05.960 --> 0:53:11.040 really liking Ibitha, but we love its story, we love 0:53:11.120 --> 0:53:14.959 it's it's the Yeah, it's it's it's a truly interesting place. 0:53:15.840 --> 0:53:19.000 Are you Do you feel more like ibef for people 0:53:19.120 --> 0:53:21.279 now now that you're kind of veterans at it and 0:53:21.360 --> 0:53:23.279 you've been there a lot, Do you feel like you're 0:53:23.280 --> 0:53:25.000 fit in any more now than when you first went? 0:53:25.320 --> 0:53:25.480 Yeah? 0:53:25.560 --> 0:53:28.360 Yeah, because there was there was sort of like a 0:53:28.440 --> 0:53:31.920 pivotal moment where we also have another project. It's like 0:53:32.360 --> 0:53:35.799 a space rock band called diver Bolton that we also 0:53:35.880 --> 0:53:38.959 put out on DEWI and it's us with two other guys. 0:53:39.000 --> 0:53:39.319 One is. 0:53:41.160 --> 0:53:47.600 Focus psell Fergadelic. He's an amazing artists graphic genius. The 0:53:47.680 --> 0:53:51.239 other one is our friend Riton, who also makes music, 0:53:51.280 --> 0:53:53.600 and they at that point they were brothers in law. 0:53:54.480 --> 0:53:57.200 And we started this band in two thousand and six, 0:53:57.280 --> 0:54:00.279 two thousand and seven, and for a period of maybe 0:54:00.640 --> 0:54:03.440 three or four years, we would go. Each year we 0:54:03.480 --> 0:54:06.600 would go for like two weeks to abitha drive out 0:54:06.640 --> 0:54:09.080 with a van and set up a studio out there 0:54:09.440 --> 0:54:12.400 and record music and I. 0:54:12.480 --> 0:54:13.960 Kind of do the same that we would do here. 0:54:14.120 --> 0:54:16.520 It's kind of like make a place so we didn't 0:54:16.560 --> 0:54:18.520 have to go out and go to these clubs and 0:54:19.160 --> 0:54:22.880 see all the drunk people and all. Like we were like, oh, 0:54:22.920 --> 0:54:24.440 we're going to make our little haven here. 0:54:24.640 --> 0:54:28.160 And what was very cool about those experiences that is 0:54:28.280 --> 0:54:32.600 that the through friends and then other friends, the sort 0:54:32.640 --> 0:54:35.680 of the real freaks, the real Beethans, the people who 0:54:35.880 --> 0:54:39.880 escaped their hometown to go live at that place, that 0:54:40.080 --> 0:54:44.080 we sort of we met them, and we grew, we 0:54:44.200 --> 0:54:47.000 grew to understand that it wasn't just about sort of 0:54:47.360 --> 0:54:50.160 you know, sorry to say this, like but British tourists, 0:54:50.360 --> 0:54:53.040 you know, like that whole San Antonio thing, and there 0:54:53.120 --> 0:54:54.399 was a whole history. 0:54:54.239 --> 0:54:57.799 Of eccentric people who throughout the seventies and the eighties 0:54:57.840 --> 0:55:01.680 and the nineties escaped i think their day to day 0:55:01.760 --> 0:55:06.759 life and also financial ruin sometimes just to be in 0:55:06.840 --> 0:55:08.680 that place because for them it was almost like a 0:55:08.800 --> 0:55:13.800 magical place because they could be extravagant, extravagantly gay or 0:55:14.080 --> 0:55:17.440 or or transactual even or anything, you know, like or 0:55:17.600 --> 0:55:20.040 dress up in a weird way or be that, and 0:55:21.680 --> 0:55:23.840 it's it was meeting those people that would come to 0:55:23.920 --> 0:55:27.440 our villa and we would hang out. We would be like, oh, wait, 0:55:27.600 --> 0:55:29.640 but there's and they would start telling stories and you 0:55:29.680 --> 0:55:31.359 would start going, oh my god, and they would be like, yo, 0:55:31.440 --> 0:55:33.320 but there's a restaurant there. You should go there, and 0:55:33.760 --> 0:55:36.320 you start to discover a completely different world. 0:55:36.600 --> 0:55:39.640 And so do we feel more like like we're yeah, 0:55:40.440 --> 0:55:42.640 we still don't fit in, though it's it's not like 0:55:42.719 --> 0:55:44.600 we drive around with like, ah, yeah, yeah, we really 0:55:44.640 --> 0:55:44.920 fit in. 0:55:45.120 --> 0:55:47.480 We still look at those billboards like, but there is. 0:55:47.840 --> 0:55:51.560 That there's something about those There's something about Abitha that 0:55:51.719 --> 0:55:56.840 does feel like, if if all, if that whole club 0:55:57.480 --> 0:56:00.319 thing that's sort of embarrassing, if that was all, if 0:56:00.360 --> 0:56:03.799 that was gone, I still think that like I miss 0:56:03.920 --> 0:56:07.440 it now, Like we've been in Ghent for a year 0:56:08.160 --> 0:56:10.799 and and I would just I would love to get 0:56:10.840 --> 0:56:13.480 on a plane and go to a little beach and 0:56:13.560 --> 0:56:18.320 that there's something really magnetic about that particular island that 0:56:19.360 --> 0:56:22.040 even if you think away all the VIP bullshit and 0:56:22.120 --> 0:56:23.560 all the sort of the. 0:56:23.760 --> 0:56:29.680 Crabwage, actually becomes sort of a fun like we're starting 0:56:29.719 --> 0:56:31.719 to like the tackiness of a lot of it now. 0:56:32.400 --> 0:56:35.120 It's really weird, but like I also love that you 0:56:35.239 --> 0:56:39.200 see people really hopeful coming there and go like this 0:56:39.360 --> 0:56:40.440 is going to be the best week. 0:56:40.360 --> 0:56:42.160 Of my life, and you're like, oh, no, it's not. 0:56:44.440 --> 0:56:48.040 And you see, yeah, but there's people scheming to like 0:56:48.160 --> 0:56:51.160 make money, and and it's it's a there's there's a 0:56:51.239 --> 0:56:52.239 certain something to it. 0:56:52.480 --> 0:56:54.520 But like Dave said, I think the real. 0:56:54.880 --> 0:57:03.160 Attraction to Ibitha is those people who've come from swith learned, Belgium, everywhere, Georgentina, 0:57:03.360 --> 0:57:07.440 American who who go to this one little tiny island 0:57:07.560 --> 0:57:09.040 which is by the way you can drive from one 0:57:09.080 --> 0:57:12.600 side to the other side in thirty minutes and feel 0:57:12.680 --> 0:57:16.240 like it's a homecoming for them and they can be 0:57:16.400 --> 0:57:20.680 this other person and yeah, it's it's it's it's yeah. 0:57:20.720 --> 0:57:22.160 I think that's the thing that attracts us. 0:57:23.080 --> 0:57:24.800 So so all this to say that an interview that 0:57:24.880 --> 0:57:28.680 we have done with Faruk Sorries just went, it's going 0:57:28.760 --> 0:57:30.280 to be it's gonna be a little part. 0:57:30.640 --> 0:57:31.160 It's in there. 0:57:31.280 --> 0:57:33.439 It's like one of the one of the twenty things 0:57:33.480 --> 0:57:36.000 that are in a in a ten minute episode of TVTV. 0:57:37.600 --> 0:57:41.640 For previous episodes of Midnight Chats, simply search your podcast 0:57:41.840 --> 0:57:44.960 app and don't forget to follow or subscribe in order 0:57:45.000 --> 0:57:48.840 to receive new episodes as that published every week at midnight. 0:57:49.240 --> 0:57:52.120 For more information on the music magazine that makes this series, 0:57:52.440 --> 0:57:54.960 visit Loud and Quiet dot com. 0:57:55.880 --> 0:57:57.080 Anyway, good night,