Articles - Interviews

I Almost Quit DJing After Leaving Radio 1. When acid house pioneer Danny Rampling chatted to Skrufff just months after leaving Radio 1 in 2002, he spoke optimistically about his DJing future, though two years on, he admits it wasn’t such an easy change to navigate as he hoped. “I felt totally demoralised, I was ready to give everything up, for a time I really felt like I’d had enough of it all,” he reveals.

“Though as time’s gone on I’ve realised that I’m stronger than that and the Radio 1 experience was just a minor glitch in a huge picture,” says Danny.

“Music is in my blood, especially house music,” he declares. “I live it”.

Finding inspiration through his keen interest in astrology (‘I find it can help when your direction wanders, it can give you signs and point you in the right direction on the path of life’) he’s now firmly back on track as he launches his new London club night Union, on May 1st at the Cross.

“The name totally signifies what the club’s all about, it’s a statement, it’s about bringing people together, the DJs and audience alike; people that really believe in the music,” he explains.

“House music in recent times has taken some bad knocks across the press and in clubland as a whole but that’s been going on for over a year and it’s got rid of a lot of the driftwood. I think house is gathering strength again, it’s had its downturn and we’re coming out the other side again.”

The new club also opens just three months after the birth of his first child, an event that’s affected both him and his plans for Union.

“I think becoming a father has enhanced my spirit musically, I’m so much happier in my life generally and when you reach that state of happiness and inner peace, then that comes through in the music,” he says.

“Currently I’m playing a lot more soulful music and that’s the musical direction I see for Union. I want it to be about beautiful, lovely soulful music, from deep house to Latin to Afro to jazzy house. I’m thinking about clubs I’ve been out to in places like New York, such as Body & Soul in more recent times, and Lazy Dog in London, my dream is to capture those kind of atmospheres.”

Skrufff (Jonty Skrufff): You previously ran Metrogroove at Turnmills up until the end of last year, why did you feel the need to change from Metrogroove to Union?

Danny Rampling: “ spent three years at Turnmills and I needed to retain total direction of a night but unfortunately that was lost at Metrogroove last year, I didn’t really have too much input there by the end. So we can to an amicable end and I’ve moved on. Now, it’s all down to me, I’ll be pushing the new club in the direction that I feel is correct and proper.”

Skrufff: Given that you’re back in full control, what exactly is the new vision for Union?

Danny Rampling: “I’d like to aim for a club that appeals to an audience who are really into the music, firstly; it’s not about the way you look or who you are and it’s certainly not about drugs either. I think that drugs in London clubs, and in clubs in general, have suffocated a lot of the goodness in the scene, especially cocaine; cocaine is just terminally boring. We’ll be doing four Union parties a year and they’ll be a US guest DJ for each of those parties, supported by UK and European talent. The whole idea is to bring together a decent crowd of people that love music as well as hopefully attracting a good mix of people. I’m not implementing any strict door policies, as long as people don’t look like football hooligans, they can come in.”

Skrufff: How do you set about attracting a crowd these days?

Danny Rampling: “Principally by working a lot with flyers, 30,000 flyers have already gone out. There are less and less angles to promote a night these days, it’s really reverted back to how it was in the beginning, in a sense. You’ve got to get out there at ground level and work very hard with flyers. That’s always been the way for any clubs I’ve been involved with, plus good art direction too. The flyer represents the mood of the club and what it’s about, it’s a very colourful flyer, it incorporates London, nightlife and fashion and is intended to draw a good mix of people; gay, straight, black and white.”

Skrufff: Lots of small alternative clubs like Nag, The Cock, Drama and Electrogogo have sprung up around electro in the last couple of years, have you been inspired much by that scene?

Danny Rampling: “I’ve been meaning to go to Nag, Nag, Nag since it opened because some of my friends go there regularly, but I feel like I’ve missed out there, in a sense, turning up two or three years later. I’m a little bit embarrassed by the fact I’ve not been there, to be honest. And now that I’ve got a child it’s very difficult to even go out at all right now, it’s all very new for me, getting familiar with the role of being a parent.”

Skrufff: Are you a hands-on, changing nappies kind of father?

Danny Rampling: “Yes I’ve changed a few, though not every day. I do get involved, it’s a joint effort with my girlfriend and we’re both ecstatic, it’s such a great change of direction. I made a lot of changes in my lifestyle at the beginning of last year, and cut out a lot of things then suddenly all of this has happened. Spiritually, it’s so rewarding. Every day I wake up and there’s my son, smiling at me. That’s worth more than anything in this world, it’s precious; we’re really cherishing these days.”

Skrufff: Seb Fontaine was talking about fatherhood to Skrufff recently and mentioned he’s conscious of avoiding war zones or dangerous places, because of his kids . . .

Danny Rampling: “I think he’s got the right attitude there because you do look at the world very differently when you’ve got kids, it gives you a completely different outlook on life and the safety of your family becomes paramount. I’m also refusing to go to dangerous places now, what’s the point of going to somewhere like Tel Aviv where people are being blown up on buses at the moment? That’s happening regularly, do you really need to put yourself at that risk? It’s a great place to go and play but when you’ve got kids it becomes a whole different world. In the past I was relaxed about it all but now I wouldn’t go anywhere where there’s conflict going on, it’s just not worth it.”

Skrufff: You’ve maintained a presence in Italy for years, does it remain a key territory for you?

Danny Rampling: “I still go there occasionally, I love Italy, my girlfriend’s Italian and I really have a passion for Italian culture, I’ve been playing there since 1988, when I went there with Norman Jay and I remember being amazed at the quality of the clubbing out there. Italy still retains that, I noticed Benny Benassi told you Italian clubs are all about champagne culture, well I don’t know where the fuck he’s been playing in Italy. OK, like here, if you want to go and play on that champagne bar scene, it’s there, however, like in the UK, there are a lot of good underground clubs and there is still a very strong club culture in Italy. The crowds are very responsive and they know their music, and what they’re into currently is much more the electronic driven sounds. They love electroclash and music with an electronic edge, that’s what ruling in Italy right now.”

Skrufff: I read about you owning over 40,000 records, which must take up a huge amount of space physically, where do you store them?

Danny Rampling: “I keep them in a cellar, I did in fact move on from a large number of records last year, I sold the whole of my trance collection, apart from a few key records, because there was no point holding on to them. I cleared out a lot of early US house and practically all of the trance records, which came to about 7,000 trance records. I didn’t have enough space and the decision had to be made, there’s order in the cellar again now.”

Skrufff: How long did it take to select 7,000 obsolete trance records?

Danny Rampling: “My assistant helped me out and we went through all the racks one by one and broke them down. They all went off to one person. The whole of Tony De Vit’s remix collection was in it too. They’ve gone to another record collector/ DJ who’ll be putting them to good use. There were a lot of rare trance records also included but they’re no use to me anymore. Playing 150/160bpm trance is a period I went through which I loved but I’m not going to be doing it again.”

Skrufff: Are you CD mixing routinely these days?

Danny Rampling: “Yes I am, CD mixing is brilliant for travelling. Obviously I still take some vinyl on the road but nowhere near as much as before, I used to carry two 35kg bags whereas now I take a small bag plus CDs. I have embraced CD mixing fully and I see lots of other DJs have done too. Three years ago people still weren’t keen on it whereas now I’d say 90% of DJs out there use CDs. It’s definitely the way forward.”

Skrufff: Do you own an Ipod?

Danny Rampling: “No, I don’t. I have no shame in saying I don’t have one yet either.”

Skrufff: You link to a few charities on your website, how do you choose which charities to support?

Danny Rampling: “My heart lies with Nelson Mandela’s Children’s Fund and the Terrence Higgins Trust. Both those two are very close to my heart. I’ve chosen those just through life experiences and becoming aware of situations in South Africa when I visited there 8 years ago. The Terrence Higgins Trust came because I lost a lot of friends, probably ten friends over four or five years, during the mid 90s (to AIDS). The Terrence Higgins Trust is a great charity, they also help Africa, and the people that work there are so passionate about what they do.”

Skrufff: You were a regular down at Trade in the 90s, do you ever listen to hard dance music these days?

Danny Rampling: “Yeah, sometimes, I could still go down to the beach, take a trip and go ballistic, sure (chuckling). If it’s played in the right space and there’s a good atmosphere then sure I can enjoy it. But actually listening to trance at home? No.”

Skrufff: Do you still go raving?

Danny Rampling: “No I don’t, not in the way I used to. I partied hard for England for about 20 years, major partying, and I think I’ve done pretty well to come out of that experience still in one piece. When I look back on some of the positions I was putting myself in, now that I have a child, it horrifies me. I think ‘My god, how could I have been so reckless?’ But that’s the lifestyle we were living at the time. I like to party, but my levels of partying are not the way they used to be, and I’m happy about that.”

Skrufff: Did you ever get arrested or seriously ill during those drug days?

Danny Rampling: “Nothing major. In terms of being arrested, thank God, no, though I was never a person who did things that made me majorly liable for arrest. I was once caught with an E in my pocket on Charing Cross Road (Central London) and taken to the police station, where they threw it away. I got off lightly there, that was back in 1988.”

Skrufff: What do you make of this renewed culture of people dressing flamboyantly and gay and straight clubbers mingling again?

Danny Rampling: “That’s very positive, in terms of myself wearing makeup, I don’t look very fetching in it (chuckling) so you won’t be seeing me out and about all done up. But in terms of what’s happening in London, it’s about diversity, and it’s great to have that diversity here in this city. It’s such an exciting, vibrant place already and to have that diversity going on is brilliant. If people want to express themselves flamboyantly or whatever way they choose, we should celebrate that. There’s enough dullness in this world and people who want to celebrate style and look unusual are brilliant.”

Skrufff: You’re a born and bred Londoner, do you ever think of leaving?

Danny Rampling: “From time to time I think about moving out, I day dream about moving to the South of France or Ibiza, but my heart lies here. And every time I return home from an overseas trip I’m happy to be back. This country takes a lot of criticism. I’m finding it hard to be away from my baby. It gets to you on the road, particularly when you have children. I’m trying to establish something in London that I can build on for my future. That’s also part of the reason for doing this club Union.”

http://www.dannyrampling.co.uk (Union opens on Saturday May 1, at the Cross, London: guest DJs include Dave Lee (aka Joey Negro) and New York veteran DJ Romain (of Limelight, Tunnel fame).

Interview By: Jonty Skrufff (Skrufff.com)

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Articles - Interviews

Why I Hate Huge Egos (And Love Being a Casual) “I don’t like egotistical people; I don’t like huge egos out of control, all that being treated as someone special with your huge entourages being whisked off to VIP rooms type of thing. I find that attitude a real turn off. That’s why I don’t do much press, because I don’t like talking about myself all the time.”

Chatting down the line from his London studio Pet Shop Boy producer Chris Lowe, is surprisingly (and thankfully) extremely chatty despite his well-known dislike of publicity and being recognised. He’s also remarkably down to Earth, particularly given that with his PSB partner Neil Tennant he belongs to Britain’s most successful pop duo of all time. Not that he’d see it that way, in terms of fame, money or even whether he’s a pop star, at least in the usual sense of the term.

“I’ve never sought fame or public recognition. I think one of the qualities many pop stars have, which is why they are what they are, is because they have huge egos, whereas I’m actually against the whole concept of ego,” he explains. “Everything I do tends to be contradictory.”

One thing he’s less contradictory about his music, which remains an abiding passion some 20 years into his career.

‘I’ve always loved going in the studio, having fun and seeing what comes out of it. We’re always working though I would probably like to work less but Neil likes to be busy all the time, I’m a lazy git, and I’d be quite happy to disappear for two years to go trekking but our diaries are always pretty full,” says Chris.

“I think that’s a good thing really, because otherwise you just disappear. When you stop or go away it’s so easy to lose touch with what’s going on in England, even if you go away for a three week holiday you’ve lost the plot. I don’t know how these superstar DJs manage to travel around the world and still keep in touch with what’s happening. I think it’s good to keep on top of it all.”

Skrufff (Jonty Skrufff): You recently released another PSBs Greatest Hits album as well as your current single Flamboyant, do you feel like you starting a new phase of the Pet Shop Boys?

Pet Shop Boys: “What’s different about now is that we’ve really been inspired by the electroclash scene, it’s rejuvenated our interest in clubbing again. House music lasted a very long time (laughing) and I was always a huge fan but I think we were ready for something new to come along. I can’t deny the electroclash scene has been an influence on Flamboyant for example. The other factor is that now you can get all these virtual analogue keyboards that we used to use in the 80s. You can now get them as plug-ins so that’s also given us a whole new impetus, we’ve been able to access all these great old sounds that we used to use and do more with them in the computer. Those two factors have come together for us to start producing more electronic sounding music again.”

Skrufff: George Michael was talking recently of a dreadful creative block he had, saying he was worried he couldn’t write anymore, do you ever go through that kind of emotion?

Pet Shop Boys: “He’s never been very prolific, has he? I imagine that almost every song he’s written is on an album, whereas with us you often get an album’s worth of songs with each single. We’ve never had creative blocks, I’ve always loved going in the studio, having fun and seeing what comes out of it. No doubt that could happen at some point. All songwriters are supposed to have a ten year period of writing good stuff then after that it’s all over, though we’re 18 years in.”

Skrufff: You’ve had number one hits throughout your career, what criteria do you judge success by these days, are you judging by chart positions?

Pet Shop Boys: “Charts are a different side of success. There are two elements, the success of the record creatively, ie whether the record has an emotional impact on the listener then there’s the chart thing. Both Neil and I would still love to be at the top end of the charts all the time and we still manage that, Miracles was top 10 but we’re doing it these days without mass media coverage, which is actually quite a struggle. England’s quite a strange place in the sense that the media will suddenly decide they’ve had enough of you and move on whereas in other countries it’s different. That’s a fair enough attitude if the artist has lost it or has stopped making good music but I think we’re still producing good music personally.”

Skrufff: DJ Hell’s recently remixed West End Girls, how do you feel about other producers reworking your version, do you feel in any way competitive?

Pet Shop Boys: “Oh no, I get totally excited by it. We almost always choose the remixers and I find it very exciting to hear how someone else interprets your song and giving it a more clubby feel. I think DJ Hell’s mix is great, he’s done it really punky and all the sounds are very dry. I think it’s quite shocking.”

Skrufff: Is Hell someone you know personally?

Pet Shop Boys: “I’ve only met him very briefly in the DJ booth at Nag, Nag, Nag last year. I remember reading about some famous party he had in Barcelona. He also designed a special label for West End Girls. I really like the whole aesthetic of Gigolo Records.”

Skrufff: Do you know electroclash-man Larry Tee in New York, he’s just opened a new club at Pyramid, on Avenue A?

Pet Shop Boys: “Pyramid’s back? That’s good because I thought clubbing was over in New York. I can’t believe what they’ve done to New York nightlife in the last few years though I’m sure we’ll follow suit here in England. I hope if they do try and bring those rules in over here, that there’s some sort of uprising.”

Skrufff: What do you make of the puritan anti-club culture attitude prevalent in the States currently?

Pet Shop Boys: “I just don’t understand it at all. New York advertises itself as a 24 hour vibrant city but when you remove that night-time element from it, there’s not a lot left; it’s just a boring city with tall buildings. It’s a lot safer admittedly. I remember being near the Port Authority Bus Terminal in the mid 80s and it was terrifying. There was a very interesting club there, actually in the Port Authority Bus Terminal. Though I’m actually in favour of the no smoking ban (bursting with laughter). I’m a massive contradiction. You just cherry pick the bits you like but I do like going to a club and not stinking (of tobacco) when I get home. I think there should be smoking areas in clubs, that’d be a good compromise. Another outcome of all these rules could be to make the scene more underground again, the beginning of the rave scene, for example, was totally illegal and it was fantastic. I loved all of that.”

Skrufff: Were you going raving through all the Shroom days of the late 80s?

Pet Shop Boys: “Yes. Though what I really liked doing was driving up to places like Walthamstow (North-East London) looking for raves and seeing a lad standing by the road, with an arrow, saying ‘this way’. I used to love all those raves and warehouse parties. I remember touring round the UK at the time when the rave scene hadn’t spread outside London and Manchester and being shocked at seeing people still going to old fashioned clubs.”

Skrufff: You grew up in Blackpool, a northern party city with quite a tough reputation .

Pet Shop Boys: “Blackpool certainly can be quite a violent place though I think Blackpool, and actually every town centre in England, is more violent now than it was in my day, though maybe that’s because I’ve turned into a soft southerner. When you go outside London, you do think ‘Gor blimey, how scary is this?’ I went to watch Arsenal in the FA Cup Final in Cardiff, for example, and, my God, Cardiff on a Saturday night, Wow!’  It’s got an incredible air of violence and aggression that I don’t remember when I was younger.”

Skrufff: We’re you born in Blackpool?

Pet Shop Boys: “I was born there and grew up near the Pleasure Beach (Blackpool’s rollercoaster theme park). The Pleasure Beach was literally at the end of my road so it was great to hear the noise of the rollercoaster. The good thing about growing up in Blackpool was that you spent all your time hanging round amusement arcades. I also used to go to a club called Man Fridays which had plastic palm trees, during the disco era, and I did odd jobs as a glass collector. I remember seeing a horrible fight once on Central Pier, when this lad was getting his head kicked in by about a dozen other lads, it was such a horrible sight.

One of the things I always liked about the rave scene was that it wasn’t about violence; it was about love and that was a huge change. Because people forget nowadays that the only time that men ever went on the dance floor before the rave scene was at the end of an evening, to chat up a girl. Men never used to dance; they’d stand round the edge of the dance floor while the girls danced around their handbags. Lots of people won’t remember that far back.”

Skrufff: You were in London during the New Romantic era of 1981/ 82 when people like Boy George and Steve Strange were all over the club scene, were you also going out on that scene?

Pet Shop Boys: “Me and Neil were there but we weren’t really part of it, we were more like observers on the periphery. I found that whole New Romantic era so exciting, I’ve always loved people dressing up and being flamboyant and going against the norm, but I’m just not one of those people who does it. Even though I admire it so much in other people.”

Skrufff: Were you ever tempted to try it out?

Pet Shop Boys: “No, I wasn’t tempted at all, the only time I’ve ever dressed up is as a Pet Shop Boy. Everything I do tends to be contradictory. My favourite fashion clothes during the new romantic days were casual. I loved the casuals, and loved having a Fioruccci top and Tacchini jeans and even now I still like Stone Island. I’ve never been into wearing make-up either, it’s just not me, but I’ve always liked going to those clubs where people do. I went to the opening night of the Camden Palace in 1982, Steve Strange’s night, and went there wearing a sweat shirt and a pair of jeans; I don’t know how I got in. There were people dressed in amazing costumes being turned away but for some reason they let me in.”

Skrufff: I read in on old Guinness Book of Rock Stars that you were dropped by CBS in 1984 when West End Girls was first released, after it failed to chart. . .

Pet Shop Boys: “We weren’t dropped, what happened was, we had a one single deal.”

Skrufff: Did you lose faith at all when the song failed to make the charts the first time round?

Pet Shop Boys: “No, because although it got a little play on Radio 1it amazingly got a huge amount of play on K Roc in Los Angeles and was their screamer of the year, in other words, their biggest record of the year, and had a huge impact so we still thought the song had something. So then when we signed to Parlophone we went on to re-record it. You never know when you’re going to have success. When you haven’t had any success, you can’t imagine ever having it, because you can’t imagine that the radio stations will ever play your records. So when it does happen, it’s amazing.”

Skrufff: How easy was it to avoid going off the rails, when you achieved number one hits?

Pet Shop Boys: “We were both quite old when we started, I’d already finished six years of university, so we weren’t young, though I don’t know if that makes you more sensible or not. I’m not such an excessive kind of person anyway, I don’t have an addictive personality, my brain and my body have real cut-off points, which says ‘go to bed’. I know people who’ve had problems and they don’t seem to have that cut-off point, they go out on a Friday and they’re still out on Monday afternoon. I like sleeping too much, I love going to bed. I think that’s a real safety valve.”

Skrufff: Some pop stars talk of fame and worldwide success as being hollow when they get it, whereas you seem quite fulfilled by the whole thing, has money brought you happiness?

Pet Shop Boys: “Money? Money doesn’t bring you happiness though it’s nice not to have to worry about it too much, which isn’t the same thing as happiness. That sounds terrible to someone who’s sleeping on the streets. Happiness is a very complicated issue and it’s not simply related to money. I’ve never sought fame or public recognition. I think one of the qualities many pop stars have, which is why they are what they are, is because they have huge egos. I’m actually against the whole concept of ego, I don’t like egotistical people, I don’t like huge egos out of control, being treated as special with your huge entourages being whisked to VIP rooms. I find that attitude a real turn off. That’s why I don’t do much press, because I don’t like talking about me all the time. When you think about those huge rock stars with their huge egos, if that’s the only thing that’s driving them, then maybe that’s why they’re not fulfilled ultimately.”

Skrufff: Do you feel a sense of drive to keep on going long term with the Pet Shop Boys?

Pet Shop Boys: “God yeah, we’re really driven, we love doing what we do and we love writing songs. We’re into it, we still watch Pop World on a Sunday.”

Skrufff: Any relationship is difficult to maintain for 20 years, how easy has it been to maintain your relationship with Neil?

Pet Shop Boys: “I’ve not really thought about it, we get on. Neil’s really funny and good company and we have the same interests. I think the main thing is that we enjoy working together. I read something about Michael Stipe saying REM could only function if they spend a lot of time apart and I thought ‘well, why bother?’”

Pet Shop Boys’ Flamboyant is out now on Parlophone (as is their latest Greatest Hits compilation PopArt: The Hits.

http://www.petshopboys.co.uk

Interview by: Skrufff.com

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Articles - Interviews

It's very rare that you often get a chance to sit down face to face and talk to someone as busy as Amil Khan of Technasia. For the past 8 years, Technasia has been busily stirring the global techno scene by storm, offering tracks like "Hydra",  "Declamation", "Force", and "Themes From a Neon City."

They have travelled to every possible corner of
the world promoting their unique emotional sound, and their records can be found in the crates of techno jockeys worldwide. They are partners, they are close friends....they are Technasia.

PL: How was Technasia formed? And did you two have any musical training or experience in music production prior to the collaboration?

AK: Technasia was formed back in 1996. Charles Siegling and myself had met by chance through a mutual friend in Paris and had met up in a club. It was funny because we got along very well right away.  He had just came out of Film school and i had graduated from university. We were both from completely different backgrounds but it was the music that had brought us together. Charles had suggested that we work together and come up with a label. At that time, i thought it wasn't going to be as easily said then done, however there was a feeling of confidence we both had. We were really hungry for music back then, and in some ways even angry because at the time there wasn't any much emotional sounding techno out there. It was then that we decided to start putting material out. As for your second question, Charles and I had something in common: we both loved going clubbing! At the time Charles was experiencing with vintage synths and keyboards. I was doing a bit of that too, but i was DJ'ing alot more at the time.

PL: With Charles travelling around so much,and you taking care of the business aspect of the record labels, how difficult has it been for you guys to sit down and hammer away at a track from its brainstorming stages to its finishing touches?

AK: What has basically been happening over the past 7-8 years, is that when we first released our first three singles, we were spending alot of time together in the studio and coming out with ideas and experimenting with sounds. So the first 3 EP's we were really working properly in a studio in terms of music production. At the time i spent most of my time in Paris with Charles creating that Technasia sound, but then i moved back to Hong Kong because my roots were here and because i wanted to be back. Then we began using with the internet. I would basically be experimenting with sounds here in Hong Kong, and he would be making his music there. Then we began exchanging ideas  and audio files over the internet. It was a bit tiring because we originally worked together in a studio and it was a bit of a challenge being so far away. Many of our ideas were done seperately and when i had DJ bookings in Europe, coincidentally it would be around the same time when the tracks had to be mastered. We would then meet up and do most of the post production together. This worked for another few EP's, and it was around this time when "Hydra" and "Force" came out. Nowadays, I am concentrating heavily on the business side, while Charles is DJing more promoting our Technasia sound.

PL: Gone are the old days when producers had to lock themselves in a dark studio fiddling with hardware sequencers and synthesizers. With the explosion of digital culture and computer software plugins, how has Technasia adapted to this change in technology?

AK: Its funny because when we first started, many of the software guys like Steinberg were coming out with plugins and this was fairly new to alot of the producers. During the years, we have made many friends around the world who make techno music and we often talked about this subject. Everbody pretty much did the same thing. Starting out with a sampler as the main outboard, and then running a few synths through Cubase. In the early days, there were not many people who were actually making good of the harddrive. They would be mixing down directly from the Mackie into ADAT. We went through the
computer route and did all the mastering and effects on the computer. To be quite honest, i didnt quite like it at first. But then as time went on, there were more interesting plugins being released on the market and we almost felt we had to at least experiment. Now we do alot of the stuff through a computer based setup rather then a vintage based setup.

PL: DJ'ing and producing usually starts out as a passionate hobby. When did it being occuring to you guys that it was very possible to make a living off this? Was it after the success of a certain release?

AK:(laughs) I will NEVER forget the day when we first released Technasia records. I was in England with the master and we released 50 copies of the record just to see how it would do. My father would tell me "cmon man, this is just a hobby, you cant possibly think you can make a living off this." As long as you have the motivation, the passion for it, and if you use your mind, anything can happen. One of the breakthrough moments for us was when Laurent Garnier had stopped by Hong Kong and i had happened to know the promoter. Our record had just been pressed in the UK and i gave him a copy. He gave us a call back 2 weeks later and told us this was gonna be huge and a big hit. He tried to get us onto F Communications, but we were so determined to do our own thing at the time. Ultimately, it was a passion for us, but alot of drive and motivation was there to finally make this happen, and amazing things happened.

PL: I've noticed alot of your recent releases have been less loopy and more on the melodic and emotional tip. Can fans of some of your harder productions expect some of that dark and banging style of techno demonstrated in past releases like "Acid Storm" and your remix of John Thomas' "Undisputed Life"?

AK: Actually i would correct you there for a sec. When we first made our debut, people were actually surprised at our emotional content. It was later when the techno crowd embraced our sound that we went into a phase of a very hard sound. We were inspired by the hard sound. We were inspired by the events we were playing. We were travelling alot in Germany and Eastern Europe. They were playing very hard stuff. We got inspired to experiment in some harder sounds. That was when Hydra came out and was much more energetic. That was the harder phase we were in at the time, but after we brought it back down a bit and released tracks like "Force" and "Evergreen".

PL: While the two of you have been making a significant impact in the techno community worldwide, it's ironic that very few people, if any at all, even know whom you two are in Hong Kong. How hard has it been for Technasia in educatingg the people out here in Hong Kong/Mainland China in sending them a message that there is more to music than cantopop and cheezy trance music?

AK: In regards to the first part of the question, we have been very much in the shadows in Hong Kong. It kind of reminds me a bit of Underground Resistance in Detroit. They almost purposefully tried not to be heard of too much, and worked with a small circle of distributors. We were a bit like that too. When Technasia first formed, it wasnt my mission to get into alot of marketing and big promotion. In fact, alot of hype in Hong Kong was focused on the UK material like the Oakenfolds and Digweeds. It was hard for me in those days being based in Hong Kong when people were just focusing on this kind of UK trance sound, but im not the type of person to brag about our music nor will i force our music on you. If you do get a chance to hear our records and you enjoy our sound, then we're happy and it puts a smile on our face. Nowadays, its been changing a bit in the past few years. I think theres been a new generation of asian youth that have conglomerated in Hong Kong and have brought us something new to the electronic music sound. Even from the beginning, we knew the music we made wasnt going to be big in Hong Kong and China. It had to be brought over to Europe, then Japan, and America. Then hopefully one day it would be brought back to HK and China. This has been my working philosophy and its beginning to take shape!

PL: With techno exploding in Europe now and with big named DJ's giving you and Charles heavy rotation, what are your thoughts in the possibility of techno becoming more mainstream and less underground?

AK: Hmmm.....mainstream vs. underground has always been a touchy subject in electronic music. In a way the media has taken a big part in this segregation. For example, Daft Punk when they first released their debut album they signed with a major label and brought underground house music to the "overground". The people who had supported them before were basically saying "hey these guys are selling out." I like to stay away from this whole issue because at the end of the day if people continue to listen to our music and keep giving us the motivation to continue this, we will be there. In terms of techno being bigger than what it is now, the people that attend the big parties out in Europe are just average everyday people that want to get away from the city and enjoy themselves at an event. We play them hard techno, we play them emotional techno and they enjoy it very much. But as for Hong Kong and China, i think it will take a bit of time.Everything needs time.....

PL: Vocals, vocals, vocals....Technasia has taken a bold yet brilliant step in incorporating vocals into techno.Is this something that we will continue to see in future releases?

AK: The way charles and me work, is that we're always out there to try to bring something new. I would say one of the main difficulties in techno music becoming widely accepted globally like trance, is that its really loop oriented. When you listen to a bar in a techno track its just a minimalist loop to most people. Personally i go crazy when i hear a loop because theres so much going on in there. I just dont think people have taken the time to really concentrate on a loop. You listen to a minimal track in the past by Richie Hawtin and theres just so much color! That is one of the reason why techno music is hard to accept because people dont have the time to read between the lines, and see through it and be sensitivie to the music. As for us, Technasia's mission has been to always try to get more peodple into listen to techno, and what better than vocals? When we first created "Force" we tried to step into the shoes of the average listener, and perceive techno from their viewpoint. There was actually a bit of truth to some of their thinking. We understood why they thought techno was just a loop and so we got together and tried to add some warmth by incorporating vocals without trying to make it sound like we were singing a song. It was more like using words to bring out hypnotic emotions, and it worked i guess.....people loved "Force"!

PL: What can eager fans expect in your next album?

AK: I think definately emotional sounds. Using electronic impulses and loops but with more chord progression. Certainly not trance or excessive chord progression to the point where it sounds trancey. I would describe it as "minimalist emotions". That is more of the spirit of our next album, and we're actually working on it now. I try to go to Europe every 2 months now so i'll be working with Charles soon on the album.

PL: Finally, any words of wisdom for youn talent that are inspired Technasia's music and are trying to make their mark in this ever increasingly difficult scene?

AK: You know, going back to what i was saying earlier, i never imagined we would get this far and its wrong to say that things are impossible. As long as you have motivation, the energy, and using your mind and being smart about the things you do, anything is possible. Believe in what you do. I also believe in taking things step by step as opposed to jumping 3 to 4 steps. Take things step by step and i guess that is the only wise thing my pops had told me in fact(laughs)! Dont believe the words of wisdom! My father said it was not possible and as long as you plan things properly and you use your mind, it CAN happen. Its funny, we get alot of demos from Japan and we're beginning to see something new and something solid coming out from Asia.

Interview by: Philip Leung

Articles - Interviews

Dimitri From Trash Palace (& Paris)- London Is More Perverse (and I Like It).</b> “Trash Palace started out with the idea of music as sex, which is not exactly a new concept but I think that the way sex is usually exploited in the music and fashion business, in fact generally in all commercial areas, isn’t really sexual; instead it’s slick and exploitative and there’s nothing dangerous about it. I wanted to approach a deeper side of sexuality.”

Sitting in a west London bar on a sunny afternoon, Trash Palace main-man and former Parisien producer Dimitri Tokovoi, speaks softly as he outlines the centrality of sex in his electronic rock band and more specifically the importance of real sex behind Trash Palace’s aesthetic.

“There are so many programmes about sex on TV here but when you watch them you feel like you’re at school studying a subject such as how you should give a blow job,” he snorts.

“Sex is not about that in reality at all; it’s fashion, perversion, love, whatever; it’s much more complex than just the image that’s portrayed in the media at the moment.

He’s equally opinionated about Trash Palace’s perfectly formed fusion of rock & roll and electro-disco, which he’s created with the help of a highly impressive cast list of collaborators.

“I deliberately set out to find different people to collaborate with because sexuality is about a relationship between two people, it’s very hard to have sex by yourself,” he points out.

“I wanted to have different views, different moods and different sorts of perversions on the album and that’s why there are so many different people involved.”

That Dimitri’s as persuasive as he’s well-connected is clear from the characters he tracked down, who include Velvet Underground legend John Cale and Placebo singer Brian Molko. He also managed to seduce Italian sex siren Asia Argento into performing a version of Je T’aime, though admits he didn’t actually know her until she walked into the studio to lay down her part.

“I had this idea of doing Je T’Aime because I’ve always loved the track, but my idea was to invert the characters’ roles,” says Dimitri.

“In the original track, Serge Gainsborough is fucking Jane Birkin, he’s doing the act of penetration and I wanted to invert the roles; to have Asia doing the role of penetrating someone else. Brian (Molko) said he would do it so I asked Asia by sending her an email. Immediately she sent me an email back saying ‘yeah, I really want to do it’ so I flew to Italy to record her voice.”

“She was very nervous when she did it because she’s not a singer and she didn’t know what I was going to ask her to do, she was still shooting XXX at the time,” he continues.

“We did it in a small room with a very basic recording set-up and I remember her chain smoking with me sitting in front of her. It was a little bit of a tense atmosphere but that was good for the track. She didn’t know me, I didn’t know her so it was a slightly bizarre environment.”

With Asia being generally acclaimed as one of the world’s sexiest starlets, the resulting track is as salacious as Dimitri presumably hoped it would, reflecting the overall highly polished standards of all 11 tracks on Positions. Musically, he’s succeeded in tapping into the talents of all his various collaborators, to produce a album of punk, funk and electro songs that genuinely (and unusually, in this day and age) truly rocks.
 
“I come from a rock & roll punk background but like a lot of people from my generation, when I was 14 I got a computer and started to make music on it, I was always trying to translate this punk vibe to electronic music,” he explains.

“I used to love AC/DC and Motorhead and all that stuff. I think a lot of people from my generation grew up with that idea of translating that concept from one medium to the other.”

Skrufff (Jonty Skrufff): How long ago did you start Trash Palace?

Trash Palace (Dimitri): “I started it four years ago, I moved to London from Paris seven years ago and it was a fairly frustrating period for me initially, because I had to start all over again. I started Trash Palace because I had time to do it and all these ideas were floating around in my head about making music. Before that I was already a  musician and a music producer and over the years I’ve done remixes for bands like Goldfrapp, and The Raveonettes as well as working with lots of other bands.”

Skrufff: Did you know many people in London when you arrived here 7 years ago?

Trash Palace (Dimitri): “Not one person at all; which meant it was a difficult time in my life. I left France because I didn’t feel the music scene there was going anywhere and also because I’m not a big fan of French electronic music, it’s not really ‘my cup of tea’ (taste- slang Ed.) I’ve always preferred the harder kinds of music you find in the UK. 7 years ago I was into people like Tricky, PJ Harvey or even Bjork for example, who were much harder than French bands like Air or Daft Punk. Even more electronic bands like Depeche Mode are much harsher than them.”

Skrufff: How did you recruit your collaborators?

Trash Palace: “It was mainly down to luck. I was working with those people in different ways as a producer or programmer, and most of them I was introduced to them through my work. I told them about my project and usually I got a really enthusiastic response from them.”

Skrufff: Is your ambition to be famous, to be a star yourself?

Trash Palace: “No, I like to be in the shadows, I’m quite happy to be the man behind the keyboards and the computer, I prefer that, I find it more exciting not to be seen.”

Skrufff: You were wearing make-up when you performed at 93 Feet East recently . .

Trash Palace: “It’s possible, yes.”

Skrufff: Were you dressing flamboyantly in France before you came to London?

Trash Palace: “Yes, though looking back I don’t really know why. I think it’s a question of taste but going on stage is an act, it’s a performance and my main aim is to make sure the performance isn’t banal. I think it’s important to provoke something out of the ordinary and that’s how I always approach the stage show: I’d rather people hate the project than they don’t care about it.. I want the image on stage to be as strong as possible and to renew itself. Live performance is something unique, it will only happen once and you live with the memory of it that will keep evolving in your head.”

Skrufff: Is Trash Palace essentially you and the story of your life?

Trash Palace: “No, they’re two different things, Trash Palace is my fantasy, it’s something that I’m taking out of my mind. Sometimes I come very close to living it as well (chuckling) but essentially I don’t want it to be an explanation of my life. If I try to recreate my life through Trash Palace it will have limitations, whereas my fantasies or those fantasies that I’m generating with other people, are limitless. With fantasies there are more possibilities.”

Skrufff: Having lived in London for seven years, do you see yourself as a Londoner now?

Trash Palace: “I see myself as a foreigner living in London, I’m not a Londoner but I’m enjoying my life being a foreigner living in this country.”

Skrufff: How do people in Paris react to you, now that you live here?

Trash Palace: “It’s a little strange, I’m an outcaste in Paris as well, because I don’t live there, they see me as a guy who lives abroad, I’m a bit of a tourist in my own town when I return. I don’t know what’s going on in Paris, I have no contact with people so it’s a bit weird. I’m not aware of things, in the way you are when you live in a place. It’s interesting, I’m a freak everywhere I go.”

Skrufff: Many French people are quite nationalistic, I’d say more so than Brits, do you come across people saying you’re betraying France by living here?

Trash Palace: “I get a mixed reaction, some French people think I’m pretentious, they think you think you’re bigger than your country. For me, I have more freedom here because I don’t have any background, I don’t have any personal history of living in this country so I can create something new, It’s a brand new life for me and a brand new way of presenting things. The language factor also makes a difference. I think you have a different identity, depending on the language you use and the country you live in, it’s a bit like schizophrenia. It’s like when you’re with your family or friends; you act in different ways. That’s an early stage of schizophrenia and I think |’m at an advanced stage. And on stage it’s different.”

Skrufff: Have you taken Trash Palace to America?

Trash Palace: “Not yet, I wanted to start with the UK because it’s the place where I live. But I’m afraid of Americans.”

Skrufff: Why are you afraid of Americans?

Trash Palace: “I think it’s a place which has a lot of blind conviction, they follow ideas to an extreme, without necessarily knowing why, which I find very scary. It can be amazingly positive and amazingly destructive, so I’m afraid of this aspect of America.”

Skrufff: How do you regard London’s vibe in sex terms, compared with Paris?

Trash Palace: “Sex is more diverse here and more pretentious in Paris. There are a lot more taboos in England which makes it a lot better because it makes everything a bit more perverse, so more interesting. There are more rules to break and places to go in the dark to break them, which I find really interesting. One of the aspects of sex I like is its danger; that makes it more exciting. In France, people are more upfront; there is less perversion in France, I think, perversion is more a part of the English culture.”

Skrufff: Are you a big fetish club regular here in London?

Trash Palace: “I’m not a regular but I like the idea of fetish clubs, though again, as soon as something becomes a routine or a cliché, you lose the excitement and the interest. To keep the excitement you need to keep meeting interesting people that have different views. As soon as become a member of a club it becomes a habit so even if it’s the biggest perversion you can imagine, it will quickly become something quite banal, which then has no more meaning to me.”

Trash Palace’s new album Positions is out now on Fulfill Records.

http://www.trashpalace.net

Interview by: Jonty Skrufff (Skrufff.com)

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Articles - Interviews

New York’s Keoki on Drugs, Death, Fame & Redemption- I Feel Like A Teenager Again. "Charming, charismatic and remarkably fresh faced and lucid, New York superstar DJ Keoki is a million miles away from the junkie casualty caricature he’s sometimes been portrayed as in the press."

“Crystal Meth was probably the hardest drug to give up, because that physically got me. It wasn’t hard to stop but for months and months after, I’d still fell ‘icky’, grouchy and depressed, I gained weight and was miserable.”

Charming, charismatic and remarkably fresh faced and lucid, New York superstar DJ Keoki is a million miles away from the junkie casualty caricature he’s sometimes been portrayed as in the press.

“The weirdest lies I’ve heard are reports that I’ve passed out on turntables, I’ve never done that, I was always on speed, you don’t pass out on speed. I’ve even had people think that I’m tied in with the murder, that somehow I’m involved in that evil circle of monsters.”

The murder he’s referring to his ex-boyfriend Michael Alig’s infamous slaughter of their drug dealer Angel Menendez, a tale recently immortalized in celluloid as Party Monster (Keoki’s played by actor Wilmer Valdarrama). And as the film correctly depicts, the pair’s 7 year romance had ended over 12 months before Alif finally crossed the line.

“During the period when I lost my friendship with Michael I wasn’t in love with myself but rather the idea of myself,” he suggests.

“I don’t think you can truly love yourself when you’re on drugs, it’s not really possible. You can do all kind of things physically but it’s not real love, you’re actually hurting yourself because you’re closing yourself down.  I’m like a sponge; I can take everything in and absorb it but when I’m on drugs I can take things in but they don’t stay, rather they rot me from the inside.”

Keoki’s chatting to Jonty Skrufff in the corner of a busy Bayswater pub, sitting next to his long term boyfriend Alfio.

“Fortunately I met my husband here, Alfio, who’s been my rock, no pun intended,” Keoki laughs, gesturing to his partner.

“He taught me to look in the mirror and really see myself. When I was fucked up on drugs, he wouldn’t like me and treat me the way I wanted to be treated. It wasn’t because he didn’t like me, it was because he didn’t like me on drugs. I’m a totally different person when I’m on drugs; I’m very selfish. Which is cool, I don’t regret anything because if I hadn’t been selfish I probably wouldn’t have done any of the things that have made me who I am today. But I realise that life’s a lot more fulfilling in other ways, that I didn’t realise before.”

Skrufff: Starting with your music, you were known throughout the 90s for playing hard four/ four house and techno, though both your new compilations (Kill The DJ and Keokiclash) are electro/ mash-up compilations, have you abandoned house altogether?

Keoki: “I’ve abandoned everything that’s already been done, that same old DJ formula of build up, breakdown and trance out to washy synths. I’m too excited about what’s happening right now with the return of vocals, melodies and songs with beginning middles and ends and I’ve recently realised that I’m right to have totally changed what I do. In America, though, I’ve had it easy because people almost expect not to know what to expect from me.”

Skrufff: In practical terms, how did you do go about switching from house to electro-mash-up?

Keoki: “I started by completely changing my record box; I took everything out and started from scratch, and actually went to record stores again, listening to records and maybe buying two or three at a time, instead of 20, but knowing that those two or three are great records. It makes me feel like I’m 17 again, like I’ve just started DJing again, it feels fresh.”

Skrufff: Do you feel a part of the whole electro-clash-synth scene, with your old associate Larry Tee?

Keoki: “Definitely, Larry Tee has always been in tune with everything that’s happening and we’ve been friends for 16 years, we’ve always been around the same circle of friends. In New York City, it’s rare that you have more than six or seven really good friends and Larry is one of them to me. We’ve evolved in the same circles so when he did his Mutants thing in Brooklyn he had the same head-space that I was in. I’d go and listen to what was happening and realise, ‘OK, this is where I should be at’.”

Skrufff: I was surprised to see you started out in New York working as a baggage handler at one of the New York airports, how did you land that job?

Keoki: “I always wanted to travel and, in fact, the very first place I wanted to visit was the Vivienne Westwood shop here in London and I figured the only way I could ever make it happen would be to work for an airline. I was 17 or 18 years old at the time, I applied for a job, went through the whole training procedure then got a job placement in New York. And sure enough, I got free travel, so the very first trip I took was to visit London. I slept at Heathrow airport, travelled around on London buses and visited the Vivienne Westwood shop, though I was window shopping I must add, I made hardly any money at the airline job.”

Skrufff: How did you first penetrate New York’s 80s club scene ?

Keoki: “When I got there I didn’t know anybody at all, I had the airline job and they helped me find an apartment in Queens, which is near La Guardia airport. When I wasn’t working I’d take the train into the City (Manhattan) and wander around and the very first club I went to was Danceteria (NYC’s key superclub of its day) where I met Michael (Alig). We became friends and he got me a job there as a busboy (glass collector/ general assistant). I knew I wanted to be around the club scene and be a part of it, I loved everything I saw around me, coming in and out of Danceteria. So I got more nights bussing there (working as a busboy0 US Ed) while Michael started toying with the idea of doing parties for Rudolph (Danceteria’s front man/ chief promoter). Rudolph said to him one day, ‘You and Keoki don’t pick up enough glasses around here, we like you being around here but you’re not working that much, you’d better think of something else you can do if you really want to work here’.

So Michael came up with this idea to do the Filthy Mouth contest where whoever got on stage and said the filthiest thing would win 50 dollars. The party was really different and it was a success but we realised after the first party that the music wasn’t very good. I’d never DJed before and only had one turntable at home but I’d always collected music and I knew what a DJ booth looked like so started doing it and became Michael’s DJ. Meanwhile, I was still working for the airline but would always arrive late for work. I needed to get there at 3pm in the afternoon which I thought allowed me to stay up all night, but I then moved to The Bronx and eventually got myself fired. That was a sad day for my Mom, she was like ‘what are you gonna do, you have those travel benefits with the job, you’re not gonna’ be able to visit me’.

It was a big decision and it took me a while to decide whether I could give up the airline job and actually make a living playing records in a club. It was terrifying but I managed it, starting to DJ at Danceteria, then a club called The World, and also the Lounge at a club called Area (another of the era’s key nightspots). Area was where everything took off for me. I was playing lounge-y alternative stuff, Frank Sinatra next to The Cure, and the owner of that club gave me some really good advice. He told me, ‘I don’t care what you play, just as long as people stay in the club. And as long as you look fantastic and keep on dressing up.’ So I started calling myself Superstar DJ and I’d wear a crown on my head and loads of chains when I was DJing and everything took off. I realised I could keep on filling the room until 5am and started making $50 a night, three nights a week, which was perfect for me, I was making more money than I was at the airline.”

Skrufff: How long did it take to move from $50 a night to serious big bucks?

Keoki: “It took about two years, I paid my dues in New York City and played loads of shitty little clubs for nothing but it was the right place to be at that time. “

Skrufff: Reading some of your old interviews via Google, you talked about your crack addiction in 1997, and you said ‘I love drugs, but I can’t do drugs and other things at the same time’, when did it all slide out of control?

Keoki: “It went out of control around the same time Michael went out of control. I was travelling the world and I’d become really good friends with Caspar Pound (Rising High’s infamous label chief, from London) and Caspar really brought out the rebel in me and made me feel I could do anything. I thought I could DJ, produce and remix on drugs, but just as quickly as I thought that, I learned that I couldn’t. This was around 1995; I found myself making lots of money, getting offered every drug in the world and every opportunity in the world but everything started clashing and I realised that you can’t do everything on drugs.”

Skrufff: Crack’s renowned for being tricky to give up, how easy was it for you?

Keoki: “Physically, my body wasn’t addicted to anything, fortunately I never got into heroin, and I think I purposely avoided heroin because I’d never seen anyone come back from it. I dove into using crack, cocaine, crystal meth and ecstasy but never really had a physical addiction to any of them, but I started getting frustrated with them thinking ‘Why can’t I get high and still make catch my flight in time’. It became a mental problem for me and I needed to find other ways of doing things and fortunately marijuana’s always been there for me (chuckling).”

Skrufff: So with crack you just said one day ‘No more’?

Keoki: “Oh yeah, though I could do crack tomorrow but I’d probably have a two or three day binge then realise it wasn’t such a good idea. But I most likely won’t do crack again. I’ll answer that question in that rehab way; ‘Today I’m not going to get fucked up’.”

Skrufff: Larry Tee’s still very active in Narcotics Anonymous, hosting a group in New York; did you also join NA?

Keoki: “No, I didn’t do any rehab at all. Though I remember when I returned to New York three years ago visiting Larry’s club and I hadn’t seen him for a few years and I came up to the DJ booth with a drink shouting drunkenly ‘hey, Larry, how ya doin?’ and I split booze all over the mixer. He just looked at me with a frown and I said ‘I’m so sorry’, I felt like such a monster.”

Skrufff: I understand you’re a great believer in pursuing self-fulfilling prophecies, in what way?

Keoki: “If you truly follow what’s inside your heart and try not to hurt yourself and others around you, then you can accomplish anything, I’m the poster child for that approach, because I’ve come so far, I’ve sold over a million records and I honestly don’t think I’ve even tried as hard as I could. God was with me when I was doing drugs and he’s with me now, it’s all part of the masterplan. I don’t like to preach about drugs but I’ll always speak about them honestly. For me they became a constant battle and at one point I realised the battle was enough. Now, I’m aiming for some smooth sailing and I’ll deal with the ups and downs of real life like I was supposed to.”

Skrufff: You have a massive tattoo on your back saying Misery. .

Keoki: “That’s in homage to Michael. Before he went to jail he was talking to me about what happened and I couldn’t believe it in my head. I was battling my own demons at the time and I was just thinking ‘Michael’s lost his mind’. Up until that point I’d always thought of Michael as being one of the strongest people I’d ever met, I admired him, I thought he was strong, I thought he was smart, he just didn’t seem like the kind of person that could be crushed by anything. Then this happened, everything crumbled and he crushed like an eggshell. I interpreted that as him being a strong person going through misery and he’s going to be miserable for a long time. A friend of mine helped me design the tattoo, we took a weeping Buddha, put that underneath and figured out the word would be perfect above it.”

Skrufff: Do you believe in evil as a genuine force?

Keoki: “Yes. I believe that evil is really there and it can come in lots of different ways. I also believe that through the use of drugs you open yourself up to everything, evil and good, evil and ecstasy- you open yourself to all of that. So it’s scary when you’re on drugs and you’re around all those forces because they can take you over. I’ve been guilty of being evil when I’m on drugs, because it’s not been me, the evil has taken me over. I certainly do believe that there’s an evil force that can totally take over.”

Skrufff: Do you see Michael’s killing as being down to the drugs?

Keoki: “I think Michael was overtaken by evil and demons, the selfish entities that are out there that wanted to manipulate this brilliant creature into doing something for them, for the dark side. That’s what I think happened.”

Skrufff: You talk about the RAVE act on your website. . .

Keoki: “Just a little, I prefer not to get too involved in politics but I don’t feel that oppressing everything and trying to buckle everything down is helping at all in America. I think the Just Say No drugs campaign in America is bullshit, education is the most important thing, to teach people what drugs do for you. I thought we were moving in the right direction where raves started including pill testing booths and leaflets giving out harm reduction information then this RAVE act came in and started closing everything down. Now kids will try to find other ways to take drugs and they have to do it in hiding which I’m totally against.”

 Skrufff: Miami’s Space 34 almost closed down recently over drug issues, what did you make of that?

Keoki: “What do the authorities think is going to happen, do they imagine people are going to stop going out looking for their pills and ways to escape? Of course not, they’re just going to find other routes, which is kind of exciting because maybe something else will happen as a result. But it’s wrong, I wouldn’t be where I am, at the happiest point of my career if it wasn’t for clubs and music. It’s about being able to stand next to someone like Nina Hagen in a bar and talk to her. I remember realising that the one place I could meet her was a club where we could actually sit and talk. Or you could turn around and talk to a businessman, who has no idea but millions of dollars and can maybe produce a record together. Clubs are the only place you can find that kind of atmosphere and possibility.”

Keoki’s latest mash-up/electroclash compilations Kill The DJ and Keokiclash are both out now. For further information check his site.

http://www.djkeoki.com

Interview By: Jonty Skrufff (Skrufff.com)

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