Poolside: New Album + Interview

June 21st, 2017

Our favorite album of the summer is finally here! After a long wait, Los Angeles-based “daytime disco” duo Poolside, aka Filip Nikolic and Jeffrey Paradise, hit us with a surprise release of their sophomore album “Heat” just in time for these carefree summer days. The new 13-track album, which follows 2012’s stunning debut LP “Pacific Standard Time”, was inspired by all of their travels. It includes previously released singles “And The Sea” and “Everything Goes”, as well as a glorious cover of David Byrne and Brian Eno’s “Strange Overtones”. The album “Heat” is loaded with the kind of wonderfully daytime disco vibes and sun-soaked grooves we’ve come to expect from Poolside. There’s more upbeat tempos and lush electronic vibes on this one. “When you listen to the new album, it’s kind of like reflecting on a summer in your past, or a trip that you’ve been on, or a romance that ended,” they say. We caught up with the much loved duo to talk about their new album “Heat”, inspirations, pool parties and more. Summer can start now.

La.Ga.Sta.: It’s been five years since your debut album “Pacific Standard Time”, so why has it taken so long to come up with a new one?

Poolside: The short version of the story is that we stumbled into many happy accidents. Poolside started because we didn’t hang out enough as friends, so we decided that we should start a fun music project as an excuse to hang out. Within 24 hours after posting our first song “Do You Believe” on SoundCloud we had several label offers. How that song even got out there is a happy accident itself, because we didn’t want to buy a SoundCloud pro account to make the song private, so we just made it public and told some friends.

That led to more and more occurrences that felt like “Well, this is the last time we’re going to have the opportunity to: DJ a pool party, tour in Australia, perform at a festival, play a live show, etc etc etc”, so we just kept taking every opportunity that came our way assuming that life would go back to normal soon. Obviously if you’re reading this you know that didn’t exactly happen and things kept progressing. At first we were only going to DJ at daytime pool parties, and then we got asked to DJ at a festival, and there were a couple of thousand people singing along to “Do You Believe” and it was nuts. We pressed our first record because James Murphy emailed us and asked if we had plans to put our “Harvest Moon” single on vinyl, and we didn’t, so we did a rush order for the 12”. We started playing live because the guys in the Rapture texted us and said “We need an opener for our tour and you need to play live” and so we did.

We started working on the second album, while also doing remixes and mixtapes on breaks between rehearsing and then touring as a live band, plus we had lots of DJ gigs, and after a few years of that schedule, we really needed a break to get back in touch with why we started this group in the first place. We felt this self-imposed pressure to follow up with something that met our expectations musically, but one of the really special elements of our first album “Pacific Standard Time” is that we had no expectations, we were very carefree, and we think that came out in the music. So with the second album, it was kind of a mind-fuck on how to carefully make a carefree record. Of course that approach didn’t work, so we took almost a year off from Poolside entirely. We didn’t do any emails, shows, phone calls, DJ gigs, anything at all, but when we regrouped and returned to the music, we had a fresh perspective. We figured out what we loved that we had already started, and we super stoked on the results.

Tell us about this new album sounds compared to “Pacific Standard Time”?

The inspiration for the first album was really just us going to pool parties and BBQs in LA in 2010 and hearing music that really didn’t seem to fit our vibe. It was “peak dubstep” even in the most chill and serene settings; you couldn’t escape the sounds of robots fighting. So we set out to make music we would want to hear in daytime and relaxed environments. We even tested out each song while hanging out in our friend’s pool that was next to Filip’s old studio.

For this new album we kept the same core ideas and expanded the pallet we worked with – the instruments, percussions, tempos, sounds, etc – but we definitely turned up the heat a bit more on some songs with more upbeat tempos, spread out into some more lush electronic vibes, and we didn’t shy away from our more guitar based influences that were mostly hiding on the first album. All in all, it’s building on the same ideas but expressed in a more expansive way. We’ve grown musically over the last five years and we think our fans have too!

Is there any theme or inspiration behind your new album? What’s the story behind the new album’s title?

We didn’t set out to write within a specific theme, but one thing we’d discussed was Fata Morgana, that kind of sensation of what’s real and what’s not, what’s permanent and what’s temporary. When you listen to the new album, it’s kind of like reflecting on a summer in your past, or a trip that you’ve been on, or a romance that ended. The record was inspired by all of our travels, when you wake up on vacation or at the start of a relationship, and you’ve got that excitement, the kind of dreamy bliss of infatuation. Things can be hot, they can be passionate, they can be confusing, sometimes all at the same time. There can be a turmoil in longing for what you once had, and idealization can lead to trouble. When you can come to peace with yourself, you’ll think fondly of life, and appreciate the good with the bad.

Why did you decide to release the album without making an announcement or telling anyone before it came out?

We feel like a lot of times in the music world and just in life in general things are built up too much. In the old days, the record label would make you wait six months to put out an album after you finished it, so they could get everything set up to sell the record. One of the happy accidents with the first album was that a lot of labels were interested, and we were super close to signing with one of them, but then we just decided to release it ourselves. It was the best decision we ever made. We have total freedom, and we think it makes for a direct relationship with our fans, who are all super supportive and nice and positive.

With this new album, we were trying to find artwork for it that we felt really captured what we wanted to do musically. We couldn’t decide on artwork, but there’s a photographer we both like a lot named Neil Krug, and we asked him to do something and he made this image for us from a photo he took and we thought it perfectly represented the album. We didn’t really want to announce the record before we had the right image for it, and we were waiting, and then last Friday we finally got the image from Neil. We sent everything to our distributor and begged them “Is there any possible way you can get this online on Tuesday?!” Usually you need a couple of weeks, but we wanted to release it on June 20th, as it’s the Summer Solstice. It’s awesome we made it.

What kind of impact has living in Los Angeles had on your music?

For PST it was absolutely central to the sound and vibe of the album, as discussed above, we set out to make music that we would want to hear at LA pool parties (rather than the dubstep that was so pervasive at the time). For this album most of our time writing we were on the road and we were lucky enough to travel to many beautiful and vibrant places: Mexico, Australia, all over Europe, Indonesia, South America, so at our core we are an LA band making music in Highland Park, but the influences are more global. That said, the support and love we give and receive for/from LA is massive, we couldn’t be more grateful to the other bands, DJs, artists, radio, friends, and those who support us in LA, it’s the best city in the world to be a musician.

What else have you got in store for the rest of 2017?

Lots of gigs: we have offers to DJ in the Middle East, Asia, Europe, and South America, along with a lot of fun festivals and club gigs in the States where we’ll be playing a lot of our new music in our sets.

Tell us some of the big tunes you are spinning at the moment?

We don’t spin big tunes honestly. We’ll leave that up to the Tiestos of the world.

What’s your favorite daytime pool party so far?

Quantity is quality when it comes to pool parties. Again it was another happy accident, that by creating music that happens to go well with beautiful settings, we’ve been able to play at some truly majestic settings all over the world, from Bondi Beach to crazy mansions in Guadalajara, from the Hamptons to a crazy street party in Chicago.

What is the greatest pleasure for you in playing your music?

What we love about DJing is that it’s a chance to create an environment for yourself and the crowd. When it works right everyone, including us, forgets about everything and not just their troubles, and we can all just get lost in the moment and experience a unique kind of joy that can be hard to come by. We love music and feel really lucky that we get to play music that we love to an audience that gives us plenty of room to maneuver. Our fans are truly great and open-minded, they don’t come out to hear top 40, or the big song of the moment, or pop-house music with some tropical flutes or drums or whatever. We’ll play anything from Bruce Springsteen to obscure Italo disco, but we really settle in on a vibe that doesn’t really pull you in, you have to want to dance to the music we DJ, there’s no sugar, no build up, no pay offs, no drops, just music that we feel has the right emotion and feeling and beat to make the kind of party we would want to be at. We feel it makes for an environment that can be really special and really magical. There are so many bad things happening in the world right now, so it’s fun to escape for a little bit.

Do you have a pool?

No, but the original studio where we did all of “Pacific Standard Time” and started a lot of “Heat” was in a converted pool house that was right next to a pool (literally poolside), so we tested all of our songs while swimming and chilling out by the pool.

Poolside’s new album “Heat” is out now via their own Day & Night label. Stream it here.

Delegation: “Oh Honey” [Poolside Edit]
Le Pamplemousse: “Gimmie What You Got” [Poolside Edit]


[Premiere] Cyclist feat. Maiko Watson: “Shine”

July 23rd, 2013
mpFree, News

You can always count on Canadian producer and DJ Mark Penner, better known as Cyclist, for some solid dancefloor heat. He loves disco (even his cat does), he likes to boogie (just like us), and always manages to impress with his original tracks, his remixes and his funky edits. Not to mention, his classy rendition with his friend Pat Lok of The Rapture’s “How Deep is Your Love” that has been selected by the band itself as the winner of the DFA Records remix competition in 2011.

Cyclist has quickly became one of our favorite producers. That’s why we’re so excited to premiere his new single “Shine” on Jerry Bouthier’s ever-growing Continental Records. It’s a really great track with a serious ’80s funk vibe and soulful vocals from fellow Canadian singer/songwriter Maiko Watson. The single comes complete with an impressive remix package, including fine reworks of “Shine” by Swedish disco duo Drop Out Orchestra, Brooklyn’s Lou Teti, and Chicago’s jackin’ & swingin’ producer Rogue Vogue. Can we ask for more?

Before its release on July 29th, you can now download Cyclist’s new single “Shine” for free, and preview the full release, exclusively on La.Ga.Sta. Also, we caught up with the talented producer to talk about “Shine”, his musical influences, and disco rides. Read our interview below and ride with us.

La.Ga.Sta.: Why Cyclist? Is there any story behind your moniker?

Cyclist: I just happened to be on my bike while I was trying to think of a name for my new solo project. Looked it up when I got home and surprisingly, it wasn’t taken. Really need to make up a better story.

What made you decide to turn to music in the first place?

In my family, music is extremely important. I started playing cello when I was 3 and switched to guitar when I was 14. From then on I was obsessed with playing music and recording.

How did you come to be releasing music on Continental Records? Can you tell us a few things about your new single “Shine”?

“Shine” is an ’80s disco-funk inspired track I co-wrote with my good friend and amazing vocalist Maiko Watson. I played it out as an instrumental for a while but really wanted vocals. Maiko was the perfect fit and really dug the track so we finished a demo. This was just after I had done a remix for Shindu that was released on Continental Records. I sent the demo to Jerry Bouthier and he loved it! I’m a big fan of the label so I’m stoked to be releasing with them.

What inspired you to start DJing and making music?

I played in bands for so long. It can get a bit frustrating having to please everyone’s preferences. So I started making music solo and found that I liked the control over every aspect. I started DJing around the same time and got so addicted to it right away. It’s the best. I use to do a live set of all my own material but I got bored with it pretty quick. I may try that again in the future but not until I figure out a way to keep it fresh and interesting every show.

What was the first record you bought?

I actually don’t remember the specific record. I heard a tape of Herbie Hancock’s “Thrust” and “Secrets” albums and went on a mission to find those records. At the record store, I started listening to anything from the ’70s that looked cool. I really got in to jazz fusion, funk and soul and eventually disco.

Which is your favorite sound?

Wah, wah, clavinet probably. But it has to be a real clav, a good wah and someone who knows what to do with the combination.

What is a piece of equipment you can’t live without and why?

I’m actually not really attached to any gear other than my guitar (’73 custom Tele). Mostly sentimental reasons but it is also a really great guitar.

Which are your five favorite tracks of 2013 so far?

I could spend an hour deciding this, so without thinking about it too much:

Todd Terje – Strandbar (Disko)

First Choice – Love Thang (Genius of Time Edit)

Jex Opolis – Sharing

A/Jus/Ted feat. Jeremy Glenn – A Brighter Light

Xinobi – Puma (Moullinex Remix)

Three things we should know about Cyclist…

1. I’m a big fan of old-school disco and I have a monthly disco party in Toronto, called “Beam Me Up” with A Digital Needle. These days it’s almost impossible for me to play a set without at least a few old-school disco tracks in there.

2. I recently adopted a 13-year-old cat that also loves disco. Follow me on Instagram for pics!

3. I loooove Roti. And beer!

What are your plans for the rest of 2013?

I’m planning a tour in Mexico in September and a tour in Europe in November. I have a couple remixes in the works and I’m hoping to pump out a couple more originals before the end of the year.

Download Cyclist’s new single “Shine” here

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Interview: Hemingway

May 20th, 2013

For his first solo project, Toronto-based producer James Harris had chosen a classy moniker: Hemingway. Under that guise he has been producing music for “cruising, boogey-woogeying, and late-night promenades”, a series of quality remixes, not to mention his excellent “Slow Cruise” mixtapes full of yacht vibes. When he’s not crafting new tracks, he loves reading sci-fi stories about alien worlds. He’s such a talented guy.

Hemingway has been on our radar for quite some time now, and he always manages to impress us with his production skills. He makes no exception with his superb debut single “Ace Neptune”, an epic intergalactic journey through space, which was recently released on Brilliantine, backed with remixes by Cyclist and Jokers Of The Scene.

Today, Hemingway stops at La.Ga.Sta. for a little chat about music, influences and aliens. Read our interview below and get to know him better. He’s definitely a producer worth keeping an eye on.

La.Ga.Sta.: What’s the story behind your name?

Hemingway: I wish there was a cool story to tell, but there isn’t really. When I was much younger and just getting into producing/djing I was reading Ernest Hemingway’s “The Old Man and The Sea” for the first time and I guess it just clicked. It sounded classy.

What made you decide to turn to music in the first place?

I think there’s some genetic predisposition, but it’s more a combination of having grown up in a musical environment with lots of instruments to noodle around with, absorbing many bleeps and bloops from the Commodore 64, and listening to my dad’s eccentric record collection like Tears for Fears or Vangelis during family dinners.

What is your source of inspiration?

There’s not one single source per se, although it would be cool if I had some secret alien well of inspiration. Usually it starts from a sound, a chord, or a combination of chords. I seem to be constantly drawing upon visuals on YouTube as well. I watched a lot of “Gundam Wing” when I was working on “Ace Neptune”.

Can you tell us a few things about your debut single “Ace Neptune” on Brilliantine?

I started it over a year ago. At the time it was just an experiment with a new sound and I didn’t expect to flesh it out, but Andrew and Meg (the label owners) really liked it and encouraged me to finish it. I had this vision in my mind of an intrepid galactic traveller akin to Flash Gordon exploring undiscovered planets. I have always liked reading science fiction stories about alien worlds, and I often find myself thinking of a soundtrack in my mind’s ear. So I figured it would be a nerdy and fun thing to bring to fruition. On another note, I have since made a bunch of tunes in a similar vein, so their may be an EP to continue Ace Neptune’s narrative down the road.

What has influenced you the most in the past years?

This is a hard question because there have been so many great artists, films, and life events that have influenced me. I have really grown fond of jazz composition in the past few years. I’ve been playing keys more than programming these days and everything melody-wise seems to come more naturally now.

How would you describe your work?

A tad over-ambitious.

What is your favorite sound?

A 7th chord on a properly amped Wurlitzer maybe?

What is a piece of equipment you can’t live without and why?

To be completely honest, my MacBook. I could live without my synth and still be able to make music on my computer.

Which is your favorite destination?

I have yet to actually go, but probably Japan or maybe Easter Island.

Which are your favorite tracks at the moment?

Here’s five I’ve been really feeling lately:
– Shuggie Otis – Not Available
– Space Dimension Controller – The Love Quadrant
– Boards Of Canada – In A Beautiful Place Out In The Country
– Monte – True
– Datassette – Helvetica Calcium

Three things we should know about Hemingway…

1. I will be moving in the direction of a live set-up, which may include a guitarist, a drummer, and myself on keys.

2. I have about three different EPs in the works. One is science-fictiony, one is pure yacht vibes, and one is deep, clubby and citrusy.

3. There will be a third “Slow Cruise” mix soon…

Head over to Hemingway’s Soundcloud page to hear a few more jams. Below, you can stream Cyclist’s killer remix of his new single “Ace Neptune” and grab his tune “Debutante” for free.

Download here

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Interview: Moullinex

October 26th, 2012

Friday is for “Flora”! We’re big fans of Lisbon-born, Munich-based producer and DJ Luis Clara Gomes, aka Moullinex, here at La.Ga.Sta. and we’re so excited that his debut album “Flora” is finally out today on Gomma Records. It has definitely been a long, long journey of “hard work, laughs and rollercoasters” and believe us when we say that “Flora” has been well worth the wait.
The album features his amazing previous singles “Sunflare””, Tear Club”, his super cover of “Maniac” with Peaches and a bunch of other feel-good new tracks, showcasing his ability to create music that everyone will love and dance to. Needless to say, “Darkest Night”, featuring the vocals from Iwona Skwarek of Rebeka, is one of our favorite songs of the year so far. Yes, he knows how to take our pain away.
We caught up with the ever-excellent Moullinex to talk about “Flora”, Discotexas, his musical influences, the “nu-disco” scene, and his favorite places to hang out in Lisbon. Read our interview and make sure to stream his album “Flora” in its entirety below.

La.Ga.Sta.: Hi Moullinex. Where are you up to at the moment?

Moullinex: This week I’m in Munich, which is like a second home. Besides making music I’m also working in science communication with the European Southern Observatory. They make very big telescopes, helping us to understand our universe better.

After two years in the making, your debut album “Flora” has been released. How do you feel that it’s finally out?

I still can’t really believe it. I was so used to the process of working, pausing, refining, that it feels like it hasn’t ended yet. But it’s really good to have it finally out for everyone to listen to.

Who is “Flora”?

“Flora” is honesty. To me it’s hopefully something beautiful but imperfect. Hopefully like someone you get to know very well – you know all its faults but in the end you’ll love it for what it is.

Which is your favorite track of the album and why?

I don’t have a clear favorite – or least favorite – but if I had to pick three they would be “Flora”, “Darkest Night” and “Tear Club”. These are the ones I have a bigger emotional attachment to. They always bring me to specific places or moments in time; of joy, sure, but also of discomfort…

What are your thoughts on “nu-disco” as a genre? Do you feel happy being called a “nu-disco” producer?

I’m happy being called a disco producer. I love the genre, the romantic notion of dance music, but I’m not sure about the “nu”. I get the genre, but it’s an umbrella for so many things. And it’s not “nu” at all, I mean. Metro Area’s 1-4 were released in the 2000s, like many other records that sounded similar, and they already had the foundations of what you can call “nu-disco” nowadays.

What’s your earliest musical memory?

My father did the music for theatre plays, so I would go too and look at performances from the backstage. This captivated me a lot: to understand how they worked, how they put a show together, all the elements. It was a trap!

When did making music become your job?

It never happened consciously, but I did shift my priorities from doing Neurology research to find space to follow music more and more. Maybe around 3 to 4 years ago the balance was changed.

Where do your musical influences come from?

I’ve got a lot of them. But I am obsessed with certain artists, periods or artists’ periods. To name some of them, Stevie Wonder, Marvin Gaye, Isaac Hayes, Roy Ayers, all the Motown stuff, Chic. Then you have all the space stuff like Pink Floyd, Tangerine Dream. From there I can make a connection to Ennio Morricone, Angelo Badalamenti, Giorgio Moroder and other Italian film composers. Which brings me full circle to Air, Amon Tobin and Aphex Twin, Daft Punk. I could do this exercise all day long!

How do you manage your time between producing music, co-running the Discotexas label and touring?

My recipe contains two ingredients: the help from really good friends – the talented people I work with – and doing only things I love. My own music has several guests on it, Discotexas is a shared project of love, like having a child. And touring is something I’ve always wanted to do.

What’s the best thing you’ve heard this year?

Tame Impala’s album “Lonerism” is amazing.

How do you chill out?

Cooking at home with friends. And watching three movies in a row. That’s bliss!

What are your top places to hang out in Lisbon?

The city has an amazing light, white architecture ending on the river so it’s good to be in higher places. The viewpoints around my neighborhood, Graça, are the best. I’d take you to lunch at Carvoaria a Jacto, go for a walk around Graça and Alfama, have dinner in Casanova and out for a drink at Lux.

What advice would you give to a young producer?

I feel like a “young producer” myself, and I have much more to learn than anything to teach. But musically speaking, I would tell them to find what comes naturally to them, and just trust it. And technically speaking, to spend all the money they have on speakers.

What are your three greatest loves in life?

Family, music, and discovery.

What are your plans for the future?

Now it’s time to take the album for a walk. To play it out with live and DJing too. I wanna record an album in record time with Xinobi, and then play it with The Discotexas Band.

If you weren’t a successful producer and DJ, what would you like to be?

I’m too scared of the idea of having to quit music to even contemplate other scenarios! But most likely you’d see me doing research in Neurology or Astronomy. I would definitely be learning something.

mpFree: Download the radio edit of “Take My Pain Away” here

Moullinex’s debut album “Flora” is out today on Gomma.
Get it here, along with a nice tote bag.


Premiere: ATTAR! – Folivora Parade

October 18th, 2012

Over the last years he used to drive a…Mustang, now the talented Belgian producer and DJ Renaud Deru (formerly of Mustang) has decided to step out on his own and express himself under his new solo project, called ATTAR!. This year has been pretty damn busy for him. Having released a series of great mixtapes and some quality remixes for Gossip, Citizens!, Adamski, NTEIBINT and Appaloosa, among others, ATTAR! is ready to take the world by storm.
His super catchy first single “Folivora Parade” drops tomorrow for free download as a gift to his Facebook fans (go “Like” his page here), but for now you can exclusively stream it right here on La.Ga.Sta. Expect nothing but pure vibes. In the meantime, ATTAR! is coming to Athens, Greece this Saturday (20/10) and we couldn’t be more excited. Ahead of his appearance at Factory@λ, as a special guest of the “BeDazzler” parties, he speaks to us about his first single, Mustang’s split up, the “nu-disco” scene and music in general. You can read the interview with our beloved ATTAR! below.

La.Ga.Sta.: Hi ATTAR! Why did you choose this moniker?

ATTAR!: Maybe because the classic “Atari Stella 2600” was born in October 1977, like me. No, seriously it’s quite uneasy to tell as there’s no specific reason. I found this moniker more than a year ago. I had some personal musical drafts in my computer and I had the idea to start my own project. By accident, I found some images of my old Atari computer on Google and I said “Oh shit, that sounds good”. I think a moniker doesn’t need to have a deep personal meaning, but should lead you perfectly if you simply feel good behind it.

Your first single “Folivora Parade” drops tomorrow on Aeropop. Can you tell us more about the story behind it?

In fact, “Folivora Parade” will not be released on Vito’s label Aeropop. It’s a self production, a gift that I wanted to offer to my Facebook followers. Aeropop is a record label for the Aeroplane productions and collaborations and a management agency. I have been managed by Aeropop since early September and I can say that it has changed my life. Now I can focus on the music production 100%, and I feel well supported at the same time, which is great. I wrote “Folivora Parade” one year ago. It’s the first track I have ever written alone. The melody is naive and simple and also quite emotive. First, I didn’t want to release it, because since the end of Mustang I have worked on lots of other tracks and remixes. But when I heard it some weeks ago, I fell in love with it again.

How did you get into making music?

It was a childhood dream. I got into music when I received my first drum mat 7. Then, I played drums in some rock bands when I was a teenager, but I stopped 15 years ago. I properly started to learn about machines and musical productions 4 years ago, when I decided to focus more on music than organising club and party events. Of course I learnt a lot when I was in studio together with Andy during Mustang. But, I can say that the most I’ve learned is on my own. Reading books, watching tutorials, trying stuff. The way people produce music is very personal after all.

What’s your creative process like? Where do you find inspiration from?

Sometimes it comes like a divine inspiration, sometimes not. For example, the synth melodies in my remix for Adamski came to me in a swimming pool in Thailand. I sang it into my iPhone and recorded it. Back in studio, I played it on my Juno 106 and the remix emerged naturally. Sometimes, it’s different, I use some samples as a basis and then create melodies that work with them, and then delete the sample and finish the track. Working with a singer is also a great inspiration source: I send a draft with some melodies, the singer tries some vocals on it and then I go back into it and change stuff (or not). I could be inspired by anything.

Do you miss Mustang? Is there any chance you two getting back together?

No, I don’t miss Mustang. It was a great experience for sure, we had very good times and I keep some great souvenirs, but the end of the story was unfortunately uneasy. I think it was the hardest period of my life as the split came about very quickly and I wasn’t prepared for it. Anyway, quite unexpectedly, I soon realized that working alone is probably the best way to make music. Now I’m free to explore all the ways I want, it’s an amazing luxury.

Do you mind being called “nu-disco”?

I have to say yes. You know, the “nu-disco” genre was created some years ago for artists like Lindstrøm & Prins Thomas or Aeroplane and all this exciting new 112 bpm dancing scene. During this period, “nu-disco” made sense. But some months ago, it became a junk-room. When you check the “indie/Nu-Disco” part on Beatport, you can see it. It’s going from loungy stuff to hard maximal-electroclash. A big mess. I make music, house music in its former meaning: The music you can produce in your house.

Three things we should know about ATTAR!…

– My remix for Giorgio Moroder’s “From Here To Eternity” will be out on November 12th on MB Disco.
– My second single with a great singer from Edinburgh is almost finished, stay tuned!
– I’ve recently started to dj with USB sticks only, and it’s life-changing for me.

Which piece of equipment do you absolutely love and can’t live without?

My iPhone. I’m addicted. In the studio, my Waves plug-ins and my Juno 106.

What’s the best thing you’ve heard this year?

The Chrome Canyon album “Elemental Themes”, the forthcoming Tiger & Woods remix of Aeroplane’s “In Her Eyes” (feat. Jamie Principle), Compuphonic’s “Sunset”, Mickey’s “Weekend” (feat .Billie), and the whole Diynamic Recordings discography.

Any records that have changed your life?

The Cure – Desintegration
Serge Gainsbourg – Je Suis Venu Te Dire Que Je M’en Vais
Nirvana – Nevermind
Pixies – Trompe Le Monde
Daft Punk – Homework
Common Factor – Get Down
Sébastien Tellier – Sexuality

What’s your favorite era of (past) music and why?

Definitely the 80s. Because it was the first music I heard and because it was a very strange and innovative music period full of the “best” and the “worst” tracks ever.

What are your three greatest loves in life?

– Honesty, sincerity and free relationships.
– Eating good food all around the world.
– Music.

What do the next few months hold for you?

A lot of work in the studio, doing sports, leaving Brussels and travelling.

Have you played Atari today?

“Space Invaders” is waiting for me right now. Let’s go!

mpFree: Gossip: “Perfect World” [ATTAR! Remix]

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Interview: Mirror People

September 21st, 2012

“Lisbon’s natural light makes me ‘disco'” say Mirror People, a name you may already be familiar with. Having released a series of quality tracks on Permanent Vacation, Gomma and Discotexas over the past two years and remixed tracks for Mario Basanov, Munk, The KDMS, to name a few, the talented Portuguese producer/DJ and avid music lover Rui Maia, better known as Mirror People, never ceases to amaze us. It looks like he has the magical touch to turn everything into something special. That’s why we’ve already featured most of his stuff here on La.Ga.Sta.
Today sees the release of Mirror People’s great second single “Kaleidoscope” on Discotexas, which explores a different path from last year’s “Feel The Need”, featuring Rowetta of Happy Mondays fame on vocals. It also comes backed with an amazing remix by fellow producer Xinobi.
We jumped in our car and took a ride down to Lisbon for a small chat with Mirror People about music, the local dance scene, their influences and disco rides. You can read our interview below. When we look through Mirror People’s “Kaleidoscope” what we see is colorful shapes and people dancing to disco music: things that make us really happy.

La.Ga.Sta.: Can you tell us a few things about your second release on Discotexas?

Mirror People: The new release is called “Kaleidoscope”, and it was influenced by 60s psychedelic bands like Os Mutantes and by the Ethiopian jazz artist Mulatu Astatke. My idea was to create a dance tune with different arpeggio layers combined with some ambient analogue elements that you can find in Mirror People’s previous work.

What was your life like before Mirror People, living in Lisbon and being into music?

This is my 10th year as a full-time musician. I play in a couple of bands here in Portugal (We Trust and X-Wife) and I collaborate with other artists on the studio work. All my life I was connected with music, when I was 5 years old I started to play guitar and drums. In the 90s I was a lot into Stereolab and Air’s “Moon Safari”, so I had the opportunity to buy some Synthesizers – I found my passion. That’s the story of my life.

What were you influenced by in the past years?

In fact I’m still a lot into 70s glam-post-punk-new-wave-indie thing, and I like to bring that to the dance scene. The Norwegian artists like Lindstrom and Prins Thomas, the DFA and Italians Do It Better’s work influenced me a lot.

From “Echo Life” to “Kaleidoscope”: Do you feel like your sound has evolved a lot since your first release as Mirror People?

Every day I feel that I’m developing my sound. At the beginning the Mirror People “sound” was more experimental, I was a lot into acts like The Knife, Throbbing Gristle, Emperor Machine or young Simian Mobile Disco. Nowadays I’m more focused in other aspects of the songs, I like to try to match different genres in one tune, but always with an eye on the dance floor.

Discotexas has been responsible for some truly great music over the years. Give us your view on Portugal’s dance music scene today…

There’s well-known names like Xinobi, Social Disco Club, Tiago or Moullinex, all artists with records on cool labels. Our scene is getting very “international”, but most of the Portuguese clubs are still into commercial house or drum & bass. I feel that we’re getting more cool parties here and there, people are paying more attention, so I believe that this “scene” is growing.

What makes you “disco” in Lisbon?

It’s my first year here in Lisbon, I’m from the north, from Porto. I think that Lisbon’s natural light makes me “disco”.

Which record do you love to listen to while driving your car?

“Gone to Earth” by David Sylvian.

Which are your favorite albums of 2012 so far?

I’m really into the Grimes’ album “Visions”, Chromatics’ “Kill For Love”, Django Django’s “Django Django”, and John Talabot’s “ƒIN”, among others.

Three things we should know about Mirror People…

Mirror People is my solo producer/dj project that hopefully one day will become a live band.
Mirror People released tracks on such cool labels like Permanent Vacation, Gomma or Discotexas.
I don’t use samples.

What do you see when you look through your “kaleidoscope”?

I see John Lennon and flowers.

What’s next for Mirror People?

I’m releasing an EP compilation of old material by the end of 2012. Then hopefully in mid-2013 I’ll release the first Mirror People’s album.

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Interview: Zimmer

September 13th, 2012

“Sunsets, happiness, passion, groove, simplicity”. That’s how the Paris-based wunderkind Zimmer, describes his “Horizontal Disco” universe. Having grown up between France and California, the cosmopolitan producer and DJ has quickly become one of our favorites. He first caught our attention last year with his brilliant first single “Cruisin'”, which, followed by his solid four-track debut EP “Horizontal Disco” on Discotexas, has made of the pool area our second home.
By now, all disco lovers should know what to expect from Zimmer: sultry slo-mo disco jams, warm, feel-good melodies, deliciously floor-friendly edits, not to mention his awesome tapes, perfectly made to expand your disco horizons.
Zimmer has just pulled over at La.Ga.Sta. for a little chat about music, his influences, travels and future plans. He was kind enough to share with us his new “Vertical Disco” rework of Chic’s 1977 classic “Everybody Dance”, which you can grab for free below. Get prepared for more from Zimmer to set your ears on fire.

La.Ga.Sta.: What made you decide to turn to music in the first place?

Zimmer: It’s the art form that gives me the most emotions.

What is your source of inspiration?

I like to picture the places where my music will get played. I want to create the soundtrack for the perfect beach-party: a party where everyone unites, dances and smiles. Sounds super cheesy, but I’m sure it’s what most people want.

You have described your work as “Horizontal Disco”. Is there any particular reason for that?

Horizontal is a reference to poolside lounge chairs, and to the bedroom… The new Chic rework, on the other side, is what I call “Vertical Disco”. It’s made for dancing.

Annecy, California, Paris: which one of these places feels most like home?

You could even add Berlin and Guadalajara to the list, cities where I’ve lived during the past 2 years. I feel at home in all these places. I like to be always on the move. As a kid, I loved being the American in France, and being the Frenchy in California. However, Paris is my home right now, and it feels right. Even though there are not so many disco producers, the club scene is exciting right now, with places like Wanderlust.

How do you think living in Paris has affected your sound?

It didn’t influence me that much, I think, as I started making music in Paris. Living in Berlin last year had more influence on my production, it opened my mind to a deeper sound.

Has becoming a DJ/producer affected your studies in any way?

I think it’s more the opposite. I studied product design, and in the last years I had a lot of free time to work on projects, but instead I used it to work on music. However, I’m proud to have graduated in both business and design school, even though I was really busy with music.

Which is your favorite sound?

The piano. The possibilities are endless, plus I’ve played piano for 10 years when I was a kid.

Do you think nu-disco is over?

It’s weird how everyone seems to say this, because our musical scene has never been that big. The Magician’s remix of “I Follow Rivers” is being played on the radio, and clubs are full when “nu-disco” DJs play. Maybe it’s just a terminology thing. The term “nu-disco” doesn’t work anymore, but this type of music is still gaining momentum. I was talking with RAC the other night and he said the scene should be called “post-house”. Not sure it’s the right name, but the scene for melodic house, mixed with elements from Disco and Pop is becoming bigger by the day.

Which are your five favorite tracks for summer 2012?

Van She – Jamaica [Plastic Plates Remix]
RÜFÜS – This Summer [Softwar Remix]
Pachanga Boys – Time
Little Boots – Headphones [Moon Boots Remix]
Chris Malinchak – If U Got It

Which is your favorite destination?

Somewhere I’ve never been before. I love discovering new places. Although as it’s super rainy in Paris right now, I’d love to hop on a plane for Tulum in Mexico!

What are three things you must always travel with?

MacBook: I’ve got my whole life in there, and it’s my primary tool to make music.
HD 25 headphones: I can have studio quality sound wherever I am.
DSLR camera to capture what’s around me.

Which record do you love to listen to while driving your car?

I don’t drive, I take the metro all the time. But if I’m in a car, I love to listen to the radio to discover random music. I wish I had more time to extend my horizons beyond house and disco.

What’s next for Zimmer? Should we expect a new single soon or more remixes?

There’s going to be more remixes, the release schedule for the end of the year is really busy. For two of these I only used the vocals, and to me it’s almost like an original. I’ve really enjoyed working this way recently. It took some time before I figured out the remix process but now it’s something really inspiring. I’m finishing a new single, though, working on the vocals. Release date is still far ahead. Anyways, I’d rather have a few quality releases than a lot of mediocre tunes, so I take my time and try to limit the number of projects.

Tell us a few things about your rework of Chic’s “Everybody Dance”…

I’m really excited. I made this at first as a tool for my DJ sets last November. The rework is basically just a huge build-up for the best part of the original. I play it almost at every set, and it’s usually the most epic moment, people react really well to the tune. So I thought more people could enjoy it, and here it is!

Download here

Head over to Zimmer’s Soundcloud page for more “Horizontal Disco” heat!

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Interview: NTEIBINT

May 10th, 2012

Everybody knows a Dave, you should get to know this one too. Talented Greek producer NTEIBINT makes thing his own way. After a few more remixes, he eventually released his first EP “Everybody Knows A Dave” on Bang Gang 12”, and the result was definitely worth the wait. That’s why we took a ride with him and talked about his background, music and future plans. Read our interview below and grab his brand new jam “Jackpot” for free, exclusively on La.Ga.Sta. Don’t forget to be on the look out for exciting new releases from this guy.

La.Ga.Sta.: Who is NTEIBINT?

NTEIBINT: He’s Dave! Or David – If you try to spell NTEIBINT in Greek. It all started with a simple wordplay done by me and ath1281, the man responsible for the visual identity of the project.

What is your background? Tell us how you first got into electronic music?

I’m a classical trained musician that got bored of studying and fell in love with synth. My first experience with electronic music was through Laurent Garnier’s “Unreasonable Behaviour”, a milestone album for me.

Your debut EP “Everybody Knows A Dave” on Bang Gang 12” sounds quite different from your previous stuff (more balearic, disco), any particular reason for that?

NTEIBINT started with a remix I did for Jamie Lidell on Warp Records. After that I did a lot of remixes and bootlegs. I was trying to craft my own sound, with some hits and misses on the way. It all led naturally to this mid-tempo kind of slowdance disco, that you hear on my first EP as NTEIBINT.

What is your source of inspiration?

Everyday life, mostly good food and good friends. I don’t like to talk music and sometimes I don’t even listen to music for small periods of time.

How you would describe your work?

It’s mostly disco with a slow pace, live instruments and happy accidents.

Do you prefer producing remixes or original tracks?

I really like remixing and I’m a pretty fast worker in the studio, remixes are stress-free for me. My original tracks take a little bit longer to conclude as I’m the recording artist, mixer and producer, It’s a battle between all those different hats!

How do you think Athens has affected your sound?

Too much noise and too many happy faces at the same time? That’s Athens for me. I live in the suburbs, so I’m not a city kid. I prefer a laid back environment.

What is a piece of equipment you can’t live without and why?

A good set of monitors. You can’t do anything without a good pair of speakers (and electricity).

Which are your favorite tunes at the moment…

Kindness – House
Adamski – I Like It (ATTAR! Remix)
Roundtree – Hit On You (Version Idjut)
Light Year – Moderation (NTEIBINT Remix)
Sleep D – Bacon

Which record would you love to listen if you had a car?

Easy pick and long time favourite late ’80s album “Conscience” by Womack & Womack.

Three things we should know about NTEIBINT…

Cigarettes, music and politics.

What’s next for NTEIBINT?

My second EP is almost ready and I’m looking for a European Label to release it. Expect some balearic mid-tempo moments and feel-good house vibes.

Download here


Interview: Erol Alkan

May 4th, 2012

“I don’t think DJs define themselves, I think people now define DJs”

“Even I don’t know why I’ve been doing interviews. I don’t see the purpose.” Erol Alkan may not like giving interviews because what he really likes is to communicate through music. He only does so, for people to get to know who he is in places he has never been to before. It’s hard to believe he has never been to Athens, Greece and we are more than excited to finally have him here. Last time we saw him at Coachella and London we danced our feet off and we expect nothing less tonight (4/5) at Koo Koo club in Athens in a event organized by Kormoranos team. Before his long-awaited gig, Erol Alkan talks to La.Ga.Sta. about (almost) everything.

All you need is three people max

I’ve never seen myself as someone great, because I always just feel that whatever I do I need to keep reinvigorating my own sprit. I’m scared of it being a job. What really counts for me is the excitement when I complete something. I have to begin with me. I have to make sure I like it of course. Then I have to impress a couple of people around me. There are only a few people on this planet that I think I understand enough. There’s a base, like three people in my life who I want to make it work in their head, in their eyes, in their ears. Their judgment would help me form what I want to achieve. If it works, then it’s enough for me. I don’t care about reaching lots of people because it’s out of my control.

Make music for yourself

Whenever I work with a band I am suggesting they make the record for themselves. I think that the only thing that matters is creating something that connects what you like. Not trying to please the people who loved your previous work. Never do that. I never really tried to please a fan base. I think fan base comes and goes faster than you realize.


There is a sense of nostalgia in dance music nowadays. If you look at dance music there are always areas which are completely original, inventive and forward thinking. Some eyes look backwards, some eyes forwards. All depends on what eyes you are looking at. There are people who make great music that sounds like it was made twenty years ago. You have heard it in rock as well. It’s just a balance. There are bands who sound retro but they bring something fresh to it, enough that still sounds like it has been made now. You have to just acknowledge the present. For instance, The White Stripes. Take something from the past then try to make something that still sounds fresh in the future.


Whenever I do something I never care about a ‘good’ sound. I try to make something that I think it is going to sound ‘dirty’ in years to come. I never try to base on current sound. None of my records ever sound like a certain time. I try really hard for that because I like the idea that you can still play one of my tracks from five years ago and still sound good today.

Destroy and Create

I like some nu-disco, the same way I like some Dubstep, Techno, Hip House. I think heroes of the past should be ‘abused’ a little bit. I like the idea of something that sounds familiar, yet ‘abused’. Destroy it in a way to make it sound futuristic. What I don’t like is hearing someone who’s trying too hard to sound like a certain record. In nu-disco music people try to adopt a style from the past and that is a little bit embarrassing. You can take the best elements, but you should put something new into it and make it new, rather than somebody else’s. Even a small thing that has your signature sound is enough, but I don’t really see that happening. There are tracks right now that I can say they all sound like the same bunch of artists.

Think outside the box

Everybody has the inclination to play the records that they love. But I don’t really think that’s being a DJ. I think you can play records and entertain people. It’s like saying everybody can be a doctor if you can cure a headache. That doesn’t make you a doctor. If you want a reduced role of a DJ in society, then, yes, everybody can be a DJ. But I believe everybody have it in them to present the music that they love to other people, but that isn’t necessarily DJing. That is playing records. I don’t really care about people who call themselves DJs, they can do what they want. To be honest, anybody could download twenty hot tracks and play them and make a room dance. That is a kind of DJing. But to me the DJs who I call DJs and I really admire, are always looking for music, thinking outside of the box and always changing people, the same way artists do. I don’t think DJs define themselves, I think people now define DJs. People choose what they want by getting to a club, by listening to a radio show, by buying a mix cd. If they don’t want DJs to have that role in their life, then it will die out and all they will be left with would be, lots of people playing the same records from computers.

Three hours sleep, then off to the next gig

I feel very lucky. I get to play records that I really love and people come and dance. I can’t emphasize how grateful I’m. I try to make sure that everything I offer to people is valid and good enough. I’m not interested in constantly repeating myself. I am not changing my sets gig to gig, or city by city. It depends mostly on the size of the venue or if I played there before. Every gig has a different dynamic. There are some places that I go and I have to play a certain type of set. There are some others where you have never been before, and people want to hear you play certain records. London is always good fun for me. I love to play in Fire very long sets. I love to play Mondo club in Madrid, that’s brilliant. I like playing gigs in Barcelona. I like playing at the Social Club in Paris. In America things have been good for me, because the scene has been constantly involving and changing over there. You never play at the same place twice. The time you get back, the club you played last time is closed down.

Pack and go

Toiletries, headphones and clothes I suppose.


I don’t play with the MAC because I don’t want to take a laptop in the club. I love the USB, it’s great.

A matter of time

I don’t have enough free time for myself but to be honest with you, this is what I love doing right now. It’s not a problem for me. Sure, I have time for my friends, but most of them are people involved with music, so when we’re together… we chat about music. I’ m very lucky in that way. Usually your social circles are defined by places that you go to or the music you listen to. I have relationships with people who admire and share a mutual appreciation of music. After doing it for so long is a good thing. Don’t see that as a negative point. It’s my choice.

In the driver’s seat

I have a car for like two years. It’s from the 90’s with a cassette player. I have a lot of cassettes from my youth and I listen to those which I love: noisy guitar music, My Bloody Valentine, Public Enemy, things like that.

Keep it a secret

I never tell people my favorite artists and tracks, neither my future plans. I think it is healthy to have surprises. Lots of information is just too easy to get these days.

In case you missed it, check out Erol’s third 6Mix residency on BBC 6 Music here. Two hours of beats, bleeps and bass. Amazing!


Interview: Goldroom

April 7th, 2012

We spent the whole week painting our car in gold, to get ready for Goldroom’s, aka Josh Legg, first DJ sets in Greece. Last year, we were impressed with his self-released excellent debut EP “Angeles” and we kept featuring most of his amazing remixes for artists such as Penguin Prison, Poolside, Niki & The Dove, Lancelot and Alpine. He quickly become one of our favorite producers.
Everytime we listen to his tunes it’s like being in LA, driving down the highway under the California sun, heading to the ocean, where he feels at home. That’s why his music is all about tropical disco grooves.
Before his upcoming two shows in Thessaloniki (7/4) at COO bar, as a special guest of the very popular Can You Relate? parties and in Athens (8/4) at Philipp Champagne Bar, Goldroom stopped by our station and talked to us about things made of gold. Be sure to check his latest mixtape “Aviva”, which includes two new tracks “Sneakers” and “Heart Takes Me”. Let the sunshine in…

La.Ga.Sta.: What’s the story behind your name?

Goldroom: In a very literal sense, it happens to be my favorite dive in LA. It’s this tiny bar in Echo Park that serves its Tecates with a shot of tequila, and has dollar tacos from time to time. When I think about Goldroom though, it became much more when I started to think about LA and the whole Southwestern USA as one giant golden room though, that’s when I started to think about adopting the name.

What made you decide to turn to music in the first place?

Well, music has always been something that’s been a constant companion for me. It’s always been my escape and my complete creative outlet. If your question is asking about when and why I decided to actually dive into music full time… I really just grew tired of the idea that it was irresponsible to try and be an artist, which I was always told was the case. Eventually, I couldn’t fight it anymore.

Which are your favorite five tracks at the moment?

I can never answer this type of question! Here are the last five songs I played in my iTunes.

St. Lucia – All Eyes On You
Kendrick Lamar – The Recipe
Stevie Wonder – I Believe
Only Children – Down Fever
The Police – Wrapped Around Your Finger

Which is your favorite destination?

Anywhere near the water. I’ve always been a wanderer, being on the move, on the road. I grew up on boats though, and I think when I get near the ocean I feel at home.

When was your first night at discotheque?

I probably went to my first bar or club when I was 18 or 19 actually. My friends and I were always much more likely to get a handle of rum and a 30 pack of Keystone light and go to the beach at night.

Three things you do when you wake up in LA?

I spend most of my time in the studio, so that gets number 1 and number 2. My escape from music usually comes in the form of Wednesday sailing races I do in Long Beach with some friends from college.

What excites you in today’s LA music scene?

For years there were always fans of different, interesting, melodic electronic music, but few promoters or booking agents were jumping into it. We had to book acts like the Bag Raiders, or Miami Horror, or The Twelves ourselves, because nobody else would. What’s amazing now is that there are some promoters that believe in this music, and a few agents that are really cultivating our scene. If you come to LA, you can hear great disco or house music any night of the week. It’s great.

Which is the ideal place to listen to your music?

Lying in bed, with headphones on. Eyes closed.

What is “gold” for you?

The feeling when I finish a song, put it on my iPod, get into my car, and listen to it for the first time.

Check out Goldroom’s latest mixtape, called “Aviva”, for all travelers. It’s pure gold. In his own words: “It’s a bit of a two part journey. Put some headphones on or jump in your car and let this take you somewhere a bit warmer.” Let’s drive…

1. Goldroom – Sneakers
2. Nathan Swiss – Heart (Moonchild Remix)
3. Alpine – Hands (Goldroom Remix)
4. Cadillac – Blue Skies (Ray Mang Remix)
5. Blackjoy – Mercurian (Jupiter Remix)
6. Goldroom – Angeles (Le Youth Remix)
7. Plastic Plates – Toys
8. Alexander Holland – City Full Of Lights (Gigamesh Remix)
9. Chris Malinchak – At Night
10. Madi Diaz – Trust Fall (Jensen Sportag Remix)
11. Mario Basanov – Lonely Days (Plate Dub)
12. Matt Corby – Brother (Lancelot Remix)
13. Edwin Van Cleef – Falling
14. Goldroom – Heart Takes Me
15. Cherokee – Take Care Of You (Le Nonsense Marine Remix)
16. Hemingway – City Lights
17. Housse De Racket – Chateau (Mickey Remix)
18. Michael Cassette – Summer
19. Pinemarten – Here It Is

Download here

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