WL: What artist(s) would you want to collaborate with that you haven't yet? P: The Weeknd from Toronto - just such an incredible voice. Maynard James Keenan of Tool/A Perfect Circle/Puscifer. Chino Moreno of the Deftones. Q-Tip or Phife from A Tribe Called Quest would all be at the top of a long list I would say.
WL: Outside of electronic music, who/what inspires you? P: As you can probably deduce from the previous answer - huge huge huge fan of Tool growing up, as well as the Deftones. At the other end of the spectrum - still to this day love A Tribe Called Quest - "The Low End Theory" was the first album I bought as a kid. As far as producers today - that are not dance music producers - huge fan of Kanye West's productions, Timbaland, The Neptunes, Noah "40" Shebib to name a few.
WL: If you had the opportunity to score a movie, would you do it? P: It would be a dream come true. Of course it would have to be the right project - but for sure we would love to do something for a film. Off the top of my head it's gotta be something extremely quirky, edgy and dark though to go along with our music sensibility. I actually went to school for film and if I wasn't doing something in music, working in film would have been the other goal so - it's definately something we would love to do.
WL:Now that you've played shows across the globe, what differences have you noticed between the dance music scene in the states and elsewhere? P: It's interesting - as when you play in Europe - you can tell the loyalty of the crowds there - generally speaking - are to the clubs. Like every friday everyone will go to club x or saturdays at club Y etc etc. But in the states - I guess since we are the ones that drive celebrity obsessions around the world - the loyalty of the crowds are to the artists first not to the venues. So whereas in Europe I've been approached by random fans asking "hey what's your name cuz I loved the set and I'm here every friday!" - even though there is a huge poster hanging outside the club that says "PLEASUREKRAFT" - whereas in the states you get - "i love your stuff! I've never been to this place before but came just to see you!". I would say that's the biggest difference between the two.
WL: What are your thoughts on the emergence of "dance music" into the mainstream? P: I think it's good on many levels - although I know alot of people will disagree with that sentiment as they think it dilutes the scene. On the one hand you have alot more clubs opening that cater to the "dance" scene - but that being said - alot of these venues are much more concerned with bottle service and vip status than the actual music itself. I think the explosion is a direct result of artists like David Guetta/Swedish House Mafia/Avicii/Deadmau5/Skrillex becoming "mainstream" in a sense - but if that's what it takes to get people their first taste of electronic music as a gateway I don't know how you can argue that that's a bad thing? When Kanye West uses a Flux Pavilion track on his "Watch the Throne" album with Jay-Z - how can you say that type of cross-pollination is bad for dance music unless you are the type of person that doesn't want what you like to gain new fans? Sure the underground crowd are gonna put their noses up in the air - but the person that's buying a David Guetta record today, could possibly in 2 years be the most avid Dubfire fan as a result of digging deeper into dance music. I'm not saying that's the natural trajectory - but certainly a feasible one.
WL: What do you think about the ongoing "oldschool" vs. "newschool" argument? P: Well - I don't really believe in the whole "things were much better back in the day" mentality. I think everything in life has its pluses and minuses. Is there a lack of a sense of musical history among alot of young producers? Sure. Is there a nostalgic sentiment among dj/producers that have been in the game for a long time that all the new blood and technology and shift from things being about music to being about performance and the music taking a back seat are all things that suck about the scene today? yes of course. But to me there's alot more gray areas than black and white - and for any negative thing you can say about the way things are now - you can find positive things as well. Our very existance - pleasurekraft I mean - as an act - would not be possible in the "old school" sense as technology wasn't far enough along to allow 2 people oceans apart to collaborate on tracks and come up with something unique enough that could gain as much attention as "Tarantula" did. But that being said - I do think with how A.D.D. everyone seems to be these days - alot of producers just have a sense of entitlement or expectation that they should just become ultra successful in a really short period of time - and when that happens usually you don't appreciate the hard work other people before you put in to get to where they are now. And regarding the "new school" laptop dj's - I think if you don't know how to dj on vinyl or cdj's - you have no business showing up to a club with a laptop and playing off abelton or traktor. If you're booked for a gig - and for whatever reason your laptop or software gives you problems - are you just not going to play the gig? I think that's relying on technology as a crutch rather than as a tool to enhance what you do at a show. So many great djs, Nic Fanciulli/Joris Voorn/Dubfire/Richie Hawtin just to name a few - ALL spun vinyl, then on cd's etc etc and are now using laptops for their sets because it enhances what they do live - and that's the right reason to do it.
WL: You've had two releases in the past two month- your single with Belocca, "Murdered Out," as well as your remix for Nervo's "You're Gonna Love Again." You also have your single featuring Green Velvet, "Skeleton Key," due out in two weeks. What else can we expect from Pleasurekraft in 2012? P: We are working on another single with Green Velvet as well which might get a test run at Avalon tonight (when you hear "Let's Occupy Clubs" you'll know its that new track). Its inspiration comes from this increasing trend in American clubs where the promoter or club owner or even patron who has alot of money - feels they are entitled to tell the DJ what to play. I mean when you book a Dennis Ferrer at Mansion or Mark Farina in Vegas or Green Velvet in Miami - whatever the gig - you are obviously booking these people based on their musical output and reputation. To then pay them their fee, and then in the middle of their set start dictating how they need to play - when they are all seasoned veterans of the clubbing world - is just surreal to me. So that's where that song's inspiration came from - and the working title is "All of the Lights". We're also doing a remix for a track from Tube & Berger's artist album - as well as a remix for Umek's 1605 label which will be forthcoming in early fall.