How’s the release schedule looking at the moment?
Release wise I just had the second KM 20 tape archive thing come out on Off Minor Recordings, then there will be a new Magic Mountain High release which is kind of a secret because it will be a little bit under the radar and a white label, very limited, it's three tracks from a recent live set at Fuse in Belgium. And I've got a triple vinyl live album called The Periodic Table which is out on New York's Bunker records with Jonah Sharp as Reagenz.
Where did you record the album?
It was recorded last year live at the Bunker and we've just had a mini tour in New York and Chicago. Magic Mountain High kind of radiates under the Reagenz project as well in terms of the fact that we started off recreating tracks that we had written in our live sets and now we just don't bother. It's like Magic Mountain High, we just go out there and improvise, I'm a lot more happy and comfortable with that because I think when you try to recreate something that you've done before there's always the risk of not achieving [what you want]. I don't know it sounds like a cheap excuse but I really do because it's so much more exciting for me to come home and listen to the recording and have totally no idea at all about what to expect.
I think more people are starting to use a more freeform approach to live PA's and I think it's really overdue. I’ve never really been excited about going out there with a laptop and basically playing files, it doesn’t really qualify as a live PA for me. I have heard people like Wbeeza though where I think he was just playing his tracks but there were all really stunning, so in that case I didn't really mind I just think it's more in interesting to watch like a vinyl DJ is more fun to watch than a digital DJ.
Is it important for you to be in the moment and have the excitement of creating something new?
Yes when you rehearse something and have a program that you want to play you have to squeeze it through no matter what the situation you find yourself in. Like, maybe you find that the vibe is a bit more upbeat where you’re playing or it's more chilled then you can't really react to it but if you just improvise or you're always in the moment you totally can adapt to the sound in the room or the actual mood and I think that's very interesting and challenging.
Like in your sets with Juju & Jordash as Magic Mountain High?
It's very challenging with Magic Mountain High because Jordan really wears his soul on his fingers, often when he's playing I don't have to look, I feel like I can read his mind when I just listen to him and that can take you to all sorts of places - very beautiful and gentle ones but also very dark and threatening. I love that, I love being surprises.
Generally I think electronic music is a very kind of self-oriented and self-centred thing and I'm not sure if that's what music was about in the first place. I think it was always about connecting, it was the oldest form of language in a way and it's great when it feeds back when you play with other people when you do something and you have to react to or respond to it. And it can remind me of playing a game of chess in the way that you always have to try and anticipate what's going to happen next; you follow and try to understand what someone else is doing but then again there's moments where you take the initiative and they have to follow you.
I think for people watching you it always seems hard to imagine how that process and communication actually occurs, it seems kind of magical…
I’m actually surprised at how well it works and how much some people get into it. I think they can feel it too, especially now we are getting better and don't get stuck in bad moments as much as we did in the first couple of gigs but even then it was an experience where everybody in the room was going through this phase of not being really there and then when it came together again we were all relieved. It includes the audience more than if you were to expose them to something that was pre-conceived...
Move D's Five Favourite Juju & Jordash Productions
1. Deep Blue Meanies
The first one that really made me aware of Juju & Jordash was Deep Blue Meanies, I had heard about them before and had individual tracks on compilations but this was their first real album, there is one prior to this one but it was just released on digital and not vinyl. It's just such a wonderful track and it really gives you a good idea of how cinematic how they can be; there is a huge break where you think it's become something else, but then it comes back in a really powerful way.
2. African Flower
I like this one especially because it's very soft and tender and sometimes the guys have a bit of a demanding flurry [in their tracks] but this one just flows with the grand piano, it's just sublime. I remember that my friend Roman Flugel also included this in an all-time top ten somewhere. It's not a really big room dance tune but it's a really beautiful piece of music.
3. Loosey Goosey
This one's very positive and fun, I like all their stuff so it makes it really hard when I have to pick from their individual tracks but for some reason I picked this one for the fabric mix. I guess because it is because it is kind of dancy and very uplifting.
Stream in full until the 19th November via Pitchfork Advance.
I think the new album kind of suggests a new direction in their production towards a more composed and less 'jammy' style in other words more thought out and clean cut, the production isn’t so full sounding. The track that I’ve chosen from it, Anywhere, is actually going to be difficult for me to integrate in my sets because it's 140bpm although it doesn't feel that fast. I think it stands out because of Jordan's vocal action on it, I remember when they were still in the mixing stage I kept telling them to push the vocals and not to be shy about them but I think they're still a little bit hidden. It’s a beautiful track as well.
5. Waldorf Salad
I remember first hearing this when Kirsten (Tama Sumo) rocked it out and I could kind of tell it was their trademark sound and knew it was them although I hadn't heard it before. I just think this is a good example of something that is still functional dancey track.
I also think it’s a play on words in the title,