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Scopolamine: tell us a joke
A joke? A joke... errr... (long pause) well, I always forget the jokes, I never
remember them. I don't know!
Scopolamine: what is your relationship with
Ferry Corsten?
Ferry Corsten is a very good friend of mine, we had our project a couple of
years ago. it's called Gourreylla. I think he's one of the best producers from
Holland, and he started out making a lot of trance music, lots of trance
classics. Well, we're both such big DJs now that we hardly see each other
anymore. It's a bit of a shame, because like now, he's in America and I'm in
Asia. We text message a lot though.
Superglo: what are your views on electronic
music and the drug culture?
I think you see more and more seperation, because in the beginning of the '90s,
drugs and electronic music were one. But now people are not so into... it's not
so fashionable anymore to do drugs in Europe - I don't know how it is in Asia -
but in Europe people start drinking more and do less drugs, and I think it's
good for the music as well. Because nowadays the music became so big that you
can just listen to it without drugs and still enjoy it.
Superglo: have you ever had an experience with any substance?
Yea I had experiences with drugs, but more soft drugs. I never did hard drugs,
but i did uh... I smoked some weed - I'm from Holland you know - and I tried
some herbal Ecstacy.
[The herbal Ecstacy] was really strange for my head. I couldn't mix any records,
I couldn't hear the beats, because everything I was hearing was delayed for a
half-second. So I was mixing in a club and everyone was watching me like 'hey,
he can't mix anymore!'. So I thought: I could never do drugs when I was DJing,
because then I would fuck up a whole lot!
Superglo: what are your views on the Malaysian
scene?
It looks really good, very healthy. It's very difficult to say just from the
Thirst night, because most of the DJs selected are house DJs, and that's because
I think it's all in small clubs. We miss out a bit on other kinds of DJs like
trancey DJs or techno DJs. They hardly can come through because the competitions
are held in small venues and people don't react in small venues to big tunes.
Even when I played last night at Velvet, I played half an hour, people didn't
like it 'cos it was too hard. It's big room music, and I'd like to see more big
room DJs instead of house DJs come through. With house music, the music is not
important, it's more about how you look, and you can talk to each other, have a
few drinks. It's also nice.
When I go to a house club, a cool club, I never hear what they play. I just talk
to my friends, have a few drinks, you don't even hear the music. It's elevator
music (laughs). But I must admit the DJs last night were technically really
good.
Justdancelah.com: DJ Blink, what do you think?
He's really good, especially with his scratching and stuff, I really like him.
Justdancelah.com: what did you think of the Malaysian scene before coming here?
I didn't have any expectations, especially not about Malaysia, you don't hear
much about Malaysia. I think it's changed now, 'cos there's Zouk club, I think
it's quite a famous name. I knew a lot about Singapore because of Zouk, and I
know Shanghai and Tokyo is great to play, but I never heard anything about
Malaysia, but now that I'm here, yeah, I quite changed my expectations because
the people are really well educated, speak really good English and are very
international. It's very different from going to Vietnam or Chengdu
Justdancelah.com: what was Vietnam like?
It's very different, because they have censorship over there, so I had to go to
the government and declare all my tracks. I had to play for the government for
30 minutes. It was very interesting because you appreciate the free world of
music.
Justdancelah.com: and Chengdu?
Chengdu was also very strange. Cos people didn't know anything about my music.
It's a very early scene still. But it's great, it's sort of like being a pioneer
you know, like Columbus going to America (laughs).
-Words: Kathia / Imaging: Wensheng
-Thanks to Tiesto and Farrell |
