En åben snak med dj Karsten Loud om hans passion for musik .
En åben snak med dj Karsten Loud om hans passion for musik .
Music. Welcome to the Museo Locale Podcast. My name is Peter Visti and I love music all my life and I have lived my entire life of music in one or the other way. I am a musician and have been very young since I have been sleeping with my headphones on and listening to music all my life, something I actually still practice. Music is my passion, my drive, my mood and daily forms change music. Music has a unique ability to express feelings and connect people in different cultures. My goal is to find out how different people experience love for music and how it affects their lives. Every week, I invite new guests to talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Locale Podcast. Music, my drive.
Speaker 1:Welcome to the cast Laud and I say thank you, peter, and the cast Laud is the real name, it is not. I want the cast Torhavke. It is exactly Torhavke. I have googled it, and googled it, and googled it. Welcome to the cast. We know each other a little. We have met for about 20 years. Yes, that sounds great In a boutique you had. Yes, we met for the first time. We can talk a little later.
Speaker 2:We have met for about 20 years, yes and then we have not done it, if you remember.
Speaker 1:But first of all, we are big to the same age, and I have a huge passion for music. But the funny thing is that when we finally talk together, we actually talk most football that is not a good thing.
Speaker 2:Ah, music, there is also a little bit of it.
Speaker 1:There is also something I know that well, but there is a lot of football when we talk.
Speaker 2:That is clear. When you talk to a former Super League player, oh yes, it will be a Cosmo ball game that I can call out when with Karsten DJ since 1983.
Speaker 2:Yes, it is completely different. How did it start? Well, it is enough reality. How it started? It starts with me being so passionate about Greek music and have the desire to share the experiences I have. It is logical. I have a friend and we find out that he is good for electronics and I am good for sports, so we build our mobile discotheque. Yes, like that, it is a classic. Yes, and it was in sports in the seventh grade. Has it been enough? Yes, and the first DJ job is to go with my father's tractor when he runs us down in the youth club, where we then had to play, where we then got 250 crowns for a whole evening's entertainment.
Speaker 1:It is a little bit the same story I have. Actually, it is a friend of mine who builds in Sløy, also on a pool, and some things to say, and then we help each other. All we can do is come together, because it is our job, to get the local crowns. 400 crowns is enough. Yes, two men also, but it is not enough because the boards were just as expensive as they are today.
Speaker 1:Yes, you can say, the music is perhaps more accessible today with downloads, but if you were to buy a Maxi single, it would cost 49, 59, 39 crowns. Yes, I remember that too.
Speaker 2:Yes, absolutely. So it was a hard chance to get 400 crowns it was so a seven-tom and you could get that one at least for 29 crowns, yes, and had you ever bought the?
Speaker 1:boards yourself, Karsten.
Speaker 2:It was a combination of bond sales and vinyl. I bought the experts the local one in Tisted where I had made a comeback hopefully, and if we had the red? No, we didn't have it. But we took the red because everything that came in it should be used in music.
Speaker 1:Yes, and then you can say that there was no. Was there a record shop in Tisted at that time?
Speaker 2:There was a radio TV shop called Expert, and then there was also a TV ring. So I remember they had both two boards, but a designated record shop it wasn't there.
Speaker 1:Of course it was not there where I lived, but that was also the local radio. But I remember you were in it every week not to see if there was any other country you had.
Speaker 2:It should be the only week where I looked right at what the researchers were there, and that one I should not have heard?
Speaker 1:No, exactly. Yes, we had a. I lived close to IKAST where there was a. There was a designated record shop with a very, very sophisticated lady that had such a high hair, almost like from Simpson's, you know, with such a French hair. March, yes, march, exactly. So when we came in, the young girls who were supposed to hear the music, I just got this one at home. You should hear that 12 o'clock. And then it was Safety Day. What were they called? Man with Outhats?
Speaker 2:It was a huge one.
Speaker 1:And you know you stood there and looked at her there. I was allowed to hear the phone when I heard them. It was a fantastic experience.
Speaker 2:I think yes, and you had those soundbills for you to use both hands to hear.
Speaker 1:And then you could stand together with one person if you had two hands to hear. Yes, that was really beautiful. But, karsten, that's the same way you do it. But where does the interest in music come from? Is it at home? Do you have any music at home?
Speaker 2:Yes, but that's actually a good question. I think it goes back to my mother, who had a seven-year-old collection that I had already very, very young so I was a little four years old, maybe yes, and that was with Beatles and Elvis Presley and the Danish hits Mandalay, among other things.
Speaker 1:Yes, yes.
Speaker 2:And then later on, it was my uncle who put a couple of phone calls on my ear when I first started to experience steel, and that's when I became a different age. There was one record that impressed me incredibly much. It was Kim Larsen's new USA thing called Jungle Dreams, which had a production that was completely phenomenal. In my mind it was just an open-minded electronic music that I was not listening to before, and I think that was the one that really stood out in me. And then it was the Foxen and the Spring. And then there was a radio DJ called Kim Schumacher, who was the first big-time writer to get an insight into the world of the world and what happened in the past. Yes, yes, so he was absolutely at the top of the list. Each man and each other.
Speaker 1:And that was also for me. And it's funny that Kim Schumacher has recently heard a podcast about Street Dance Records, yes, where Kim Schumacher actually handled a lot of the records he played. He also handled his new album and he also handled some of his records. He didn't do that To his radio program at that time and you were part of Street Dance as well, that's right. And you came to Copenhagen.
Speaker 2:Yes.
Speaker 1:And how did it not come to that?
Speaker 2:Well, it was actually my very own record pusher in the past, because at that time there was only a record shop that was also imported from New York, and it was imported from Street Dance in Copenhagen. Yes, that was funny. And then one day he told me that there was actually a leading job in Street Dance. I thought you should take a look at it Okay.
Speaker 2:And then I sent a letter and took a talk with Peter on the phone and I think everyone already had. A week after that I was at the trial. And then after that there was a week when I came in from the right and I didn't know anything about it, but something about it. Then I suddenly stood there in this completely random mega of Slavic land which I previously called everything you could imagine.
Speaker 1:But you mean it's directly from the previous place to Street Dance, right? Yes, and I just wanted to be a part of the transformation. Yes, it was a great. Are the western streets political or what is it, it was western street 17,.
Speaker 2:It was in 88. And it must be said that before I had been in Copenhagen because Kim Schumacher, he often said in his programs, where Street Dance is just around my eye, he says from the catwalk in Copenhagen, blah, blah, blah, blah, blah I knew well that this boutique was found and when I had been in Copenhagen I had been there a few times before. So it was all first thing I was supposed to do, of course, to understand what this boutique is, where it lies, where it can be. And I remember clearly, and it was also the first time I went into that boutique, I was just blown away. I was. So I said to my friend who we gave up, that I said this is where I want to be.
Speaker 1:I have my own record shop in Stelkeborg where one of the customers in Street Dance where I got my import plate through the Firsarna and I remember clearly this catalogue.
Speaker 1:There was a I don't know if it was a real catalogue where there were such clistered catalogue things that you got sent around when you had bought Street Dance before and then you could, until you could also call. I remember to hear the plate and such things, but it was much more through the plate that I bought and I just remember when that catalogue came you were so loud down the plate I said I need that and that and that and that and that and that and that and you never heard it. But it was because it was Technotronic that had been there or what it must be now, or some hip house as it was at the end of the Firsarna, and I just remember they haven't come out of the plates yet. It was something you know has come. It was something that came several months ago and many of them actually thought it was for us in Jylland. It was difficult to get it done.
Speaker 2:Yes, it was certainly a direct change. That cage wedded there, it was straight QUF no, no, no, no. So there is no really now for us there.
Speaker 1:Who didn't as the no-transcript.
Speaker 2:He could hear them well, because he could put words on how fantastic they were. He was not afraid of exaggeration, so it was with expectations and words you had not read before.
Speaker 1:You could not even buy it.
Speaker 2:Peter also has the back of all of us and all of those who have been in StreetDance. They have gone from there with an experience that he was quite unsympathetic you could really slip away with after using a part of the money, to know that you had to be a little faster to make decisions.
Speaker 1:It's a bit funny, but it's my experience. I do not come to StreetDance for a long time. I come to the Ouse, where it is also located, at a time when I am not sure if they are together. It does it does. At one time, when I came from Julein to Copenhagen, I came there and it was really good. I wasn't a big name. Let me tell you that I didn't get a job first or a service or anything. I don't remember you then.
Speaker 2:No, I was just about to say that?
Speaker 1:No, I'm not. It must have been the day I was free. It was exactly the day you weren't there. I think I can't remember you from Street Dance. You met me first. Later you opened your own boutique together with Ole. Yes, that's called All Out. Yes, 1993, 90. And you've been in Street Dance for 4-5 years, yes, 5 years. And how does it feel when you're in the most hyped boutique at the moment in the underground because of DJS? What do I have to do? Do I want to have something myself, karsten?
Speaker 2:I'll give Ole the honor because he's lived in London for a few years and has seen how you can also drive a boutique, import a boutique, yes. And he says to me shall we meet? I have an idea I could share with you. And then he says to me that he thinks there's a sauna. He saunas an alternative to Street Dance because they are the only big cities in Copenhagen and in Denmark, and he saunas some kind of a friendly behavior, just like that. So I'm not the only one who's been hooked on that, and it's a bit of an uncanny tone.
Speaker 1:That should be.
Speaker 2:Yes, peter was a leghead. He was a businessman, but he was also a friendly guy, no doubt about that, and great respect for everything he's taught me. I always say he's taught me a lot about what I shouldn't do and what I should do, and you can like him, but he wasn't so good at customer service so he should have kept himself behind. So those who tried to be a patronage maybe didn't always get away with a good experience.
Speaker 1:I don't know if I've been a patronage, because it's so good that I'm not in Street Dance at that time. I don't know who I was, I just remember that the times I've been as a Jew, you feel like you're a little too lazy to get out and ask if you could buy something. I can certainly feel that I don't know. Now it's been a year since I've been here, but the last few times I've been in Copenhagen I still still remember.
Speaker 2:There's a whole lot of people in Copenhagen and that's just the most friendly city you can come to, Because there are all friends who feel like that it's fun because I've just realized that I've loved Copenhagen.
Speaker 1:I've never been a year's man, it's actually quite fun, is it? Yes, it's not. No, it's okay. I haven't anything against the year. It wasn't that mean, but at the same time I don't know. It's never been a city. I've gotten a lot of good things done. No, it's okay, as I feel I'm in Copenhagen today.
Speaker 2:Yes, but both cities have a lot of good things to offer and when you first feel at home here, there's no better place in the world. It's just too much to admit.
Speaker 1:It's just that I have a whole lot of ideas. I've had a time dream that I was going to die in Ibiza. I was going to die everywhere else. I was going to enter Copenhagen, hopefully, because it's also the world's best city. For me, it's just a small hole. The only difference is that you got to use the history of Olle around you. It's so nice to see that.
Speaker 2:Olle is the DJ in Copenhagen who starts playing D-Pause. In my opinion, the real D-Pause, new Yorker D-Pause who doesn't have any vocals or bass lines or any kind of bass. It's him who starts with a couple of different things and they come down to the end of the boutique. Every time where there are two pieces of wood at home which no one else really likes to buy, and he buys them and starts playing in Copenhagen. And I'm fascinated by his style because it's a pure dyrk. There's nothing to buy a piece of wood because there's a catchy in it, it's just a bass line or a hi-hat or a sampling, and that's what he's doing and then he says to me yeah, but Street Dance, the way you do it is to take care of buying wood at home.
Speaker 2:You can sell a lot of it. I could think that we also had a choice of some of these more obscure things that you can't sell too much of, and I have some contacts in London already that I could take a photo of, and stuff. We hold the first meeting and in the meantime I've actually been fired in Street Dance Because Peter and I we were in the top of each other over a small bag of wood and yeah without getting close to each other.
Speaker 1:It's a bit of a joke.
Speaker 2:And then it fits really well with the fact that Ola and I have all taken the first coffee and there's actually not much more than three or four months before. So we have a local in the Hyskenstread and I think we had 20,000 SEK to buy wood for, and that was just what was bought in, and then we got a part of it and then we could buy some again, and then we started it was in 1993 and then we made this original wood shop, which was one of our stupid rules Original colors. It should be rare to get in.
Speaker 1:It was also my coincidence when I started to get in. It was my first time in 2001,. I think I'm a bit of a fan of it. I think it was the first time I was signed to know it. But it was also my coincidence because I had the crazy thing about going down in Laud. It was just lying right behind me, he was sitting on the voice he was sitting with the plate on the floor where they made the air castle, the convalescent and Jacob Meilard All Night.
Speaker 1:I think it was our first the love of the field. But then I remember I really need to get down and stand. I don't know. I don't know, but the first thing I came down with was meeting with someone else. You can just go in and see if there's something interesting behind the castle. I was very impressed. It was not something I was used to for the plate, not in the countryside for that reason. So you should be in a big mood. There was really a good atmosphere in Laud, I think, and that's so glad for you. But the fun is that you say you start the plate-making there, which is in 1993, where you see it for 11 years.
Speaker 2:Yes, but we also had to see it. We just didn't have that many.
Speaker 1:No, but you want the first to come with the hotel cost. What were the budget? It was just the heart of the start-up.
Speaker 2:Yes, but I would like to take that in because it was the ladies from the store who came down to Laud to have the new cost. So the new budget and it was big for all the boutiques in the whole city and the prices, yes, and it was the perfect value-in-gave when you were going to Metta. You were just going to have a budget, even though it was just our absolute best selling product, I think so it was fun.
Speaker 1:Karsten, I have something to read about it. Are there two Laud boutiques at the time?
Speaker 2:Yes, it's good, I found it there. There was a small Laud which was called later down in the Maastricht it was a fire-free Internet flanners and Morten Kampers Internet flanners that later opened Colterbox and Morten Kampers, who have always been electronically oriented. They had not taken much of the minimalist approach to music and I think that the choice that was found in Copenhagen was simply not enough that the world they loved. So they were very inspired by Berlin and opened this small boutique down in Maastricht called Science Fiction, and Science Fiction was built out of the passion for minimalism and art cover and there was not a market that was big enough to be in Copenhagen at that time, so they were simply down to say we can't do it around, so we have to dry our eyes.
Speaker 2:And then Ola and I said but shouldn't we help each other? Then we can apply one R and then we can continue to do it and then just run your style and philosophy and then the only thing we need is just so-called Laud instead of Science Fiction. And it was so small Laud and it was down there in five years and I think that in 9-11, five years. Can it fit? Yes, it fits very well because it happened with the record-breaking. When they took the R, the 9-11 thing, it happened that our record-sale was 40%.
Speaker 2:So we were down to increase, or what do you say? We were down to collect us, get the expenses down instead of two boutiques. And then we actually succeeded in breaking it down in the memory area in the original Laud, as you said.
Speaker 1:That's where I came from. I'm new in Copenhagen.
Speaker 2:you can say but then I was a time-sitter.
Speaker 1:Yes, I lived in Copenhagen for 7 years. Now I've been painting, and back 4 years first, but I've never lived in Copenhagen. I'm very, very new in Copenhagen. I thought you were taking a piss on me. No, I haven't. No, I haven't. My music thing is about the Netherlands, and then it's about when I start in the 2000s making music and touring around the world 10-12 years ago. That's actually about the.
Speaker 1:Netherlands, and that's why I've been a part of Copenhagen. At some point I made a compilation because it was called Sushi Bar in 2007. It was a good company that was operating in France. Samir, Can you?
Speaker 2:remember. Yes, I can remember Samir.
Speaker 1:Samir made a compilation and what I'm making is with Tartare, prince Thomas and all of that and as a member of the band and I can remember the funny thing about it.
Speaker 1:they have a release on this album called Chanc, where I sit all night. And I don't know Chanc. I've never been to Copenhagen. It's one of the first jobs I've ever played in Copenhagen. That's funny. And then he comes up to me and says what the hell are you playing? I know all of Copenhagen, I know it all. I know not one single song you've played Fantastic. And then he says I don't know, I've played it in Belgium and London and around and it was Eskimo and Bärfong's sound. At that time it was there. I was signed, so I didn't understand what he said. So it was new for me to come to Copenhagen and it was actually known, of course, in the beginning 2000, because we were signed, but also a lot of people later on who took me to Copenhagen to play.
Speaker 1:Or I shouldn't be there.
Speaker 2:No, I was wrong.
Speaker 1:You and I met once in a while in a train. Do you remember that?
Speaker 2:Yes, did it go down on the club?
Speaker 1:No, it was on my north side in a club that was there, which was so little forbidden for someone like you and me. Actually.
Speaker 2:No on the old Montmartre. Yes, do you remember that?
Speaker 1:It was called.
Speaker 2:Progressive Nights.
Speaker 1:No, I don't know what to do. I can't remember what it was. It was hip-hop and R&B in a time when we were very. I make electronic music and that's what you're most. You see yourself a lot of hip-hop too, but I'm playing super commercial hip-hop and R&B and I can just remember that you came a few years ago and we just had this. It was so boring. It's a mistake that you can remember.
Speaker 2:I thought you meant Montmartre?
Speaker 1:Yes, it's a mistake. It was crazy daisy and it was bomba. I think it was bomba at that point when there was a toast club. It has been bigger for me than you and the atmosphere.
Speaker 2:I think I'm going to lie in the shoes.
Speaker 1:But I think we had such a show, a lot of love for the commercial Hip hop and the car right there in the start of 2000. Because there were so many good numbers, so we went down the party, I think. I think it was what it was. But there was no bigger car than the Carsten Trott.
Speaker 2:Oh, that's wrong.
Speaker 1:Yes, I know that. Well, I'm not sure your wife is driving after this. All your street-couple is out of this. That's good.
Speaker 2:And I remember that.
Speaker 1:I remember a few two's we met there.
Speaker 2:Okay, the reason I misunderstand what you're saying is because there is a long time left to take it and just as we were going to build Monmartre, which is not a jazz club or not a funk club, then Tuesday with me, friday with Martin Jensen and Saturday with. Was it not going to be in the movie?
Speaker 1:I can't remember, I haven't been there at the time.
Speaker 2:But I thought it was that connection. No, it was not. It's very late, so it's late, but it's fun because I don't know the story.
Speaker 1:No, and how did you get there?
Speaker 2:Well, it was Max Nørger, was one of the contactors on it, and what's his name? Søren Favli, yes, who had been to some parties where I had played some left field, some progressive sound, and he was completely crazy about it. So he also played for me. And then I had in some of the first clubs I was DJing on where I was a name or what should you say. I came to Købenavn it was Henrik List and Jacob Oelsen, who later made the stereo bar. They were two of the clubs with Kim Wulf, frisörn Kim.
Speaker 2:The three of them made a club on Trukkadeo called Einstein, and the sound that was played there it was the indie Happy Mondays act, the cry with this what should you say? Progressive left field sound that just came around. And it was also in the connection that I got invited to Købenavn, to Købenavn, yes, and then we let Henan know. In that way he also threw a lot of music at my performance because he had already come from a completely different place. But, people, I came back to the Mnet I think it was there that Henrik List and Jacob Oelsen, they had a contact with Max Nørger and then I was paired with one of them who could take this Tors Das thing which then ended up being. It's of course running in the second year. We called it progressive nights.
Speaker 1:Okay, this was a difficult experience little fun experience and it's a little funny because I think sometimes you play a little your own role in all this. Karsten, that's cool, yes, because now we're completely back from street dance time, where you come over, but there are many things with the whole boutique, but also as a job that you call here on the old Mondmater Today, you have your kite, in the wind, in the sun. You are the bird.
Speaker 1:You are the attractive Tors. You are a part of Love Hangover. You also play other jobs. You are still active here four years after. For more than twelve years to be part of the press, to be part of the press, I think.
Speaker 2:Yes, thank you very much. How do you?
Speaker 1:find that energy still.
Speaker 2:Well, I can ask you the same. The power of the music is 100% built up about music. The passion to see people dance to these tracks, which you think is completely cool, and then to be able to live in a place without playing the music from the wind. I think that's it. I like to tell people that you can't book a DJ in the newspaper or on the web. Well, you can do that, but there are no people who book a DJ who plays special with less than the person who has got his name connected with a sound. You can get rid of it. Today there are a lot of DJs and they really want to play that we all burn for. So I think that at a time when my life said, if you want to play that music, you have to make your own party.
Speaker 1:I have got it. I have got it. It was the one that drove me to make my own first club. For 30 years, I was dead tired and traveled around where the pick-up didn't work and where the sound was bad and the sound didn't come to the time and what do I know, and then I would have to play some of these songs instead. That's what made me a great DJ to be independent. I would also say that now you have, we can get into it later. You also have a streaming service that delivers music to hotels, cafes, hairdressers and so on and so forth. But when you are now surrounded by so much music, at the same time you are also surrounded by work setting, because it is also a little bit of a life. I have lost the desire to play more times and to music, which I never thought would be because of the work setting. I mean because of the work setting I have been working with. Have you had a period where you think that now it has become more work than it has been a passion?
Speaker 2:Yes, I must admit that it has been there, not so early. I think I would say that after a hard season and when I say season, it is me in August, and that it is me in August and that it is me.
Speaker 2:In Saturday I can see Kai and Bølgen After such a hard season for four months where I have been on and where I am 100% consistent, I can take myself into account. What can you say? What have you been afraid of that I should listen to music when I am free? I can remember that we were happy at the time when I wanted to build you for Kai, where you were just in that period and I must be honest. But I have also noticed that Luckily it was just a short period and then it came back.
Speaker 1:It has been a hell of a lot for me every time but it has always been a lot of work that you do with Kai and Bølgen and what it is. Now I have also noticed that you do not play every time yourself. No, but it was the starting point when you started the things. It has also been completely correct and it is what I mean. Suddenly there are so many.
Speaker 1:It has been for me that when I start a nightclub or a bar or something, it has always been my dream. Of course I'm making a mistake, but it's always been a dream to see myself playing and then I could come up with some music and then I could do that, and then it really ends in the fact that all others have to make a big difference. Of course, two reasons I think you have to share your spot. It's something else, and I think you're a master in that too. Thank you that it's not just you, it's yourself. But the thing is it's so tight up when we get to the weekend that it's actually not yourself giving us the game, and I could imagine that it might be that it's broken sometimes when there are two thousand people out on the stands and they have to have wine and they have to have dittitas.
Speaker 1:So it's a hell of a deal, to be honest.
Speaker 2:You can say that back then it felt like a good experience. When you stand in it it can be a little bit much, but I was forced to pay for you, peter, I have so much respect for what you have done, what you do today in so many years, and I will be more driven to week after week after week, because you are a night, because you know that it's every night, and it's very incredible how you find that energy.
Speaker 2:So it's also something to say you can do a lot for yourself and a lot of respect for who you can be and have that power and kindness that you have.
Speaker 1:It's getting expensive in Mobile. Peter, I can feel it Now. It's the second time that I'm getting calm. I'm not very good at getting calm, but thank you very much. I would say that I have been so kind and privileged that I do it with my wife. I think that's an important factor because it's our lifestyle. Instead of being there all the time, I have played since 1940, just three years before you, despite the fact that we are all together where my father drove me out and handed me a discotheque in Røya and in Inge Svankru, as it was called but I have since I think since 1947, never used time on the internet for ender-game music. It was the last time I had a real job. I was a student electrician and since then I have only played for a long time. Wow. But it's a whole certain person and I don't know what to do or what to do. It's my big interest and I can feel that it's also in you. Music is your passion. Without a summary, I think we are quite one in that area.
Speaker 2:As you say in your intro here you say that it brings people together. You can call music for universal language, inge. It's here where you can say that you can all gather together as something and that's in itself brilliant, and then you can call it a drug.
Speaker 1:I think that's it. It's the only drug, and you have to be a little bit more relaxed now. It's actually you who says it in the phone. That's why it's called Music my Drug, because you say it's the only lowly drug.
Speaker 2:That's what I was saying.
Speaker 1:And you say it's something to do with it, so you should actually have this back.
Speaker 2:It's completely forgotten again.
Speaker 1:But it's funny you say that with the universal language we're talking just before we turn the microphone on that. You really should be thinking about trying to learn and listen to the lyrics Now you've heard music for years.
Speaker 2:It's simply a growing task.
Speaker 1:Yes, and I've never done that. No, that's true. There are not many songs I can write the lyrics on, even though I've played so much music.
Speaker 2:I've only been playing the music. Basslines.
Speaker 1:The whole mood of the music I've been playing. I always forget when I was up to take the first time in the year at Buketham and I've played for 45 minutes. Then there's a peak of the audience. It's simply so good music. But you don't play any vocals and it hasn't beaten me. I've played instrumental music and all the songs. The music has touched me. Of course there are some songs where you think I'm here and you're here, and you're here and you're here and something means something to me, but it's music that touches me.
Speaker 1:I could hear you as you said.
Speaker 2:It's also because you've been caught by it. There are some songs I've found out first today when I searched.
Speaker 1:I didn't hear that, but I'm completely. I have many songs I've updated in my new time. It's also not so happy that I thought it was. It was a crazy story.
Speaker 2:It was a little fun. I can say another thing. When we had the boutique Laud, together with Ole and our staff, we had a label machine where you could listen to a sheet and determine if it was there or there or what should we say a music genre. It was like a hage. I always had a label on it, if.
Speaker 2:Ole could give the sheet a title. He would listen to the vocals, he listened to the solo elements. There should be at least one form of soul in it, One form of warmth. If I could give the title, it was the bass line, the electronic part or the artificial. It was so far away from a person you could imagine we could feel. The same sheet with two different genres. It's fun.
Speaker 1:We talk about music. It makes a difference. It does. It also makes the music of a genre. You can't play the same song, two different genres and work on two different ways. That's so well said. The mood is there's something new every day.
Speaker 2:That's why it leads me back to a post-production. I often have a discussion where I say there's not bad music, but only bad timing. That means that one day you can have the desire to hear a certain genre and the next day you can't understand what you were up to yesterday, just like the other food, art and toy. That's how it is. It's like you're saying, it's what you feel it's what I feel all day If I'm out again.
Speaker 1:Today I've been out for two hours and I hear music and it sets my mood. For what?
Speaker 2:I'm doing today.
Speaker 1:I can't be there If I don't hear music. I don't know, it doesn't work. It's my drug. What I say in the intro I've also commented before. I actually hear music most than night. It's beautiful, peter, I love it. It's only bad when you just go on a playlist that I don't think about. It can be a little bad to wake up at 4 pm. That's cool. Karsten, now you're trying to make music both as DJ, as a player. How do you live with music today? How can you do?
Speaker 2:that. That's a good question. I just saw that Falula had shared a message that she's an artist. Not more than I think it was 17,000 a year. Falula is a well-established artist. I saw it, you've seen it. She had been out and investing in this record studio costs and mastering and what it needs and had given it herself without streaming channels the others I know I hear about some swimming and when you give music to streaming channels, I almost ask you because you're a musician, peter, I'm not.
Speaker 1:I don't know more about that. I've been there, but I don't have any insight into streaming channels, despite the fact that I heard the same number of our own yesterday, which had 1.8 million streams. It's not something certain.
Speaker 2:Many of the young artists.
Speaker 1:today have 100 million streams, but that's a lot for me. I can't remember having received a crown from streaming channels. It's probably 600 crowns up every time he's out and investing in a good thing.
Speaker 2:It's a war.
Speaker 1:He's now sold 1.8 million records and he's had a lot of money to come.
Speaker 2:Yes, of course. How does one live as a musician today? It must be concerts.
Speaker 1:I think more about you, like me, as a DJ. You can be a DJ all your life. That's what I'm thinking about, but I can also feel that I don't have another DJ we also have. We're not in the same age. We're from 1960s, which means that if you can imagine how old we are today, you also have a running date on what you want. You have to find a new way to find yourself, but now I've been healthy and worked with my wife and many others to have some direction to sit in. That supports this. I see you a bit here. You have your festivals, if I call them that.
Speaker 1:Yes, that's what I'd like to see, but you also have this streaming channel that you can buy yourself on. Is it to run around with the big players or is it a help? To make it clear, could you be in the same age as me?
Speaker 2:It was a bit planned, but if you move your focus in too many different directions, it's just like that. I think if I'm in the same age as you and say my focus is here, I think I'm in the same age as you, but I think you have to go out and be a music stylist for four more years, and that's what I do when I have a job with a hotel. But then it's me who's their music stylist and I think that's what's coming and I think that you can live well. I think so. I think that's what I can decide. I never know what's going on tomorrow.
Speaker 1:No, there are some who have a hard time with our work, but I think that's what I want to say. Spotify, for example, because now there should not be any games in Spotify. We actually love Spotify as a user Of course, not a fan of people not getting money, as with Manchin and the other, but now it's not much of what you're talking about but it's really nice to make a playlist or a place for a hotel or for another, or a restaurant I myself am a restaurant. Via Spotify, you can have a professional Spotify as well, because you need to use it in restaurants. All the numbers are available. How do you get your numbers? Do you have your chances?
Speaker 2:Well, we are promoting ourselves. And then we look at what when DJs are up top 20, you get into it and get a little closer to it, like you did in the old days when you read the sheet what was hot and stuff.
Speaker 1:So the question is Do you buy the sheets? Do you buy downloaded or physical for yourself? It's really unknown. I don't know how to read it.
Speaker 2:In fact, you have to use the music you get in promotion, but that's also something you pay for via these promotion pools. I got a lot of messages that you don't have to buy a number on iTunes and then you do it available. You don't have to If it doesn't go through me. Let's say you want to play a number, you should subscribe to me and then you should have a number through me. You don't have to buy it directly because iTunes is for private use.
Speaker 1:Spotify is also a principle. They have a different. What's it called Portal? A different word, in a different way. There's a professional part of Spotify. You can see the work Exactly.
Speaker 2:You can say that if you want a work solution, you should be very much willing to generate a big amount of money for the artist in the last part, because it costs more to have a work solution than to have a private Spotify. So I think that a way to the musicians could what should you say? Get a little more out of it. It would be enlightening that there is a share of money that is wrong.
Speaker 1:Yes, the artist should have a little bit of a back-up of what you're doing and working on.
Speaker 2:And for me it's like that. I think that the 200 most played artists are the ones who get the biggest percentage of what comes in. The small independent artists as it is what should we call them? Those who are not the top of the list, for example, someone like me, someone like you, for example Really good example. You have it difficult, we have it difficult because you run into a trap and then you share a percentage that is back.
Speaker 1:It's funny, but I actually think it's used now because it's just like that in the old days on the radio with Kota. But I think now that you had it all digital you have a chance to.
Speaker 2:I would mean that, say Peter has three games.
Speaker 1:He gets 0.003 dollars per game. You would say there is a crown to him.
Speaker 2:But I think you're right, but you have to think about it. If there is first 40% of the whole audience and a share of the 200 most played, artists.
Speaker 1:If not, then I would have put myself in it.
Speaker 2:I've heard that and I think it's almost time to look at this distribution, because that's where you have the app of recognition. You should think that it was fairly easy to put one up in every shop, and then you want to know exactly what these numbers have been played. So there is no money that should go to the most popular artists, no, exactly.
Speaker 1:I think you also have your own play. You can see how many times I have played a number in.
Speaker 2:That should mean that we are so far away that it's impossible to document. Yes, exactly, and that could maybe make these musicians who have these half million playings that they could actually look at something that was to be used economically. Because when are you going out and make a concert?
Speaker 1:I have never paid for a concert. I have paid for DJ jobs. Of course it's the same as a concert, but if you've been to the UK you're not together. I don't get it. For example, now it's called a class song. You don't get a coat of hair to go out and play your own play via a USB or a tablet.
Speaker 2:No, you don't, because you're not a live artist.
Speaker 1:I'm not a live artist, but I'm not in 2023, 2024, or something like that Many DJs, or whatever it is, that are playing on that level. That's crazy. Yes, but it's not a concert that is played on a computer. There are not many that play 100% live.
Speaker 2:I was informed that Madonna concert was a playback. It was a 100% playback, yes, but I also hear that big DJs have their presets when they go on stage. So you have enough of that. Yes, there's a whole other thing that?
Speaker 1:No, it's not going to be the same thing. That's going to be found out? No, but we can be part of this group together. Yes, of course, carsten. What's going to happen in the future? We're in 2023, or in January and February, and we're going to send it in 2024. There will be a season of Kai and Bøljen again in the spring and summer.
Speaker 2:We hope so. We hope so and the expectations are sent. We just need to take the decision to say go. They're waiting for us and if everything goes as we hope and dream about, we'll be back with Kai and Bøljen in May. And then it will be done on the election day and of course we hope that it's with the sun and the dry weather. We hope so, and we also hope that we'll hear from you.
Speaker 1:I'm pretty sure it was me, it was you, it was a bad period. You called on.
Speaker 2:I really wanted to play.
Speaker 1:It was one of those where the work was taking too much time. I was so happy to play it. It was just not I understand.
Speaker 2:I hope it won't come again.
Speaker 1:I hope so.
Speaker 2:I'm very much looking forward to playing it. I think so too. I see you're a blomster. Yes, yes.
Speaker 1:Is there anything else interesting, karsten, in your life music Are there any new big plans you want to make? Do you go to bars or are you very good at it?
Speaker 2:I live up to every day and I'm happy.
Speaker 1:As I'm at the starting point, you're always happy. Yes, thank you. You're one of the most positive people you can meet. Thank you, it's fantastic. You're always open to new fun ideas. That's what you're going to be proud of, thank you for that.
Speaker 2:I don't have the big plans for these things. You have a new place to be Loving and Over.
Speaker 2:We'll use our efforts to do that and that's on the cold side of the bridge that's on the cold side of the bridge We've found a space that fits our size. We can play all this warm music that we don't do so much in relation to. And then we have Peter Stenberg again as percussionist. We experience that. It gives us a lot of experience that you can see there's a lot of music and a lot of live-in and look at the madness.
Speaker 1:Look at the madness I found there. I love Peter Stenberg so much. He's a real fan of the band. He's fantastic. Yes, that's what you have to say. He's a great musician and he wants a lot.
Speaker 2:I'm afraid I call him the biggest ear hat.
Speaker 1:Yes, it's probably me, two, it's probably some of the biggest.
Speaker 2:You're also a ear hat, Peter.
Speaker 1:You know that I can't hear well, there's also a bad day. I haven't experienced that Never.
Speaker 2:I can ask you that Now the museum is located in a nice place called Torsterfield and Lördag, do you have any exciting ideas?
Speaker 1:I have them all the time, but I also have some interesting things that I can't get rid of now. That could come from Stöbesken, but I also have something in my life and I could think about it until the last time I heard it when I'm pretty good at fishing. I have something that I want. I haven't said that I want more, but, as I like to say to those who talk about that kind of thing, I want to keep it that way that it's going to be so good.
Speaker 1:I don't have the intention to be much bigger or to be more innovative. Of course, there are some dreams you have to solve, but I just want to keep my job and my life. That, I think, is pretty fantastic and that's something. You also notice that it's something we all do. You also get enough in politics. I have to take part in it. You have your time, I think.
Speaker 2:Yes, I have enough.
Speaker 1:It's a bad word to say enough, but you also make your own story.
Speaker 2:Yes, yes, because you are the one who turns back every year. You develop a little bit over the years and get bigger and bigger.
Speaker 1:The bills are full of water.
Speaker 2:Yes, that's right.
Speaker 1:There was a lot of money. Yes, it was also on the market, but the bills were extremely good. It was very, very good.
Speaker 2:The plan is to develop both parts. There will be new areas, new conditions and new things, but the music has to be presented to the DJs. We keep it up the most. I'm looking forward to you, peter, if I'm going to have you here.
Speaker 1:I don't have more money than you do. You also had coffee. You have to stop.
Speaker 2:No, peter, I have played in two to four hours Plates with new plates where I have not known a single number. You did it a few times, didn't you?
Speaker 1:Yes, but I also use it a lot of time and money and I have some really sweet things to give a little shout out. I know I have a can in the Tullin store in Martin's pack. The name of the pack is also called a full-fledged water-meditated film. What is it called? I use it a lot of time. I know who he is. He knows my style. It's a really cool place to play. I use it a lot of time to find plates.
Speaker 2:That's fantastic. Do you have a number? No, I come in with 5000 kroner.
Speaker 1:I think it's 30 000 kroner. It has been worth it and after you have, taken it out. After I spent 5000 kroner.
Speaker 2:How much did you spend on 30 000 plates?
Speaker 1:I have another number, or we have another number where I don't know if I can move more plates, but I have a studio in Hansen, on the other side of our house, where it's all in the shelves. It's a really nice place, I think.
Speaker 2:And now, it's a little more spacious Now. You live there too, where you live, right? Yes, we do, I think so.
Speaker 1:I would say that we moved 6 or 7 years ago. I have never seen anyone move, but I'm so sorry. I think I've been so much in my life, but it was okay, it's so we have 30 000 plates.
Speaker 2:It's completely random.
Speaker 1:There are many things. I have just as many, but that's how it is.
Speaker 2:Improving. It must be on the right with the Danish Radio, then give. I think there are more than 100 000. I don't think there is anything wrong with that. I think there are a lot.
Speaker 1:The cast just for the last time. I have made a little thing which I will make a playlist on here after our podcast, and now you have to see if you can answer it. But is there a song that should be played when you have to be pregnant?
Speaker 2:Have you thought about it?
Speaker 1:That's a good question. When you're now through music, then it must be a thought or there is a struggle in the time.
Speaker 2:Yes, I have not, but I have had a lot of problems with the way music has been played, and it can be absolutely nothing. I'm not sure. I haven't put a title on it yet.
Speaker 1:It will be a long time pregnant. It will be a very long time pregnant. We will hear everything together.
Speaker 2:Everything you have played in four years. When I moved to Copenhagen my first friend, morten, who was a retail manager in Street Dance. He died of AIDS. He was one of the women who did not get anything from Vaseline but for his pregnancy, mr Finkards the classic instrumental lovely song, and then after the pregnancy he played the song with Beatles, and the two songs have always been great for me, so without copying him I could have done it Then it was a different story.
Speaker 1:Fantastic, karsten, thank you for what you gave. Yes, it was such a pleasure.
Speaker 2:We meet again in the morning.
Speaker 1:I look forward to it.
Speaker 2:It's nice, thank you.
Speaker 1:Thank you for listening to this week's Music Local Podcast, Music Mit Drug. I hope you have enjoyed the music of the Trillen universe and found inspiration for your own musical journey. If you want to listen to today's guest list over the youth number, you can find the list on the Music Local Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the upcoming episodes, which can all be found on Spotify and Potty Mode. So until next time, let the music continue to be your most trusted lead series. If you want to hear good music and good music in the real world you can find Music Local right under the Night Loop Museum in Little Kingsgate in the København district.