En åben snak med dj, Tv & Radio vært Thomas Madvig om hans passion for musik .
En åben snak med dj, Tv & Radio vært Thomas Madvig om hans passion for musik .
Music. Welcome to the Museo Lokal Podcast. My name is Peter Visti and I have been a musician for my entire life and I have lived my entire life of music in one or the other way. I am a musician and I have been a very young person who has been on the phone with my head and listened to music during my entire life, something I still practice. Music is my passion, my drive, my humor and daily forms of music. And what changes 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 varies their lives. What is the purpose of the new guest? 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 Lokal Podcast Music my drive. And welcome to Thomas Madvi. Thank you, peter. How nice to see you.
Speaker 2:It is, in the same way, mega nice and good intro. You could relate to it really well.
Speaker 1:Just to be able to hear it. It is so nice. It could not be understood.
Speaker 2:It is absolutely good.
Speaker 1:We have known each other for a year after him.
Speaker 2:Good, you would not say, because I have to say to you, to say to me, we should say 20 years plus at least.
Speaker 1:And you still call yourself mother and father. Yes, of course.
Speaker 2:Yes, mother and father Shall we take that now? No, we do not. We take it tomorrow and the adaptation papers we take later.
Speaker 1:That must not be done under the same circumstances. Thomas, I read that you start with being rare. You have been like 12 years.
Speaker 2:Yes, you can say inspiration from the fact that I went back to the big brother. We came from a music family. My mother loved Abba and my father was jazz. There was music influence all the time. My grandfather was involved in music.
Speaker 2:As it comes forward, I am 5 years younger so I am allowed to read what is happening at the beginning Because I am not old. But he invited me all the time he hears that it is human, like that, it is landscape. All those times I created the first things. He says you should hear it here and I am just looking at him. He puts a vinyl sheet on and says aha, and then he, musically interested, as a drum player, he also teaches me the details and he puts a vinyl sheet on the bass and that in a way makes me want to present to my friends Because I think they do not know these things.
Speaker 2:So the confusion of music starts younger. And then I start hanging with friends where music is also our thing let's say it was the piano of the Danish period and then we play them and then we start to update the local radio. And then suddenly the local radio gets into the fifth grade where I switch to the Pybik school in Farm. There is radio in the free apartment and then the music is in a focus room so you probably hear it, but where we have a very very intimate mixer, I think it is very old and a little link-up player probably.
Speaker 2:And then she loved me. We loved simple mind set of pitch mode and such things. And then we said it because you sit in the microphone. And then the local radio came in the same year. I am twelve years old and we just go for all the opportunities we have.
Speaker 1:So in that way, it starts as twelve years. Wow, and it's your big brother. What about your parents? Is there music at home, or is it your big brother, the big inspirator?
Speaker 2:There is music at home, but my grandparents' family is a father playing clarinet. His father is Thomas Fryland, who is already in the Danish trumpet player, so there is jazz. On my grandparents' side, my father plays saxophone. I see that saxophone is hanging at home and he introduces me to Big Band Jazz Fessers Big Easy Band, as I called it, fessers Big City Band. So it was Big Band Jazz and it was Jazz Jazz. So blues was my father's thing and swing. My stepmother loved Bruce Springsteen and Van Morrison. My stepmother loved Abba and was a special fan of John's and there is a whole lot of things to think about. So we play the jazz. So music is really cool. It's the whole palette we are going out on.
Speaker 2:We are fed with music as something you play and you stand for, so you meet people. I remember when I was little. So it's the first thing you ask why do you listen to music?
Speaker 1:Because then you define the person in that way and you are already interested in talking to people and God forbid if they say it wrong.
Speaker 2:I remember one of my family members who heard it and one of the other tried to speak English and I was like, ok, it was funny, I don't have to talk about it, but it's shaped of music. And then it's still gone.
Speaker 1:It's still gone exactly. It was exciting, tors, and there could be a lot of questions. I'd like to hear more about you than you, but when you've been so hard on yourself, you're a child. Today, ten years, I'm eleven, hugo.
Speaker 2:Are you praying for him? Yes, I had two missions and I thought I wasn't that good at being children, but from the moment he could feel and hear it, it was visually impressive. It was, for example, with Pixar. We started with Disney, we started with Pixar and musically we started with. I think that's so cool. So for the children's stage we're already out in that I play the music. I think is so cool for him and I could see him tense up over hard things.
Speaker 1:You're sure there's something to move a little bit later on in five years right.
Speaker 2:So I remember that he thought it was so cool to sit and look at himself in a rock and I'm a soccer-frog so I played him Beautiful People with Marilyn Manson and then he lit it up in the room so I thought we work with him. So from the children's class in the zero class he had his own playlist called Hugo Car Trash, when he was in the mood to decide that we have some kind of desire for rock that mixes with a little dubstep and with the beginning of a hip-hop, Because there was also some kind of hip-hop. That was his desire list. It was in zero.
Speaker 2:And I love to drive past people Because I went to the sales for the New York Pro Station so there was a lot of holding a cow and I was sitting there and it was supposed to be heard and you hear something like Beautiful People. And then Hugo sat there and he looks a little bit like a little one and there he is so loud that people think your grown-up the dark-skinned kids would see you here and.
Speaker 2:I'm so scared. It's him who has chosen it, it's him who has chosen to be so loud and it's him who thinks death is cool it's not me, or it's also me in between, but yes, and then he has seen, and then he sees the fron of the day, where he himself Catch music and learn me and your new exciting hip-hop artists, because he also hears TikToks or sees TikToks on YouTube.
Speaker 1:I would be absolutely absurd if someone in our room had to find the music on TikTok Not that I was standing in the back of the house and all the way in the 90s in the record company and just get a new record.
Speaker 2:Yes, and then you couldn't get it because you weren't in the hierarchy enough, and I loved it. You had to pull up your rights to hear about it. Then you could see the big front and say, hi, peter, peter, I have this close. And then comes a hand to me Look down and you're all over it.
Speaker 1:There's something in there.
Speaker 2:You can pull up your stars in the shadows before it gets to you. But I just want to go up about this with the music on the internet. And then I have myself. After looking at my children's world, I'm so up to the screen and hear how it came out that what he presents to me. Then I get caught on Instagram and it's actually only a year since I've been new to it and then I suddenly found out I'm pressing music, food and humor, but I press music on Pete Rock, I feel. Then I get all the cool things. He inspires one, he plays old hip-hop things and minds one thing which I then heard. Or we're so new to things and there are a million ways I find music on Instagram today.
Speaker 1:Yes, it's essential enough. It's what we make, both it and TikTok, and I feel like I'm completely lost. Because, I'm still old, I still play the piano and try to find the piano. I'm completely lost. But there's also a difference.
Speaker 2:What I hear is that it's the music that gets my heart. For all the other music I would say yo, instagram, there's a part of it already. I can't remember the names. I just press it as a feeling. And that's what people put vinyl on and say I have just five grams for you and I swear to God, I have one and one. I can remember it well, I have it myself on vinyl, so I just have to go through it Because that's what I have to do.
Speaker 1:So there's also electronic music on this way. It's good that there's electronic music on this way. It's a completely fantastic media in my eyes. I'm not sure about the children's op-drag, but my son doesn't have a screen time when my husband has to do something he doesn't. He's talked about it.
Speaker 1:Or if his mother hears this, he has a 100% screen time we talked about it, he talked about it, he talked about it and he spoke English in second grade and they didn't understand it in school and we could have talked about it here in front of the TV door.
Speaker 2:But for me it's that I'm talking about my style. I was obsessed with the other music and the only thing I did was go down in the Antiquarias and buy other music, and then I was in the middle of the city. I didn't have the control, I didn't get involved in it. That's the only thing I think. And now we're talking about children's op-drags. But it's just that you're in and watching, because I also learn something like okay cool music was there, or it was fun and then you got into the internet.
Speaker 1:And how did you get on with that 12-year-old school radio? It must have happened a bit later.
Speaker 2:Then we came to Farm Loké Radio and we were on it. It was an initial start and then we made a lot of radio. We loved it. There was a time when our radio was called and the world was on radio and then you had to say it was a bad year before you got thrown out again.
Speaker 2:It was when we couldn't be ourselves. And then we started on Farm Loké Radio. That was the start and you had to do everything. It was a free style and the first thing for me was to make radio voices. There was music we loved. It was in Thomas Helmy. There was a lot of music we really loved and then you just play it all the time. I had the intro that started with WAM, where you say Mid, now it's Thomas, and then it started I'm your man, but from Loké Radio. I was in a 7th grade and then I was in practice and then I came to practice on Radio HRSA and I don't remember about FarmLoké Radio. No, farm Loké Radio was Farm Loké Radio. It was very, very nice. Then I came to practice on Radio HRSA and at that time it was the highest in the world Because they sent in 3 pauses on the voices of the main frequency on FM they had sent, so it was part of the frequency at one time. Hsr stood for the main social democracy radio right away.
Speaker 2:You could come in and send in the stories Because I was allowed to hear it. I'm not good at hearing it. I'm not good at hearing it. I was allowed to hear the radio every day in a completely different way and I would be like Frank Rasmussen and Dennis Johanesen and Dan Racklin, and they were just the good ones the way they sounded. So I dreamt about coming down and being like them. And then it was the closest to it and she actually said to me after my practice period, so I was allowed to come in and make audio. As a 15-16 year old I was allowed to make radio jazz technique, which was a serious music club. It was at a level with the D&J thing. So you were in a huge studio and you took out the jazz equipment to talk about it. After that I called the farm and asked if I would come back to the farm. They had discovered a new commercial edition called New.
Speaker 1:FM and I was like I'm just a headhunter in a 16 year old.
Speaker 2:And then I started to think that I would be more. And then it was Jacob Lund and Lil Lars who was the best at that time. They had a week in FM. I was allowed to come in, and now it's Capital Radio. And then I came in there and made radio with them and I had to have one of the other.
Speaker 1:I had a voice I had brought up, and that voice is it yours or is it the one that makes audio? It's a lot of work.
Speaker 2:I'm not sure if you understand, but you can be good at making audio with your voice. I have a good voice that I can activate, but I also learned the bridge and I've increased it a lot.
Speaker 1:It's the first time you hear the first radio stations that I make.
Speaker 2:I can't see you want to concentrate when you're sitting there. I'm going to try to talk to you, I'm going to try to sing and sound like a swedish American, I'm going to try to play one place in it and then you can play yourself and learn how it sounds.
Speaker 1:I'm still doing advertising spics today.
Speaker 2:So it's a good thing to do, but it's just the way it is, wow.
Speaker 1:And do you start DJing at the same time or do you come in first, later in the whole radio?
Speaker 2:I'm so old, like 17 years old, I'm starting to get a little bit of it and now it's going to be good, I'm starting to be interested in it. What you have to do is mix, and that's really not nice and they're new and you know, even today I think it just requires a lot more love than a series of games to do. The engine is from 1.12 to the next. It does what it does. Sometimes you have to find it very tight. Sometimes you don't have to press so much.
Speaker 1:Sometimes you have to, you have to say it requires a lot of practice To get the Satan right in the nose.
Speaker 2:I'm going to put two on what are they called Mantronics? Yes, what the hell is that?
Speaker 1:It's a big deal. The last four years, I would call it very very favourite, except for Houto, gediolove or Houto. God to prove your love must be the idea God to have your love. God to have your love. God to have your love.
Speaker 2:Two of them on same thing, because the logic in that you put it on the same string on the two players it's enough, because we're not using it. It doesn't make it easier for them to mix together and then you increase them. Then the technique on the blast, or was it not a bad thing? I understood the concept and then it was what I found out later. I remember Michael Heiber, who played privately. That time he could use a light and then I had to try it out.
Speaker 2:I remember that the report found the first DJ jobs I had on a pretty smart club, one in Copenhagen. That time that was it. I was wondering that. But there were some guests who said now he's playing Michael Jackson again. That was my go-to. Because I didn't know, because I quickly found out that there are many years that have passed. Djing is not about technique. It's about selection, what you choose, and understanding and have the music you want to play, what you choose to do, what you choose when you give it, and that requires and I'm sorry it's like in other sports and in other ten years minimum exercises, and even after that you have experience. I think first now where I have DJed, I have been out for my thirtieth year. Now I have it. Now I can just say I have the player I need. But I know what it is. I need to tell, but it takes a long time, but that was DJing that time. Then there was Axel Dansebar, who was a big fan of Copenhagen.
Speaker 2:It can go to school Come to the fantastic round club where Philippe and Dennis were if I wanted to be there. So I was the little cute, fresh and the player I loved and all the new Euro-tech that time and the young US player, thomas, who soon played in the club.
Speaker 1:No, thomas, no, no, I think I have learned to mix with a capella. A holiday rap.
Speaker 2:I think I've overlapped.
Speaker 1:So yes, that might be a good idea, but I can remember that holiday rap because there was a capella on it. It's smart, because then you have something you can hear.
Speaker 2:And then it was a young guy, one of the boys.
Speaker 1:Alan Henrichsen, Alan Vennil, who learned to mix. He had two without really 12, but with three pitchers on and I stood in the present playing.
Speaker 2:It's a side that starts with that one, because you get a little better at it.
Speaker 1:Actually I like that because the other one goes more smooth than, but it's an interesting way to learn to mix, I think because we say today I was in school when I was a guest.
Speaker 2:I was saying it's the smartest trick I have. It's to put too much weight on your chest, to put it on the right side so you can hear when you can break the food. And it's hard to guess. You have to define something. It's like If you mix the two together, you have to learn it in that way and you have to make sure you break the food. So there are all kinds of tricks, but do it as easy as possible because even if it's two of them, you have to run from one end. It's an exercise. I think that technique is faster than learning. You have to learn to mix well and timing is not the same.
Speaker 1:And then we can continue our learning from here. It's getting worse and worse, just like when we play Exactly Thomas. Just 20 years ago we were here when you were 17 years old. If you're 17 years old, chronologically.
Speaker 2:Then you have to be a dancer. So I take this as an FG and say, if you come now and now the big ambitions are coming. I would like to be a radio operator and they just want this way. I want to live this. I have heard of radio. I want to be like them all the time. I want to be like them on voice. I want to be like them. I want to be like them. And then you have to have something to fall back on, so that the FG for me was a basic exercise when they were at home.
Speaker 1:You said that no, no, no, you were yourself.
Speaker 2:I moved home from there when I was 16 years old.
Speaker 1:I was out.
Speaker 2:I wanted to train, I wanted to do my life and it wasn't a requirement, it was me. I wanted to be myself and to be yourself. And then at home there was something to fall back on. Fg was a basic school for a certain school today, and if you had them, you were in the direction and you think you can use them all the time Because they are in the direction of the back of their feet.
Speaker 1:Back to the voice. It's my toy boutique.
Speaker 2:It was in theirs, where Dan also used to play music. I told my son about it. Julien Kylfurnisse, that one there, the one I'm talking about, can you see this one? There was this one. There stood that racket and he was lifted up and down on a DJ's horn that could ring from the first to the end. I thought, oh my god, I could play that. Wow, I could stand up again and then you could play the same thing. And I thought, since I was too old, I was standing in a toy shop playing music. I tried it since and I thought that was the worst place in the world to stand.
Speaker 1:It's a lot of things. That time it looked like that.
Speaker 2:But in the EFG I was in 9 weeks and could feel that it wasn't safe to grow up. It was the same thing. And then they actually called me to get a chance to come to Voice in Hörsson, almost in the right place. It was Voice. We started there. They had a group of people and I was going to do radio. I took it and then I moved to Hörsson and then I went to radio and then I was there for a while and then, before I felt it, I was put in a big mode station and suddenly stood in front of my icons my Dan Racklin, lars Kär and then you get into the place as I thought where they were the hellish gala. The thing I felt later that I could be 500 times bigger is that I was not in the music and Q and I was still in the music.
Speaker 2:that time I remember the radio and the music Is the place on the board a little bit more time, two minutes later.
Speaker 1:Yes, we're new there, we're a little bit more in the city.
Speaker 2:The city is full of, let's say, 20% of the people who were in the school and the rest are singles. We're talking single-leaders and LP, but singles all over the place. And I came into the room and it was the radio room because at that time, at first, we wanted to be loud. I would like to be loud and loud, but it's best to be loud and loud so that you play what you love and there's also a specific what's great to talk about. Some of the intros, for example, t-series is great. With which of the great things to say at this point, everybody wants to rule the world. It's great to talk about. There's a drama of building and then you build your voice. So a combination of the music you love, you promote.
Speaker 2:Together you play a high-sensual that's why there's music, but that room where there was, and they were in plastic boxes, and then I sat down and sat for three hours and five times and then I started to go all the way through my hearing in my education and I wanted to play and listen to what the others had presented.
Speaker 2:And out of that, the music interest was still in the form of a role and it was a modern rock. It was the modern rock chart on the Billboard. It was the beginning of these things. So that's where Harry M came from in these stage. I think it was a exciting genre and then I have a super pop-drama in that way, pop and electronic and the pitch-mode is electronic.
Speaker 1:But we all have a place in Denmark. We have talked with some others about us growing up with John Williams. Some of us are a little older, and what's his name? Kim Schumacher. But that's the pop-drama. There are many years before the Denmark Rating for the Tally Schild. We have a big electronic thing. We get something that you and I end up in and then you yourself are one of the top men Because we get it right, but that's not what happens.
Speaker 2:I was completely confused by Hugo, my son. I was actually the top, I was the star of the whole thing and then I thought it's like that. He has heard hip-hop, trash metal, other things. Everyone is changing and I'm coming from another and the cool thing is that he has, and I have also found that when I play electronic for him, it's my deep thing. I get so spoiled. I think it's prime time house I'm playing and people are not ready to ask questions.
Speaker 1:Really I think it's the same. It's completely different.
Speaker 2:I'm not a stupid musical instrument. That comes from my love for pop. There are harmonic and melancholy, for example. I play a lot of the new Danish rap artists. They are super melancholy and super musical, and he is willing when I play Uro, for example, and I hope that he can do something. I played this with Andreas Oedbjerg for him he has been seven years old In the morning or the day and he would like to be with me and then he has a little ring of the bell.
Speaker 2:And then I was like God, have I done it wrong? I think it's important that you get it all in. There is nothing that is forbidden in my world, Because all genres have something good.
Speaker 1:Some more than others, but all have something good. Of course, I have never been a genre in tune. I have always listened to all music and then I was so old, so that time you started playing for the mid-winter Could you not play a genre.
Speaker 2:I was there to play what you could get into and what you could promise, and then I was actually the one who played my whole life and now I am just talking about DJing when it started for me after Axel, and now I would like to play House. It is a great experience to play for Axel Danes Tour and Limit. That was the time I played Tribal Dance and you could go A's of Bass. But now you are playing Modern and it was a bit late. And then suddenly I would like to try to play the new one I bought in Street Dance and then I would like to play Karsten's. That is cool. And then you are trying to translate this new Italian from Night.
Speaker 2:But what was it In relation to the years of going into electronic music? I remember that it also takes a moment. I remember playing at Karsten Polsky. Then there was a new range of rules. If you were a pop DJ then there was not Parkes of Dance. Then you play OK Roliner, with the nature of Limit, with the side of Michael Jackson, billy Jean. Those things could work for the young people there. Then I came in electronic or what it was. It was the start of the band in the late 80's. And then I could find out how to play trains After a techno song, because there was the acid violin that just played with the acid faces and at the same time there was some big beat that started to touch, and then I dropped something like a little trance and then some people suddenly got sucked right on the floor.
Speaker 2:And then I was like trance and techno was a freaking no go. And that's what I learned when I said you don't mix both. There were two fractions and I can remember that it actually gave me a feeling of time. I made a, I called it. There was Winter House, it was called Winter Music Conference in Detroit. It's not Detroit, it's Miami. I think that was awesome, so I called it.
Speaker 2:I made a song called the Real Winter Music Conference Because it was about winter, a real winter in Copenhagen. And I made a bowling competition for all DJs in Copenhagen. Very cool, because I thought it was so cool. I thought it was just a pre-hear. We were standing in the same two boards of bars. We are the same, we are the same blood. I can understand that if they are for trance they can be a little melodic and flying. If they are for techno, then they are like, it's like rock and pop. It's fine enough. But we just heard DJs just gathered in front. So I made a bowling competition where it was hip-hop-ing against trancers, against techno, against all the heads of their own, and then we made a form for it. We could at least stand here together about it.
Speaker 2:But I don't mix. We come from the mix. We come from a mix of influences, of inspiration, growth, and when you are DJing, I will say that this style is the one that can cut them to listen to the whole night. But there is still a way now. Yes, I have put an air in it. I try to say everything.
Speaker 1:I have also had a lot of hook for it. It's not that, but I think that I have a hard time with it. I don't know if there is something wrong with that, that you start playing two times, because in the old days you played six or seven times. Yes, so you take more chances to be able to read something. Yes that's what we need to do. Maybe you play two times, and then you might be able to say that you are playing only this and that genre.
Speaker 2:Yes, or you also have to learn the public understanding that there is more. It's more difficult because if I have to play from this point of time, then people are at this point in the party. They want this type of club. We have these frames, so it's, of course, easier to do it. At the same time, the music is also almost programmed, which I think is boring. It's like you're going to get a drink and a beer. What do you want to be? Because I love this music, I say you have to be this one now, but it's actually smarter to program a set so you have a run-up to it than the genre you live in. But that's what I say. I'm free to sit for five hours and then I think try friends, now we're going to find myself in Randy Crawford's little party and if you do it right on a techno club, people are going crazy.
Speaker 1:If you do it wrong. Yes, then you have to put it in the blacklist. It's a success for me to break the last Christmas with the most absurd over the years. How did you do it?
Speaker 2:I did it just a little bit. I was just a little bit upset I think you were feeling yourself. Yes, and people were happy and then they thought what do you do? You just do it.
Speaker 1:And it went well. People went completely crazy and there were some who stood, like some of them and there were some who said I was like what was the?
Speaker 2:chance, it was just to play something behind the back, I think.
Speaker 2:And then I think there is a real lesson in this, because if it's where you can take it, I think it also shows how big the corona is and how it's self-sustaining, because that's a point where you know, when we had Tia Sparmeier-Steen, there's a point where he looks at me. We have to have a breaker. A break means we have to do it again and hear the house. We have to do it again and hear the deep. If the deep has to be wild, we have to go further down or somewhere else. Or if we just go together, then it's no longer exciting. And I think that's the most important thing about the balance to say, okay, I have to take a relationship here. And then you find a limit.
Speaker 2:I can remember a big one. It was what was it called? Someone that I used to know, love, know, and it was made in a remix of a four-star-star here in Denmark, six or something. I'm sorry, it was a pop hit in the radio, but it was a cool club hit. And then you break it in the middle of the side thing to get the fuck out of it. And then you go to the studio and you're like, oh, what do we want? And then we see. But before we want we have to live under balance. So I actually have to irritate here, as when I'm my favorite position as a DJ in the warm-up, because I love deep and I'm perfect to sit on for people who want to have a party, because I drag people to the stands almost with the knitted nose and say, now fucking, do you press it off? And then we'll show them and put one sheet on, and then you get a nuclear energy.
Speaker 1:And yeah, that's nice, but I take it with me and say, yeah, it's just because I've warmed up.
Speaker 2:The balance is also that you play Last Christmas in the middle of a fucking summer, and we're at a side-stage. I want to be boom, oh, we're not at a side-stage, we're at a fun place, and then you can build again from the bottom up and that's just as much music. Balance, use and transition and what the hell. So in that way, dj has put a beautiful and built-up piece of music.
Speaker 1:Yes, I have completely agree, and it was beautiful and built life. Thomas, You've done a lot of things, so we're going to go around a little more, because I think it's super interesting when you start DJ. You've done a lot of radio already. We're coming up with the 90s just a little bit, where you suddenly end up on the world's largest music TV station. Yes, something like that as the only Danish man yes, man, at least.
Speaker 2:Yes, I decided to just go and try it. I wish I had had a friend. She was there anyway. She built it yes.
Speaker 1:So how does that come about, Thomas?
Speaker 2:Well, the willpower that makes you. If we take my accident, then I just toss around in all kinds of places in the gay community. I had a party, I had a life of will, but I didn't have that much to do and I haven't had that since, economy, no, so I just used it. It was a fantastic IKEA card and I also went to the food shop in Vienna, so you just buy the food and it's pretty expensive.
Speaker 2:So I just thought all this credit was cool. And then to the last, I was a huge fan and I was like I'm going to be right here when I'm going to be paid so much, and you know, that's what it all about. There's a bit of a comparator. You have to be there in 94, 93, and it's all down there and you have to be a part of it and you have to have a record label, and then you suddenly start to become a great DJ.
Speaker 2:So I just went to the furniture shop and two-tie a bit and then danced around there and after three weeks without food and money, it was pretty difficult. But then I met the friend who also flew from Atlanta to your country and she thought I'll be there when she comes and we're not going to go there and try to do a few things. It was really about that time. There was this man-you-mission and there were clubs that were eager to formate and conceptualize the whole club experience. And we also found out on a beach and here we have a drawing of something called Fist if you're still dreaming about it and make a club called Fist, where you're lying on a grassy floor or lying on a chair or at least, or walking out on foot with drugs where you're actually standing with drugs in front of you.
Speaker 2:It was just so over-dead and the smell was so strong it became the drawings. But then we went to London and I had to go through it and I tried to infiltrate the underground clubs and I found the squatters because they were a squatter in England. That was to say, the law in England was to put an old church or the university building in Kensington and then you have to be there in order to get out so they can say you've learned to drive long, so they've got only four or five months to make Fist and then you can do it too. If they do, they're doing it. But if you're in a Victorian date, then you've been located. It's pretty cold university building, but then, for example, you had to go through the underground and it's completely down to Christian Nitter in relation to the real thing, that if you're not born, then who are you? We were really surprised to see, but it was a little weird to get into it before you got into the game, there was some street credibility.
Speaker 1:it wasn't that bad.
Speaker 2:Yes, and then I got to play in a cold room and then I got more room and I got the hang of it, but it wasn't good to see that the way to get out of here. It was very long, but we were shocked. Money was going up and then the net was coming and we were very excited and we wanted to get a little bit of that and we just wanted to get it done. And then we got to know one of the players, paul King, who was a little bit of a tussle at the time for VH1. We were going to do a demo and we were all like we could do it, you just have to do it, you have to do MTV. So it just had to happen. And we were also up in the middle and sitting and watching it.
Speaker 2:And then we made a demo for VH1, and he said you're not with MTV. I was 25, not 24, so you're not with MTV. And he just said it's all about timing. And then we got to know each other just how they lead after a Scandinavian, an outstanding man, because they want to have a man in the North of Sweden who needs to be the blue-eyed and light-haired and I speak really good English and I'm coming at this point in my 24 years of experience to clip things myself to interviews, self-study and radio. So I've really had a lot of experience. I just don't want to go far. I just want to go on to the next story with what I've done for radio. I just said it was just timing. So it was just you came to Stockholm, you were among the last five and the first 2000, and I still remember saying I came to Stockholm to get a job and it was like you don't have to and you didn't see it.
Speaker 2:You had a lot of expectations and I looked at it and said I'm going to have it. I don't think I understand that they want to have it Me either. I was also in the middle of my life when I came to this point, because here I have driven two dreams that I wouldn't have been like that, but it was like that, but it's not the first, third time.
Speaker 2:It's not like that, exactly so my third time was just after my interviews, so I came down and said when you start, you can just say I can't, I can't, I can't, I can't.
Speaker 1:I don't want to have any place to live. I don't want any furniture so it actually fits. Have a place. How nice, thomas I've seen you and you're fantastic and it was my hell.
Speaker 2:It was good because I was driving Denmark proud and that's the most important thing, I had actually been in Holland from Holland Skid Södlars and they hated me in Holland because he was speaking a very bad English, so it could also, and I was just a god in Denmark because I represented as well.
Speaker 1:So it took a long time for us to find out that you were Danish. You spoke so well and it fits so well.
Speaker 2:And then there was this little phenomenon because when you were good at it, people could say you know, he actually came from Denmark and that gave me a lot of credit in Denmark, which I also lived well in. I was only in three and a half years maybe on MTV before I could feel that it wasn't me Were you tired, or what did you do?
Speaker 2:I could just feel that now I actually started and now I had been tired. But I think I had been. I had been a recruit for a long time, I had been a main in a long time, I had been in radio, built up, built up. So they didn't feel that there was a way now. But this was also a. I mean, I'm not going through. I was afraid of this and I was going back. I was going to find myself a musical where I lived in England.
Speaker 1:I bought, I mean, oh, the boutique was over, it was over, it was over I used my money.
Speaker 2:I got the first year of building a band and I started to listen to music. So I had some concerts. We had some kind of events before, so we played small poops and small festivals and my big DJQ at the time we made a festival but there was a lot of things.
Speaker 2:But so we wanted to be what I was and they said straight up you're just one of a kind, so we want to keep you in that cage for a while now and I thought I won't, I'll go down to London put the other one up first and then I'll make some music, and that wasn't the case, so we just had to stop here and then I took a walk around the area and then I went home and then I could hear the birds singing and what I was doing and jump in on what I was saying. What the hell do we have on Friday?
Speaker 1:And then we just went down to the corner, a little corner, and then you come home because you have to say, now we're talking about there has been something about what I was doing about 10 years ago in 1989, and stuff like that. But what I have to say is what you and Christian Krede did you made a big mix, I feel in any case is very, very bad for the what should I say?
Speaker 2:not the commercial part, but that we get to spread the electronic music we feel a lot of blood and legitimize it and create some faith in the Wigs.
Speaker 1:In any case, and we get it out in the outer corner of Denmark with what I see, from what I'm very impressed with because it's something that comes to. I live in Selkibor, but it's my friends who hear the big mix, who don't normally want to hear others like myself, because there's nothing like myself in here but there is, yeah, yeah yeah, so I mean, you really used to use some things with the Big Mix.
Speaker 2:Yes, I think the first thing we've done is something like this like you, and we have René in Olbo and we have all these places where we normally I mean Kemavn fought hard enough to say Kemavn was hard enough to play house and technology. I was in the heat there over the head, I was probably a nomadic guest, but I went up there with the boss and he said there was no need for that. And then I remember you in Silkeborg at your club once. It was just because it was Thomas 5TV and the Big Mix. I don't know if there are any more than three people who can hear it. I'm not playing it.
Speaker 1:Yes, that's what it was, but we gave DJs and producers the trust in it.
Speaker 2:When they heard the trend, they went through and said, okay, there's a guy who's playing with the sound wall. And we went to Olbo and played there and found René and Mojana, who were as far as we could, as far as the others, so we could omit that it's only Kemavn, where it's almost four years away, the rest of the country, and no, it's not, there's you in Silkeborg that controls it. We have René as a whole, a really talented people in Olbo. And I've been in Viborg all the time. I've been travelling around, I think, in the Folkemhavn, and I'm doing it because I have to go out and feel it here and more and more to the color, with the more trust I think we're spreading to the audience. You hear it, it's being legitimized for their ears. Okay, it's not just music and DJs are around. They're about to start putting more and more into it, because you can feel, okay, there's actually a place here where people are hearing it on the spot, so now we can go more into it.
Speaker 1:And I don't think I did a fantastic thing and you have to be careful if I'm wrong, but I remember that they only played things that were out of the box.
Speaker 2:Oh, in the box.
Speaker 1:You know they were good at playing the boards that were out of the box, that we were going to hear the promo that came three months ago. I think that was right.
Speaker 2:I think that's because I just created the program and we got the promo. Yeah, but the promo was in from Reykjavíl. So if we got a promo it would be a pre-release. From whom we got in contact with, for example, vilma Gláské or Underground. But then I got some of their stuff, but that meant that it was in the hands of the audience. It wasn't a promo where? What is it? I mean the back of the style.
Speaker 1:It wasn't what we thought but it was in the front of the scene. It was in the front of the scene, yeah, exactly, and it was in the entertainment scene when people had it, and I think that was a big thing because it was very accessible, very fast, and I think that was part of it to do a big. It was a big help to spread it.
Speaker 2:I also think that it's also the kind of people when you go out and find it, that you can quickly get in contact with it, because it's just a forward-looking thing. I remember I loved Berend's stuff and also a great inspiration. He was also on Voice for the Test and also for me and then things like that, and then he had a little bit of a surprise. I think it was a misinterpretation for Berend, but he forgot that If you're in Ibiza, forget it because they're DJs, but you're not in Copenhagen and you're in Denmark. Let us see it now so we can look at it. There's just the first time we know what we're leading after, because you're starting with a renewal which you then put a stop to. Not that it's a way of knowing, it's just thinking of new music that's not accessible. It can do that, so we have to forget it when it comes. And I can't get it. I'm not smart enough. It's so accessible. It's what I'm happy for.
Speaker 1:But that's what I meant, because when you started playing in the radio and we had a sound on it, but some of the people we tried to play in the radio when I could buy a same record as they have heard in the big mix. We suddenly knew the record already, so we went to see if I could buy some others. Exactly, it really helps a lot to get a big electronic record. I remember playing in Villa and it was the same thing. It was the same thing.
Speaker 2:There were times when I remember a DJ up in a local DJ where I played a number that is from the band and I was playing in the studio.
Speaker 2:And I was playing in the studio and I was playing a number that is from the band, but because I was playing in the studio, because we were a little bit further ahead in history. So now Hause also came in, in small amounts of course, and I said how the hell can you play here? When you play, they flip out when I do it and they say, okay, but then I've already been on the way, because before I couldn't play. Now it's on the radio, so now they hear it before and I can play it because I have to do it and just like you can do it. So, hey, it's just the last bridge to get here.
Speaker 1:And then we can all play together and just relax. Yes, there was a little difference between the two, but that means the culture was in the beginning.
Speaker 2:If I could do it on Vila in Silkeborg, then we would be on the way so I thought it was cool to come along. I can remember I wrote an introduction to this. It was called HauseMusicdk, which was a place where we all met and rocked and beatied and hiked and did the best ourselves, and now you have better others and now you have better yourself. You have to win as a team, or what do you mean by going against that? You?
Speaker 1:still have to get the position on social media.
Speaker 2:Yes, you should say that exactly that was our dream and I can remember that. I feel like it was kind of convenient for me. I have been in the Yolbaur game. It was like my best friend in the world, stény-yugáirs-sté, and I was kind of, I was very careful because Stény told me when I came up and he was sitting like this, you know, stény, stény, the best friend in the world and he was just so sweaty and in his pants and all that kind of nice stuff and it was completely cool. So he said well, it was exciting, I had had a man. He was the kind of person I had known when we were playing with Dormix and he sounded like he had a club this is what this story was about where he was playing with. He wanted to shoot the convalued Yolbaur and a stinking cast. I got a gift, not on the cast, but a stinking cast, which was called V4V4V4.
Speaker 1:V4v4, that's what it is.
Speaker 2:And then I've spent the years sitting in the same room getting a ring. And then I said, well, it's exciting. In the evening they just hear a beer and they're like, stop, stop, stop, stop. What are you saying? So it's me who's breaking ice instead of Yolbaur. It's just a lie, it's gonna go. It's gonna go. And I was like, okay, now we can do what we do. We're gonna be with our fingers in the middle.
Speaker 2:And I just remembered the point I played a number with and had it been Super Petra or one of the biggest hits on Compact this time, that was big in Berlin, that was the new one that everyone was looking at. It was a unique sound. What the hell was that called? It was a very special sound and it was the big hit. And I sat there and it exploded. And then I went back to the music and said now we have to stop and we have to stop with and judge things out of the Yolbaur, because I just played this hit that we hear on the Smartest Techno Club in Yolbaur with the same effect. Then we have to start with and the straw, we have to limit ourselves to say this land is just clear. It was a beautiful and chaotic place.
Speaker 1:But you had a big influence and it means that we're going on. It means a lot. And, Sten, if you want to, what do you think about playing a club, About my studio?
Speaker 2:Yes, it was a dream for me. I actually think about it here from Ylø. It was a thing that gave me life into the next few years, where I saw, and then I thought, oh, playing a club. I've never been to a club before. I've been to a national museum and I've been to a museum of art and I was like, oh, think it was a club, I mean my aesthetic building. And I was like, oh, but then you come here and I still haven't had one fantasy. I haven't been to a club.
Speaker 2:I dreamed of it in 30 years and that's the restaurant that's called Alchemist Today, just like food, where it was a total experience the way you were driving Sansa Ni Spil Really out of the budget to have 100 million to do it for. But the thought was, in any case, the dream was there. Me and Sten did it. We dreamed of making a club like ours, since we have to have it, we want to come, we lack a place. We lack a place where you can rub your hair and your. You know you have to join, you have to search for it and it has to be a free place.
Speaker 2:It's the point. And there has to be some kind of secret in it. And it just fell to a place where you had to go to a gate and the Germans were coming down in a cellar and we were never done. Sten is a designer, he's God's something but he stopped he didn't do it right, so it could be dark at first for half a year, and then you couldn't find a real light.
Speaker 1:It was not the right lamp.
Speaker 2:that came in with the lamp Exactly, sten didn't have to get a light and it was oh fuck, it was just perfectionism, but fuck, it was a man who was capable of making the lamp and I could make the content with the sound. We were in agreement about how it should be. We loved it in those three years. It was the biggest in Cumaun.
Speaker 1:Yes, and so we just tried to hold it tight now we're just getting a little bit of a hoax because we're holding it it's okay, but just to hold it tight that with the great mix about the same time you also started, it was called Very Disco, right.
Speaker 2:It was before. It was before because it actually started with my DJ-in to Cumaun. It's Nime, who's my DJ partner, yes, so he contacted me and one of the things I noticed was that I was going to Kelly House Music and he had ambitions. Those are the ambitions that I made.
Speaker 1:He's one of the best and he's been on the DJs for a while now and I'm pissed at it and he contacted me and I actually met Nime in Hurtøy the whole show.
Speaker 2:So he and I swore away and I said I had it with me while they swore away. And then we sat down on the political corridor and he said I was just thinking, should we do some work? I have some ambitions about this? And we made a. He has a Deep House Club and a place called Mini Max which is called Deep House, and we didn't get to listen to Deep House.
Speaker 2:That's where we came from Sex music with beats, and that's when we started a club down there called Deep Blue. I can't remember the name. We left it there. It was Deep House after and called it Mini Max. I can't remember what we called it, but we drove down the basement on a rust and we started and got a party up and running and we found out that we could do something together. It was pissed and pissed and we felt like we had a Jörne Ibiza and the cool places down here, with this haustard, this joy and happiness in it, and that's what we got from and we got to go on with the rust. And then Vladimir, who is a ballet dancer at the King's in the picture, who also had a party and he could do it visually Mini Stone.
Speaker 2:I don't think I can put it together in two words.
Speaker 1:Stone heard it.
Speaker 2:It wasn't a memory, but he can do it visually and we got in touch with Thorstein, the legendary old Icelandic club, bajagemahavn, which is in Brittany and he has some three stages and we'll be living under that and those who want to have me with them, because I have commercial powder. Nima has serious respect. Among them. I have one. It must be what is it called? It must be in the hole. It's just around the time where it's powder-based, it's powder ethnic and beautiful, so it can handle it and we're thinking let's do it.
Speaker 2:I say I find the name, I'm marketer. So I sit and I'm looking at some smurfs. Is there any time to say really it's going to rain? So I looked at the lord and I thought if you take the two and put the word on them, it's going to be a dead score. They're going to be. And then I say to them and there's a whole room and they say it's just fucking not going to be and it's going to be a priority. As with other names, when you've first made the name and think back or the front is cool, then the name is cool, so just trust me, and then it works.
Speaker 1:And then it really works. The name is only good if you've made it Exactly so. It's the world's biggest name and you could understand.
Speaker 2:And that was simply a club. We opened every Wednesday. A club was built up from Tuesday because it was open to normal audience to discos and gave us shots. So Tuesday began, where we decided to choose, and then they started building up, cleaning up and he made it so smooth. And then we went back to Wednesday and we had a summer club from May to September. So every Wednesday we drove and there was also a rest Wednesday club. So we drove it. What was on Wednesday? Then we got it on the court. So it was the start of it. Yes, okay, and I actually thought it came before.
Speaker 2:No and then we got really, and it was the same with the big mixers. There was a lot of stuff that went into the twine and at the same time we fixed the radio in the radio house and I got the court.
Speaker 1:Yes, it was also fantastic, I remember.
Speaker 2:We got raves on the court how they can make it cool and smooth and smooth. We were at least for a wider audience than those who were involved. It all happened, but not for a wider audience, exactly.
Speaker 1:And then you actually got it back to the Roskilde festival. Yes, then we got it to the festival.
Speaker 2:Yes that was pretty cool. Which is a big lack of time. Yes, it's a sound cell where we just invited all the DJs from Copenhagen and just stood and hiked and played the Hike Chill.
Speaker 1:And one from Jylland because I believe it was one.
Speaker 2:Yes, but that's right, but it's Copenhagen, denmark. You know, the same scene.
Speaker 1:That's just the same thing, and I was really happy for that I was very proud.
Speaker 2:And I also know today. Today I'm actually more proud than at that point. It was just like, hey, we drove to the Roskilde festival. People ask me, I drove to the Roskilde festival not to tell where it was, but I drove to the Roskilde festival.
Speaker 1:It was a fantastic festival because there was a pop full from 12 o'clock and the day before it was absolutely fantastic.
Speaker 2:You were sitting in the sand all the time and the cool thing was for me, I think it was the coolest thing, just like the radio program, because it was more than just a sport. All the things we played, you could get it, yes, but it was about the guests all the time, yes, and if they played something you could get it. So it was like that.
Speaker 1:Yes, like that.
Speaker 2:But in that way we could do things. We sat down because we had to do everything we could. There was something to offer in this universe. So the whole Denmark club life, from Julland to Copenhagen, to the north, to the west, to the south, to the east we loved it because we opened doors and said this is what it should be. If you have the energy to come to us, yes. Then we got the content and we got the permission to be the big gifts. All we did, we had a platform. We opened up and the same with the metal. We could metal the cool things to Roskilde. So, feeling that we could be part of the creation, that was exciting, to give it away and that was cool, yes, and of course it was good to move the platforms more.
Speaker 1:There was both to a soccer club soccer club. Then there was the radio house, then there were the compilations, which were very big, and the first one was Mixed Life.
Speaker 2:If you hear it, it's called HX1.
Speaker 1:Right, it's actually a mix of Live on vinyl down towards Tröststudje.
Speaker 2:Okay, If you had the excuse, because it takes a while to get Mixed, to sit and create if you want to sit on a CD, but it still does, so you can hear it.
Speaker 2:Actually, yes, it does in any case, I think, morten Tröst, he thinks I was a little childish but I was a little shy. But it's that Mixed Life house sitting on one of the floors down from studio, from vinyl to vinyl, and then maybe that's what's after, and then it's a little bit more to an animation, but it's a combination where we also got to make something exciting in music.
Speaker 1:Yes, I think so, and I think that was the whole start for the Danes. I think that they had a lot of great meaning. They were doing it both by doing things on a different radio house all four, five years.
Speaker 2:It runs the big mix, the big mix runs in five years take care of yourself, snorkeling and three radio house festivals and together with the very disc and all things have been so far, I would say the big mix. That's what I think is the Danish goal of changing the ham. We understand, of course, we just want to learn something new. But why changing the ham If you know why?
Speaker 1:if it doesn't work. If it doesn't work and you can see it.
Speaker 2:Well, of course, at that point of time it's not understood, it's not really coming. We think we were meant to give the growth a whole year ahead. Maybe where I am now, I think that maybe the other side is a little bit of a mess and lying there's a lot of land. But as I always said, if you have the day if you have the day, then you know what that you hear the radio, then it really will work?
Speaker 2:actually not now. Now there are a million other genres, but there was only a five or six years after you thought well, now it's actually giving meaning. Now we want to have listeners. I think we have lying in the tongue of the listeners, maybe because I have had a hundred thousand listeners on the latest programs maybe.
Speaker 1:I think that's also a lot of fun when you think about a subculture and the underground. So something that I work in Denmark's radio we haven't had. I know there are some other programs, but I don't think you've made it, no, in the same caliber as I did. I think Kelt and Lee also did it, morten and Lars.
Speaker 2:LP.
Speaker 1:I also did it in their way, but I think the last few years it has been that.
Speaker 2:But is it also a question to say that it is an media guilt, or is it like, as we talked about to start with, that people don't listen to radio to get their new music?
Speaker 2:but that's also so self-sufficient a TV master and a viewer, both in the knowledge that people don't see music in the video in two minutes it's quite difficult to claim on. Can you say so? It's a need to get entertainment, the viewers, down with the music entertainment, then people die. Then that's what we're talking about. Our music links, denmark's radio, but can they? Can they? If it's not what you're talking about, music links, then they need to be pulled up. At another point we can say the argument falls to the ground for me because it's like home gift shit. I just do it at night, but when I hear funk show etc. Yes, that's interesting, that's music. The dream is on the floor now.
Speaker 1:Do you have to match up in that.
Speaker 2:Yes, it's too much, right. So Mike found MTV Europe and Nicola. They're up there and they're still growing, so I find it nice, but that's also something that their music is timeless.
Speaker 1:Yes, and that's what they are.
Speaker 2:And there's also a nostalgia, yes, and if we, we were to, then you can say if it's important. If it's important, of course, a little bit of a hopper, I can say that I thought back, as I said, I didn't function myself, but I thought back as an active underground DJ, let's say, for five, six years, yes. In other words, I said, okay, actually it's coming up. I've been collecting music for so long and I'm not like you. I think my limits are much more. I'm more limited when it comes to music. I play out, yes. So in a way, I thought I should. I mean, I have this, I have this, I have this. There's no new house music. Then I have to know, okay, it's me, who's not, it's me who's been focused on the impressions, because you have to be good DJs, you have to have something on every Instagram. So I'm happy to play for you tonight.
Speaker 1:Yes.
Speaker 2:And the last thing I didn't have the pleasure of doing was when Nokia had bought 30 years ago and then I thought, okay, there's a new generation who know something. They're going to be destroyed, they're 25, I'm in the far, I'm going to step back so others can come and destroy something with joy. And it's a little bit there where I think, when you look at the underground, we talk about the room you have on the museum, but the room we started with, with house music, it just seems it was not what people wanted, because the new generation, underground, it's all possible and in part urban music, then you have to respect it, as you say, and preferably the buildings go down. We have been on something, the highest, what to do and the house music was on its highest. Not on its highest, but just a part of many other ways to do operations on it.
Speaker 1:Exactly, and it's been changed all the time. But you have to say that hip-hop-band beat it, keeps it, keeps the beat, and I myself find it, I love it, I'm a big fan of it. So now we're sitting, now we're sitting right up here in what's called Sweden Home Music and local and I mean I'm telling you it's completely what do you think it?
Speaker 2:is, but I also love the sound in hip-hop. I've heard it, especially the 5th hip-hop I want to, and especially the New York thing, and I still can't find now. I follow Pete Rock on Instagram and he got more and more popular on it and I think, oh God, it's also happening here. And then it goes to Hugo, who's the one who's on it. Yes, you know.
Speaker 1:So Mets, where the hell are we in music today? Because now we're talking about. You want to follow music, but today you're HR chief what's that called?
Speaker 2:Yes, it's called Madcastell, where we're driving a lot of restaurants and we're sitting with a bunch of houses what 300 people or how many are you waiting for?
Speaker 1:I think 450. We're up on and in some places, everything is possible.
Speaker 2:I have the opportunity. It's a completely different job, but it has been to do radio, music and actually after Meijer Sten had made our adventure and I made the adventure more, that went completely wrong. I'm a stinger to management, I think, and so on. That was close to the same. Yes, glad we didn't do it.
Speaker 2:That's what I've learned, since I could learn everything. I can't do management because I'm a content man. Meijer Sten doesn't want to make money. That's why it worked until recently, because it was about content, about how Danish it is made. With money, yes, and I made all the mistakes.
Speaker 2:The last thing I did with an X-Win, we just did it, and you just have to promise and you don't do anything and the big deal is boom, 400,000 later, right, yes? So, yes, I was just finished with finding things and I was tired because the independent work I've been doing I've been independent all my life. I've been stressed. Stressed over that you're most of the customer and you're creating a new one, yes, stressed over that I can't find out if it's management, because I'm a good management, I'm a good content man, yes, and I can't find the right partners for my things. So I was recognized. I've been working together, I began to be a team and then, in addition, and then I needed the rest of my career as the director because I had a successful job and I said I'm going to have a job. Give me a job. What?
Speaker 1:do you have?
Speaker 2:And then I said a personal fee of 200,000, and then I took the team and it's so far and the last time I've been there. It's been 8 years now. Yes, that's right, and I can't words like KPI and Kuwait, all kinds of code words I can't. I've taken small expenses so I can learn it.
Speaker 1:You're just sitting there, thomas after her. What strategies?
Speaker 2:Yes, I'm just you're actually my son. I'm really. Yes, I was the only one who knew. But I've seen, I've found, I've found, I've found because they're coming back to me this but, but, but, but. But I'm sitting there and then I've bought my advertising. So I'm holding a part of my thing and say something you do, do a lot of things, and then I'm going to the music to be. Karsten Laud hold two fantastic festivals every year, the Bølin and Kais, and that's for me that I love. So I'm holding fast, I'm holding fast, I play there where I play best. They're out of the frame and I do what I want, and I have a crowd that's getting bigger, and then I take guests at the job if I feel them. So I play out of when I feel I play at the museum, out of the but then it's really cool. So when Buddha asks me do you want me to play alone?
Speaker 1:I say no, I don't have that.
Speaker 2:I play together, but I want to play with you because we have it together and it's going to be cool. It's not going to be a job, there's no. I have a mission. There's going to be more things to play. So music for me, I think the job is right. I say no to a lot of things because I don't give, I don't want to play for money, I just want to. But then music has just a place in the role that's called, as you mentioned, the intro, the mood. It's really at a time, right at the time. I have downloaded the music under my snow with Mainz of 99, that's why they love the two songs. They bring them to the melancholy, four-leafed-leafed look, almost when I was seven after a love and what little I had tried before. There's no other way. They love the way that the music can transform into different voices, but also like-ma, like this it feels like a whole different atmosphere.
Speaker 2:So they say that if you buy classical music, there's jazz, big jazz, things. I started catching old jazz music, modern jazz music, as it never used to be called. I also find on Instagram. I'm still in the mental health, so I love some tender, beautiful ambience. And then if you also just throw some cool jazz on Monday, march 3, 1963, on the ground with Dexter Gorda, what the hell? I'm quite good at collecting music. Still With electronic music, I collect that in a short period because I don't think I've done it yet. So I'm actually trying to be more mature.
Speaker 2:And the proof is that I have so many music that I've played once. I have a record collection. We also use it as a reference. In a place we have a food space and in the future I'll play a record and sort out some things. But, dexter, I also just feel like I'm too tired to sit down and use these three days. I'll use them to sort out three things I want to renew.
Speaker 1:Yeah, that takes a long time. So you're going through it on Spotify and things like that.
Speaker 2:Spotify has an organically connected connection and it starts with that. I can't keep. I can't keep the platform. I have to imagine my music. But when it's said that, when I buy a beat, when you say that it's a bit too much work.
Speaker 2:Beatport and iTunes do you have any more ideas? And I use that a lot to keep going, and Spotify is actually good for that. But it's like I had water in my other shoes and said I'm not going to watch that movie all the time. It's so cool. And the same thing is I don't want to and I haven't made any princesses.
Speaker 1:But hasn't it been your power of drive all the time? Yes, it has been. You shouldn't have done it the way the others did.
Speaker 2:Exactly. But with music there's a. There's a point where you can't be a beatport. Can you try the one? You bought this one, and the same goes for iTunes. And if you say to me I love this one, or when I talk to the trendsetter and make a lot of music and say it's a big mix, then tell me where things come from. And it's so nice to have some indie artists. I think you learn some of those Icelandic, you know Blacks and stuff, and then you hear about things. But that's when there was an artistic elegance that you should go in and say you can do this, and I hate when they're right. Spotify is actually a lot, but I think everything works. I just think it's fun to hear TV I hear a lot from and I get to share my thoughts, and I do that from Instagram and yeah, I think it's great. I mean, I don't know why, but it's nice when it's a person who's given it.
Speaker 2:Yeah, but it's really nice and it's also a digital platform, you have to be with it. Yeah, but it's like that happens today. But I never stop to share music.
Speaker 1:No, that's what I'm happy to hear. Thomas, Thomas, just like last time, I could think about no-transcript.
Speaker 2:Your digression. Yeah, I don't know if it's because of the music, but it's really nice. Yeah, but it's really nice and it's also a digital platform, you have to be with it, but it's like that happens today. But I never stop to share music.
Speaker 1:No, that's what I'm happy to hear. Thomas, thomas, just like last time, I could think about have you ever heard about it? Yeah, your digression. Yeah, I don't know if I can explain it. Why don't you? Let me ask you something?
Speaker 2:It's not about the music. It's actually about the music. Or do you want to play it? Do you want?
Speaker 1:to play music? Or do you want to? No, it's a joke. What should you do?
Speaker 2:I have to do a quick interlude you have to do it right away.
Speaker 2:The overspending treatment was called the Torgh Soh's treatment. I didn't know how much I could love a singer before the bear sat on it in the church. Since then I've been getting cold eyes. I'm just thinking about the number now, how beautiful it is. Until then it was just a fucking discot number which I was just happy with. And this thought about how something could be lifted to a different mood. That was what was called the Love Scenario. I'm just thinking about it. I'm getting cold eyes. Now I have this thing. The most beautiful thing in the classic is Henry Gyurekis' 39th Symphony of Sorrow. I've learned that at the time we also got that kind of thing in the head. It was a symphony made over the overspending color switch Quite heavy, quite violent. It's the most dark music I've ever heard. Wow, I'm also thinking about the music of the grave. It's also a bit of a mess. I'm also thinking about people who are sad about it and put more on it Exactly.
Speaker 2:But when it comes to that, there's something beautiful that needs to be put into place. I think in the grave. For me At the same time, it's a fucking waste of time.
Speaker 1:I'm not saying you're going to be sad, no, I'm just asking you If it's going to be music, does it have to be music? It's not everyone's choice.
Speaker 2:I'm thinking about it. Even though I love music, there are some things I hate. I fucking hate church itself. I'm just sitting up there and saying, no, it's not for me, so you have determined to be the next one.
Speaker 2:I'm not going to keep them out. I'm more on the good and the good and the big, but it's found in the 600th-century variation with the same content. I don't think they're happy about it. I don't think they're cool. That's what I'm saying. And then music comes. Those two things are they instantiate. And then there's something that's not always in the way but that's not going to happen. I'm going to find out. There's music to play. I'm thinking that it's going to be something to bring in a lot of different emotions in the game. I'm not going to do anything about it now.
Speaker 1:Well, I'm completely satisfied with Thomas. Let's smell it, let's try, and then we'll say thank you very much for wanting to be here.
Speaker 2:Well, thank you, I was really excited.
Speaker 1:Thank you for joining us on this week's Musik mit Druck by Musiak Local Podcast. I hope you have enjoyed the music of the Tryllen Univers 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 Musiak Local Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the upcoming episodes that everyone can find on Spotify and Pottymove. So until next time, let the music continue to be. Your most trusted leader says Do you want to hear good music? And good music in the real world Can you find Musiak Local right under the nightclub Musaio in the little king's garden in the København.