En åben snak med dj og label boss Kenneth Bager om hans passion for musik .
En åben snak med dj og label boss Kenneth Bager om hans passion for musik .
Music. Welcome to the Museo Local podcast. My name is Peter Visti and I love music. All my life and my entire life has been made of music in one way or another. I'm a musician and I was very young I used to sleep with my headphones on and listen to music during my entire night sleep Something I still practice. Music is my passion, my drive, my mood and daily forms of music, and music changes. Music has a unique, unique way of feeling and connecting people through culture. My goal is to find out how different people experience love for music and how it affects 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 Local podcast.
Speaker 1:Music Meet Drug. Welcome back, ken Baer, thank you. We ended last time. We had a Martins interview, martins interview and a voice from Ibiza Tour, and that was, of course, because we talked about Dr Baker and the whole success with Chaos and the whole Bladesselskabet Koma Records and, as we just talked about earlier, you were the first bands from Denmark that came out together with Cotton Move as a foreign international career.
Speaker 2:I can remember that we were so lucky. I can't remember why, but we ended up getting the same manager as the KLF band In England. There was a huge wave in the Ducklands where we were with Seale Damsky and Shaman, and our manager had also placed us as the first band to play Snaps and Black Box after us.
Speaker 2:We were the last band to play Snaps and Black Box was the first band to play Snaps. When we finished the game there was a team behind us and I can remember that Carl Cox played from 23 to 24. And I can remember that two of the microphones and he said here are the numbers that we all remember from this day. And then he played Chaos and after the following it actually was on Carl Cox's All Time Top 10. It was very special experience and a year's view. We were lucky to have made this dance music and the idea behind Chaos was very inspiring. My first experience was in Amnesia in Ibiza and the only idea behind Chaos was that I would like to make a number that DJ Alfredo could play as the last number in Amnesia and that would be Chaos and that would be Lucky Numbers.
Speaker 1:He has a lot of legendary.
Speaker 2:Lucky Numbers.
Speaker 1:Pink Panther and things to say that big Lucky Numbers.
Speaker 2:In the summer of 1987, Alfredo played the Chiba Rose, the lucky number with Elk and Elton. And that was probably the most iconic number in.
Speaker 1:Ibiza, one of them was the most famous All the success you have in the country and the start of your first record company signing and compiling, and things to say. What does it mean? Now, I know very well what you will be doing later with the record company, but it must have given you some impact on the company that is making records.
Speaker 2:Yes, and what really happened was that I was at that point in time that we have talked about a lot in London and I remember that what is it called? Jazz EB from Sohl Sol? He had something about Sunday and I thought the man has a dress shop, or not a dress shop, he has a clothing shop, he gives out his own music and so on, and therefore it was, among other things, that the Koma Records stand out, and the Koma Club also stood out, of course, influenced by a lot of other things. So I thought that I would like to see if I could contribute with something. I feel that I am doing well and the arm is really good down in the stage. So I think it was really cool that Mega Records gave me a chance to make a Scandinavian label. When we bought the rights to the license, we gave it out in Denmark, norway, sweden, finland and I think, iceland as well.
Speaker 2:But what is heard to the story is that when you and I think that is an important thing here is that when you work on a record company, then there is and it is also as a DJ, as a person a lot of mistakes and there are many things we do not know about. And today I can remember there I am standing when there were gold plates and platinum plates. Then at a time point I think I am standing on the third platinum plate or something like that for KOLF. I stand and I will bang up on the wall and hang up. And then I hear the range of the distribution on Mega Records. I just go into their location and then I hear they say what is the money for Kenneberry and where should we allocate them?
Speaker 1:And then I go to Kenneberry can't you?
Speaker 2:Then I go in and say to them what are you talking about? What are you talking about? I do not understand what there is to go. And then I can see that you know back 442,000 and one another. And then I say what is it? I do not know anything about it. And then they said, yes, but that is something that is some money that has come in, or one another. Then I say, listen, it has never heard anything about it and it shows that they have sold my publishing. That means my songwriting rights.
Speaker 2:When you have two things in the record label, one thing is if you are an artist, the other thing is if you write a song. For example, whitney Houston has never written a song, but there are some who have written to her. And in the same way, I was so lucky to be both where I wrote songs in Dr Baker and be an artist. So they had sold the rights that were called publishing to Warner Chapel in Holland without telling me. And what was interesting was that it suddenly gave meaning, because once a mother came to Warner Chapel and I was going to eat dinner with her and he was super good at it and I understood nothing.
Speaker 2:And he always had to hear what we played and did. So I said up on the spot and said we met in the right way, because this is not fair in this way. And then I came to the right and it was interesting that I in a way learned that even though I had paid a logo for Coma Records and I had paid for graphics and everything else and Coma Records had been given to me, I did not have the right to the name Coma Records, because you are still to your own. And that was that, I would say. My new economy has looked different because they promised that the Golden Green forest for all the big hits. I found that time but I never got the crown. But I learned it in the right way. I have been born in Europe but I did not know enough about the industry because it was all new and at the same time I also got all my rights back.
Speaker 1:And that was always something. It is difficult to be a new artist because it is difficult to be a poplising, to be a master of rights, to be a dittadat. I myself have been in a situation where I thought let's take it down, we would like to just make music and see some records if we can. So it is difficult to break into it.
Speaker 2:you can say Exactly, and therefore, when we are on the latest label Music with Dreams, we always think about it both in the back of our heads. How it has been difficult for me to get up and be the first Danish DJ who would go in and say that we were important, and at the same time, I also learned that you could say that I was taken in the back a part of the time. Yes, and what was it called?
Speaker 1:With joy in the middle.
Speaker 2:Not all the time, but I would say that you have learned it in the right way and that you would not have when you try to give it to new artists and try to protect it in a different way, so that it does not happen again.
Speaker 1:Yes, because it is a random group, but that is not for everything. When you are young and start something I have started myself with the management, which is very young, and the first thing I am doing is a KS which I do not agree with. I am just interested in getting the music to play and it shows that I end up with a big obstacle because this person in this society which I have to fight with many years later is not so. I have set myself into everything today what is called a radio, about broadcasting and reviews and things like that. I know a lot today, but that has also been done in a very good way.
Speaker 1:Yes it is the same here, and it is strange that you are now talking about new artists, I think.
Speaker 2:Yes, but it feels like you have the responsibility to give. What should you say? The ball continues and then try. There is something called karma and if you do it differently, it will definitely go back it can be a hope.
Speaker 1:Yes, and at least it is certainly the bad thing about others that it comes back All the time. Yes, so what is happening now here? When you say up on what is happening, it happens that it is also heard in history.
Speaker 2:If it is so really wrong. But it was when I was just a little while ago, when I was involved in the KLF, which is at the time perhaps the world's largest band there are more or less doctors, I think, for a good competition. Okay, yes, yes. So it is both party-like and long-term that they are making it for me, but at the same time they also sold me a percentage of everything I signed and everything possible and so on. But it's just money and there is not so much to know. But you come on and you travel and then it makes me, and there is. There is also happening that in two or three or three it is about at least there is going to be because of my DJ name. You have to remember that I have been playing every weekend, friday, let's say. Then I played in Frankfurt, saturday I played in Madrid, or one or the other, and then I am booked to play at a club called Big Ben in Udenfabras Lone, which is a club where there can be 10,000.
Speaker 1:Wow, 10,000 they should be in one, and in the big one. Now we are sitting here where there can be 1000 people, or there are at least 100 people. Yes, in the same room here as everyone else.
Speaker 2:But what is called. What is interesting is that I am booked and we drive out of Lone and out in something that looks like England and then there are just a lot of cars and we come in on this huge club and then what is called? First we, I am shown around at all these 10 clubs. There is a salsa club, there is an EBM club, which is electronic body music, which is techno-active from the 80s. There are all kinds of different genres and Spanish pop music. And we come into a room where they play some Eurobeat, which is not necessarily big, 400 people or something, and then DJing.
Speaker 2:You have to imagine he plays culture beat, he plays jam and spoon, and what is there now?
Speaker 2:Or something from the past.
Speaker 2:And then he plays Wigfield Saturday Night, but I don't know what it is, but I can just see that those 400 people, they suddenly start to dance and then say to what is called my friend Cesar, who had stood for booking on this, he says, well, that's a little number.
Speaker 2:I like to play as the last number when I have played in series for LBGT. The environment and people are going completely crazy. And then I come in and I have to play in a big room which is on, I mean, double the size, I think it is falcony center, about 4000 guests, big room and big players all the way up under the loft. And I get finished playing my Prodigy and techno and everything, maybe some players, and then I have to go down a window staircase because I have to go back a little bit and I go so hard over the dance floor and DJ in after my, if you imagine, I just stood and played I think it was the last number, charlie with the Prodigy and then the first thing he tells me is all that she wants with Ace of Base.
Speaker 1:Okay, that's also a little difference.
Speaker 2:Yes. And then I'm on the way to this window staircase to Ace of Base and then I have to go over the dance floor. He plays Wigfield Saturday Night and from the 400s of the dance floor it was suddenly 4000 who were starting to dance this dance. So I just think I just have to go up and it should go strong. And I just have to go up and find out what it is on the floor. And at that point I get up and then come up to him, dj in there. And then I say to my friend, the one who plays, I just have to have it. And he says it can't be, it's his plate up.
Speaker 2:I'm going to fly tomorrow, I'm going to fly at 9 o'clock and then I'm going to have it and then I'll have to go out and buy it and then it shows. Luckily he bought DJ in there. He has it both on CD and vinyl. So I get the vinyl with home and that's my first signing and I had learned in the right way that you have to be on your own legs. And what happens is that when I start Flex, I decide to just show the world that I can find it.
Speaker 1:And that's your new company called Flex, and is it 100% your policy.
Speaker 2:Yes, that's what it's called. It's not 100% my policy, but it's a company where I use the resources from Scandinavian Records. I get a small office that is 8 square meters or something. It was nice because I thought now I can work from it and it ends with the fact that what's it called? I have to say it again. It's just a little bit of a saying you come back. What I would actually say is that when we made the Coma Records and released the KLF, how did we release it last time?
Speaker 1:No, we didn't release it, but more and more that they came together and got the same management and stuff.
Speaker 2:Yes, because what it saw, the story, it's actually Rock'n'Roll and that's the story. Today I learn to know KLF because we both have the same management, but they also play on some of the same clubs that I did in London. They played in a club called Spectrum which was on Rock'n'Folks' club, which was on each team. At the time, dr Baker is in England and we meet a guy who is also going to run around in England. He comes to us and we get into the hotel and then he says what time is love with?
Speaker 2:Klf was a huge hit in Coma. He comes to us and says the guys are working on a new version of what time is love. I've just dropped some chemicals and in a few hours it'll be amazing. We run and it shows us that the guy who is our boss on this English tour is a drug dealer. And when you see a movie like Scarface, he tells us that and shows us in his jacket that there are some small, what should you say? Lies. There are ecstasy, coke, pot, hash, I don't know what else A?
Speaker 2:big selection of all. He tells us that it could be a good idea to test the drugs he would sell. And then Kamila Sillotte comes and says we're not going to drive you, we're on our way to Manchester. We can't say have you taken a taxi? No, no, I haven't. We end up on the motorway and go in again and he says he hasn't taken anything, we'll drive to Manchester.
Speaker 2:The next thing that happens is Paul Oakenfold, who runs this club in London, is playing at the Roskilde Festival. I look at his records and on Sunday after the festival, I find this white label, a test press of a record before it comes out officially. He has a KLF what Time Is Love. I put it on and I get it checked at home. I ask him why didn't you play that, paul? Because this is great, exactly. And he said here, oaken, you simply don't play more versions of the number. Now I have four or five Max and I had one at that time, exactly the number. And then he said this is potentially their breakthrough.
Speaker 2:Well, it ends with me taking it with me on the contours on the MECA Records this can be said to be a statement and saying that we have to sign this and I call I think it's Timmy Corti who is talking to me from KLF and saying that we would really like to give it out on KOMA Records and I think that this can be a hit, and all that. And when I say word hit, I get a little quiet on the phone and he says we don't want to make hits. No, that's it. We don't want to make hits, we just want to make exciting music and progressive music. And then I say I don't think you can stop this. It's going to be an international pop hit. And it ends with me getting up and getting used to it and he's not even touching it. And then he calls again at 3-4 hours and then he says now I've talked to Bill and we actually have to go out with him. You will be the first country we try to make a license to Okay, Because I've always done it myself.
Speaker 2:Yes, so we end up with we give out what Time Is Love in Scandinavian on KOMA. It will be the first country in the world KLF has a number one hit the first country, what is it called? Four, what is it called?
Speaker 1:A commercial hit.
Speaker 2:So it's like that's where it all started. And then there was, of course, after the following what was it called a twig about? Who was the one who signed them? Because I came with the record on the cassette tape. But it was someone else who made the contract. Oh no, so one on the office. Luckily for me, it happens that Bill Drummond from KLF, when they are finished and have finished burning all the money they have made so you can see a glimpse of what they are taking, so he ends up taking it around to all the countries they work together with, and then we go to Tivoli and then he goes up and hits the glass and says I would like to thank you for insisting and that you started more or less just like that. So I got a different way of replying because there was a lot of who signed, who found, and so on.
Speaker 2:Both the military and the economy and the color, but that's the way it is and there's nothing wrong with it. Of course, I didn't make the contract, but I was the one who got the contract and it came out of my life. Yes that's it and that's what you learn, and people know where things come from if they have to be yes, exactly.
Speaker 1:So to the toilet I'm going to visit and I'll tell you, where you hear the week-field.
Speaker 2:So I, what's the name of it? I get the plan with home, we sign up week-field and that's the first release of my new company called Flex, and it's also a club I'm working in in Copenhagen at the time, which is, I would say, a big mix of LPGT what's it called? Guests and people who can be funny, and so on.
Speaker 2:It's also two compilations that come out in Denmark or in Scandinavia, which I think is the most popular and where we've played all the time very, very different and very fresh music in relation to what was played by the others. We get a huge week-field and we end up giving out a lot and we're going to make it on Flex Records. I think it's going to be the first, just like there was a little what can you say? A little run-up on Kuma and a few other productions called Miro, and on Flex, it's going to be much more. We're going to make a lot more and own productions.
Speaker 2:So where the heart is, because it's all the way forward, because it's just a sensation, and you've said it so it's all the heart that's going to produce bands and acts right and at a time the week-field is number one in England where the record company EMI is being sent. Two of them are Danish record companies, paul Bruggen and Michal Ritu, who have started in the middle, who have had the Kim Larsen Hannibal One, two so huge, huge names Lars Hook and Paul Bruggen, who is with us on the gas line as a finer Kim Larsen, and on the gas line he's the first designer, a very long-time man.
Speaker 1:And he's also written as we know a book. I have a dangerous story. I know Paul today and we meet again for an opening. He's something very interesting and he says I've just read his book called Shit Hits. And Paul says I'm actually a bit worried that there's a lot of things, or a lot of things, but when I read this book it also goes to the point that we're still hanging on all those Danish shit because it's you who's behind it all. So I'm also a bit worried about you where he's crying and I'm actually not that kind of person that it was like that, but it's your fault that we're hanging on this and, of course, it's good but he's a huge, big, legendary producer and a record company man.
Speaker 1:He comes out in contact with the people and we can talk about it.
Speaker 2:They're, at least when we're in England with Wigfield and Wigfield is at that point the best selling or the most selling single in England's history, and they're in the middle of the record company that I have sold. What should you say and that's also a very important story that I'm not sure about I call one of my really good friends who have both signed Prodigy and started XL Records and who's starting Positive. He calls me to say Hide Tiddler. Yeah, you will hear them. And after I have just been hit by a smear that I have been taken into the air around my publishing, then of course there is some money on board Then I learn that it will be.
Speaker 2:And so I say to him if you want to hear these two numbers, then you will have to pay for something. And then I remember we talked about yes, but I think I said if I could make a remix it would be very cool or something else. And then he says if he can't do that, he can't come in, and at least then you won't have to. Then I took the phone and called the next one and at that point he gave out a big electronic act which I was a pretty big fan of, called Orbital, and he hears Wigfield on the phone and he also hears another band called the Out there Brothers and both of them say he would like to give out and we find out a deal and Wigfield will then look at his label and sell I think it's 1.8 million singles and what is it called. He will not be difficult to give out the Out there Brothers. He will buy the right things, but when he has to give out the first single with them, they will not take it into some places in some record stores because it's called Fuck you In the Ass. So the niggas. And in the record contract he has with them, if it goes something wrong or something else, he loses his license to give out, but then Warner, the record company the Out there Brothers, and gets 2 numbers in total with the Out there Brothers. So you could say that he had at least heard wrong in relation to Hit Raiden, in relation to the two acts. And it also ends with us making a lot of what should you say hits and club hits on Flex Records and we listen to some different things from England and, among other things, nightcrawlers, which is a legendary number today.
Speaker 2:We get a lot of hits from Scandinavia and Paul and Mikael, the two here who start in the middle.
Speaker 2:They call one day to me and say you didn't want to go and they have made a deal with the record company EMI, which has been purchased in the middle.
Speaker 2:I take over and talk to them and say we could do well and make a deal with you and you can like run to Flex in our region. And then, in the same way as earlier, where I said I would have 18,750 in total, I sit here with Paul and Mikael and then I say if I want a label, I will close it and we will have our own label. And we are just setting up and we are at another place in the IR building because we have to be independent, we have to decide ourselves and we have to do things in our own way. So we need a lot of time, or what's it called. Mikael is so fast, so I think I have met with the European chief of EMI in Odnestad and the man that there is and he has a big million budget for several years and we find a studio like that and then we start out on the Njalsgade.
Speaker 1:Yes, very interesting.
Speaker 2:Yes, it's called Rito, which says that there are searchers from one to make some jinxers and there were some locals out there and maybe there was fine and we come out and see a huge room where there is nothing. And then what's it called? We have been recognized by all these millions to be able to make money to produce, to sign and all kinds of things, and then I think I will call the chief of EMI and say that we have to be out here. I couldn't think of that. So we will be like the first two who start out or at least they were, I think they were also on the outskirts. We will not be up there right away and if you take a long journey you will not regret that. We will be 28 studios in three years.
Speaker 2:And my mission with that at that point was that we really had had an export of Danish music and I had thought in one way I had read that there was a house where, when you make a record with Marvin Gaye, he could go down to the studio and get the bassist to play and get some drum sounds and all kinds of songs and write and sit in the same house. So I thought we could do the same in our own Danish way and in the following what can you say? Danish music history? It is at that point in the past that we have had so much export, we have never had on our hospital balance, that there has been so much Danish music abroad Fantastic, and I think that what happened was that it was it could be a whole podcast for itself, and I would say there is a glimpse. I think it is six episodes more or less, about the Jalskade, about all the hits that were made on TR, which is called Wild Med Danes.
Speaker 2:Yes, and there is Akva was made, dj Alligator was made, safredou was made, and Los Umbrellos, los Umbrellos Tiki and one of the things that is fun when we talk about Los Umbrellos and the cartoons that were made is that. Los Umbrellos was because I had previously been on TV on a show called ZTV.
Speaker 1:Yes, I have actually had Jan Hellhøy in the studio who told in the story that he plays he is a comrade, plays your parents, my parents, yes.
Speaker 2:And it was before you start to drill. What is the name of the story? It is completely, totally TosTV. Yes, that is to say there is. I think there is one show on YouTube you can go and see and it is called Danish Dance Jard and I think that is the last one. We made in two episodes. But then we had the legendary and iconic DJ John Mylius as a guest and he is in the middle of leaving the studio in the show. It is something with the a very, very powerful way.
Speaker 1:It is something with the very unethical and very unabashed what did they call you and the others, both you and your guest right Alex, who is very comfortable.
Speaker 2:I do not know if they are unabashed, they are just. It is just water-like TV and it is. When you see it you just think what is there to do all the?
Speaker 1:time you think what is?
Speaker 2:there to do. It is just like something you are not used to.
Speaker 2:And so in that way I had a connection to them and Jan and Anders, they, who play my parents. They made all our covers on Flex at least a large part of them and at that point they started a underground fan-scene called Anquias and I thought, or thought, they could at least become the new Grams Spectrum. So we made some demos with them and one day in December I think it is I come in and hear in the number of people who are starting to cry exactly, and when I hear that I think I am. That would be fantastic and get a rap in it and have an English or a Spanish song.
Speaker 2:And I remember that I call to Ricky, who is a rapper from KLF, and ask if he has time. But he didn't have time because he was making his own solo album. And then I call to Remy and he doesn't want to do it. And then I call to the third one who I had a big success with and use, namely Allagami and Dr Baker right, dr Baker, because he is the rapper on TurnUp and Music and he says I can do it, I'll be there in a minute. And then he was in the studio for two hours and he made the difference in the hooks, in the rap parts of Los Umbrellas. And then we had two Swedish brothers from Sweden in formal mode who came over and who we worked with, but every time they were in Denmark they were always full, so they were with the same. They came to Denmark, they just had a pause bar and they end up making this tequila-like crazy word, word rhyme, and that's the end that I come out with, which is a bit of a Rövele Spanish, right it's?
Speaker 2:a completely Rövele Spanish word and it's called Los Umbrellas, isn't it? No, okay, and I can remember it was something I found out about because it's called Umbrellas, but Los Umbrellas is, and it ends with shortly after that. We sell 1.1 million singles and I think 400,000 albums yeah, that's absolutely true, and they get warm up to Backstreet Boys and everything, and the worst is we sell it. I think it's 440,000 singles in the US alone. The worst thing is that they never hit each other at the same time in all the cities. What was there was that they were hit in three cities and then what should I say? Hit number in one city. It failed out.
Speaker 2:And then they continued to be like a long-term doom effect. So what's the name of it? All these singles that were sold they were sold over a long period, I think for eight months but if they were sold over a short period the record would have been number one in the US and it's super annoying, but still, for us it was a great success. But for Virgin in the US, who gave the record, it was a little flop and you can't understand that.
Speaker 1:You can't understand that when we're sitting at home in Denmark and looking at the bottom line.
Speaker 2:I'm thinking on the bottom line and thinking, okay, we sold just 1.1 million albums, but that's not something in the US.
Speaker 1:No, no, there's a difference in the US and Denmark can. Just that's what you have to say. We've been very satisfied with 1.1 million sold albums, but it's not there. That's the nail-damaged studio, because you get a lot of producer and DJs, musicians and things to say that will be running for many, many years. It's still running. Yes, it's still running. My first signing with you, we actually take something out of the studio. Okay, you can't remember that no, no, no.
Speaker 1:But we actually did that, as we were in 2008, I think, or something like that. We actually put some vocals on there, a number, and today there are producers who make Tobias, rahim, kristoffer and some of the biggest Danish names.
Speaker 2:They make.
Speaker 1:Yes, and how far are we with Flex?
Speaker 2:Is it something that happens with?
Speaker 1:Flex, Because he has a lot of things to do with it. I remember we come to.
Speaker 2:We make. We make something else because the club I was a resident DJ on in the Indra in Copenhagen X-Ray we make a compilation together with Keltolstrup. Keltolstrup also makes, I think, the closest number he made as an artist, a number called Taboo. Yes, it comes out on Flex in any case. Yes, exactly. And in the whole thing it was just a, I think, four or five years where we just it was really fun yes, it was really really fun to go to work and we the time went so fast and we in some way it sounds perhaps unplayed, but we just had water in the market and we as a label sold 4.5 million in three, four years or something.
Speaker 2:Which is essentially good for a little under label for the other day, and I think our hit rate that time was we had, you know, meetings, I think we were. In any case, about half or 52% of what we gave out was really broken. Yes, and then we were completely aware that when we made some what should you say more underground stuff, it was just like a completely different environment. But when we looked after the pop, it was something completely different.
Speaker 1:Yes, but it was quite fun, because now we're here talking about it with Jan Ellhøy, who has also had a, but largely all the guests I've had so far have given music to you at some point. I started with Jasper Bugpo, who has given music via Flex. Yes, then I have had Karsten Laugth. I don't think they have made music, no it's.
Speaker 2:But then Jan Ellhøy. But Karsten has played. He got the chance to play in Kuma.
Speaker 1:Yes, okay, good, but Jan Ellhøy has made music with you. I have a cut with Lina Raffen who is in and Remy and. Remy for that excuse. So there you are a little nervous. That's why we're making a trilogy here, which was no longer than all the other podcasts, because I think it deserves that we have the whole story together. But is it a lucky ending for Flex, where you have been exposed to other people? How does Flex end?
Speaker 2:Flex ends in the sense that I end up with there will be some new Remy will be bought up. Yes, and at that point, actually the first meeting I have with Mikal Rito and Paul, I say that I could really think about and give out of ambient music and I would probably think about making the company Music for Dreams. Yes, it says in the first meeting and from one or another word it just gets out on a side track.
Speaker 1:But there is a two-three up-sum right.
Speaker 2:Yes, but then, after we have had all these international hits, then in a way it is in the back of my head where I could think about making something that is more close to my heart, and I will not say that I love all that. We have released the cartoon and what it has been. It was really cool and really, really fun, yes, and I'm proud of it today. What I'm proud of is that we are now releasing the first release called Bliss, and we are releasing a compilation, such a book, where Blanche, lars von Trier, makes a foreword and then Remy will be bought up by a company, I think. But that's on Music for Dreams, isn't it?
Speaker 1:Yes, it's on Music for Dreams, so it's just out of the blue At that point.
Speaker 2:I have made a lot of different productions at the same time. Yes, and I'm getting a minus on quite a lot of money. I think it's four million or something. So it wasn't anything at that time?
Speaker 1:No, it was. It was a lot more than a million in the cost of making. Yes, it was when I was in the studio, so I said it at the time.
Speaker 2:And the first thing that I'm proud of is that I'm the first ENR which is Artiste, repertoirechef, the one who is good at finding numbers that scratch. Yes, I'm the first in the world to visit a band in France called Goten Project. Yes, and they would really like to sign because I don't think it would be really good to have them on Music for Dreams when we were going to arrange it, because they could be a flagship. I'm sending them and I was just told that I was backed up by a French director who at that time had signed San Ximang. Yes, and I'm also backed up by a megalithian who thinks it sounds exciting. He thought it could be very nice.
Speaker 2:But we're sending music to England. Yes, well, and I notice that at that point when we were sending music to England, they had a number which means that there were record stores all over the world and they still had 44,000 vinyl records Goten yes, before that, yes, and that can be very clear now. That's a huge amount of money. Yes, so I send it to England, to him who has recently signed Bløe and Radiohead, and I have the email now he just says hi, kenneth, I hear no, hits, hilsen.
Speaker 1:And when that?
Speaker 2:happens, what's it called? I get angry and feel that I don't get the 100% optimal package, and from that it happens that we come to the frontier damage. We go into head control because they start with the structure so they can save money and it can look better, and so on and so on. And then I start with the music dream and then I hang with the cloud Because I thought that's not the way to do it. I had just at that point with the cartoons. So I remember 10 to 150 million to Iami, yes, okay, so I thought it wasn't the right year for me, but I could also see that they had invested in all these expenses. It was the outcome that they were providing to us through music and dreams.
Speaker 1:And that's Bliz, and is it Bandseye? And what does he do with his name? Grass, grass, grass. Everything is different.
Speaker 2:And there was also a combination with Frank Swarky-Walkian, a very legendary DJ and producer and remixer from New York, a Frenchman. And then it happens that at a point of time I say that I just stop, I would like to go independent, and they Michael Rieshusser I can come to play all these numbers for him, who has signed Daft Punk and Air, and I take over to a big meeting in England and he says that it's fine, I can go and buy the catalog I had set up Because they couldn't see anything with it, because it wasn't important to them it wasn't so commercial as they probably think it should be Exactly and that I could understand.
Speaker 2:And then I took a loan in the house and what is it called? Or in the apartment. And it ends as I start Music for Dreams. And I think I have one of the hardest words in my life Because I go from a water-like monosol On EMI because we sold so many records To go out and not have a crumbly big set.
Speaker 1:And I had no distribution with all these artists and to borrow your money from something you bought back.
Speaker 2:That's what you say and what is it called, and I can remember that it was just that. We were all possible meetings. I should have this up and down and I should have it to drive, but I got just like wet and in some way I found a company in København which then comes to EMI, which then comes to Disturbia there, and we will give out a lot of records and numbers. And today we are at Music for Dreams, a company where we are small ten employees and I live my dream of giving out music that is not top 300. But that's what I'm really working on. That's what I'm working on and that's what I'm working on A lot of fantastic artists that are super sweet and we have it really fun.
Speaker 1:And maybe this will just go down for the second episode, because now we are going into a new era from the start of 2000. Down to Music for Dreams and where you are today and the last 20 years. I think it could be interesting to take you in the last one, in part 3. Yes, in part 3. Thank you for coming again.
Speaker 2:We'll see you in part 3.
Speaker 1:Thank you for joining us on this episode of Local Podcast Music with Drugs. I hope you have enjoyed the music of the Trillene Universe and found inspiration for your own musical journey. If you want to listen to today's guest list over the number of young people, you can find the list on the Mosaic Local Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the upcoming episodes. That can all be found on Spotify and Potty Mode. So until next time, let the music continue to be your most trusted leader. If you want to listen to good music and good music in the real world you can find the music on the Mosaic Local right under the nightclub Mosaic in Little Kingsgate in the København.