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 Locale 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 night sleep, something I actually still practice. Music is my passion, my drive, my mood and daily forms. And what changes music? Music has a unique ability to move emotions 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 Locale Podcast Music mid-druck. Welcome back again, kenne.
Speaker 2:Bader, it has to be cut off. Number.
Speaker 1:It's cut off number 6.
Speaker 2:We are going to cut off number 6.
Speaker 1:We are back after two cuts and have started the whole thing from the beginning in the old days and have slowly moved us forward in bits and through the whole world to Copenhagen and have landed around 2001, where Music for Dreams was set up.
Speaker 2:Music for Dreams started in 1999 and is actually out in 2001. But I used two years to plan out the events. When we started, they came as a pair on a pair of shoes and just drove it out. So there was a lot of work to do and we got a really good platform and people got to know each other.
Speaker 1:And to sum up where we started, you have taken over. You have bought it free, you have taken a big loan in your house and you have taken a big chance that this should be your future, and you have bought all the things that were sold out in the beginning or in the end of 1999. With bandside, with Blizz, with Grasgirt, cantoma, phil Meisand, and that's what has started Music for Dreams.
Speaker 2:That's right, and we I was made one way, we were given a lot of vinyl and on one way or another I don't know how it came about. But I think it could be a pretty fun idea that we made all our vinyl in the beginning of Music for Dreams America and it sounded like you had a office in the US, but we didn't have that. But for others who have bought the vinyl, they thought, ok, they also bought the beach, but they also bought the US. And it was actually because when we started we had our distribution of vinyl from the US. So that's why I thought then it can be good.
Speaker 1:You always have to be a master in making tricks too. I remember that from the end of the 80's, with the things you were doing with the records Before the net, you could always cut us off when there was a song. I think that's good. I remember that I was locked up in a lot of records that you talked about. It wasn't good, but you understood me right.
Speaker 2:But why did you get locked up in a lot of records? Because I have hyped up.
Speaker 1:I'll see if I can get into the tank with you. No, I don't think so. I can just come on in. Maybe there was a jam tronic or something like that Another day in paradise, I'm not sure.
Speaker 2:Yes, it's good Actually, old Phil Collins songs. Yes, exactly I'm not sure about that. I chose that one, but maybe I can't remember. But it's just like that.
Speaker 1:I can just remember that you were good at that when you came home from Ibiza and stuff like that and from all over the world. I lived in Jylland at that time, so you were good at making the records.
Speaker 2:I mean it was a musical window to the world.
Speaker 2:That's what happened at the clubs, and then we had a huge network of DJs that we talked to on the phone.
Speaker 2:That's what we did that time there wasn't any internet or e-mails, but then you had some conversations with each other and then you got to know what some of the records they played and what you played yourself, and so it was really exciting, and I would say that one of the records I remember a lot from the tour was that we, through the record shop, which is a legendary record shop called Street Dance, had, in one very strange way it was owned by a real part called Peter Klaus, who was really good at having the fingers on the pulse and finding different records from all kinds of different distributors that we could buy, and he knew that we were sitting in a public service organ on DR on the 3rd floor and the wind was blowing out to the young people sitting at home listening, and one of them I really remember or there are actually two that I can remember playing on this one called White Label in Tess Press.
Speaker 2:The one was Snap the Power, a vinyl where it was written in German on it, and the other one was Never Gonna Give you Up with Rick Astley, so he was really good at finding something that I think that Snap I don't know if it was made in 10 copies and one of them was in Denmark and then in the Denmark's Radio in Vårdsprogram, and that was fantastic.
Speaker 1:Absolutely fantastic, but it's also what you take with you to Music for Dreams to find the one that finds the numbers for all the years. You've had partners before in Flex and other places, but Music for Dreams is for all the years of your life where you're the one that's on the top of the list, both economic but also the A&R part.
Speaker 2:Artists and repertoire. When I was doing Kuma Records I was still there and I said let's sign this, let's find this. And then I had a really good partner who later worked with Jive, with Pink and so on a lot of big Britney and so on. He was a good member and he also came and said what about this? Can you just do that and it could be good to give out to each other. And then we made a decision about that and when I started doing Flex I was like big, big one man and I said this is what we're giving out. But then it was a different concern about the A&R records. And when we went to Music for Dreams I was completely on my own and I came from the idea that I could make a record, hold it tight for two million kroner, because there was so much money in the record industry and if it didn't hit it was okay, because then you just had to pay for other records.
Speaker 1:Yes, that's so wild.
Speaker 2:And I can remember one of those who was a fantastic record and who was a great success, who is the biggest flop I think I've been involved in. And then you can say now we're talking about an economic flop, because as a flop I don't know if it was because it was a band, two, four foreigners called Etan, who had made a number called Casualsop which was number 28, which is the highest score on the English hit list. It was before that they had recorded a number on a record that was 45, and then Fatboy Slim bought it in a record shop and then he came to buy it and played it on a wrong record and it made him start playing it in his DJ set and in the 90s he was one of the world's biggest DJs and he had a great sense of the world around him.
Speaker 2:And it made him suddenly blow this record up and get a huge hit. And we were so lucky that we signed a record contract with Bandit and we got the album and we used it. I think we used 2.5 million crowns. That's my biggest flop and I would say in the past year, maybe the only economic flop I've had.
Speaker 2:There have been a lot of other places where you say you lose something on the one hand and you lose something on the other, and what there was there are many layers in this. I was being warned by someone who will change that I would take a step forward. These two firemen who came when we were going to write a record contract with them, and they also came to Copenhagen the same day that Bjarnari just won, or around the time he won, tour de France and then he was going to run a special race around a long line and at that point I have a place where I'm a musical stage master called Atlantis, and then I tell them to come down and get some shoes and I know you love the country and so on. And then they came down and hung out there and then we can sit there and see Bjarnari's race pass by, and then we had to know that they could just have a good tour and a good thing for Halsen. And then it happens that I have at that point a photo of my parents, a video camera, and I can remember that around 8.30 or something, they say, now we're going to have some long island ice tea.
Speaker 2:I don't drink normally, so I didn't know what I was drinking and they said, come on, we'll just take it, we'll drink it. And I just got a look around the sea and what was it called? And it ended with the time being 12. I filmed them where they were and I got some crazy feelings about drinking with all kinds of different things and they just drink a half liter of beer. And then they drink a certain drink with all kinds of fun things and I could only take one.
Speaker 1:Then you had enough.
Speaker 2:And then you just understand it In drinks I get a rating on how much they drank. Two days after they drank from 4800. And I only got one coke. And then we go back to where all the sponsors are. The time is 12, the arrangement is finished, then we go there and then they say it could be Bjarnari. He sits there with the sponsors and they love what's in Danish and really national. And then we go there and then he says just like I've been packing for a long time. He says when we have something to drink they say I just have to have a six double whiskey, which?
Speaker 1:is almost half.
Speaker 2:it's really a lot in any case. And then he says it didn't drink Because in their condition they were not super happy. They've gotten a little full and then he says the one from the side, then it's worth 1000 crowns.
Speaker 1:We can do that.
Speaker 2:And then he says you don't have 1000 crowns. Then he says 1000 crowns on the bar desk and then he drinks one, he takes it up and then he drinks half of it and then he puts it down. And the other one, who is the one who plays keyboards, he drinks, he takes it up and then he plays a little keyboard on the bar just to sink it, and he the iron. He looks of course on, and then he takes the glass up again, he plays keyboards and I stand behind just like he follows along, and behind me there are all the sponsors and, you know, all those who have now been with me, and probably also TV people and so on. And then he takes the glass up and he can't just fully drive it, so he puts it down and then he turns around and then there is a line of glass out of the mouth and then he hits me in the back and I move around and then there is a splash of water and then the glass just breaks out of the sponsors and it ends up.
Speaker 1:It's the ones you're ready to sign.
Speaker 2:Yes, and what it ends up with is that, of course, they are thrown out, and I stand in front of all the sponsors and people that I know and swappers breaking up With, breaking on my chest and everything.
Speaker 1:So it was a good start.
Speaker 2:Yes, but there is more to it. We come and then we drive up at this point, but the driver is called LP Stövering. He drives home and on the way home he sits at the corner and just breaks out of the window on the corner. We come home and I live at this point in the Arabian embassy and there are soldiers and everything, and he goes and breaks up on his shoulder and everything and he ends up in the naval area and chooses some trees and bushes and everything and the other one. He lies down on the street and then he says I'm just getting tired, I'm getting sleepy. And then it ends up, and then we run to them and I have filmed the most. And then they run to me and I don't sleep. So they want to sleep in a tent. And then they go to bed to sleep in the tent because it's summer, and then they choose the whole tent Like the best, the best go-killing film, and my wife gets up at 5.30 am and says what are you going to do Now?
Speaker 2:They just have to fall asleep and go to sleep. And then what's the name of it? And the next morning I go out to the bathroom and they also go down to the bathroom because before we were going to write under this plate contract and I know something they don't know it's exactly that morning on the Hellerupstrand where they filmed the fireman. And then they go out. They still get quite angry, very angry in any case, where they just jump because they get burned and then they get into the fireman.
Speaker 2:But it's also because when we make the plate contract, there's this thing that during the whole process of the plate contract there's no time where they both go to the place, because they went to the toilet and then the other one heard, and then the other went to the toilet and they wrote under it and we made this plate and we ended up with our budget on 2.5 million. I think we used 700.000 in hotel facilities, which is completely free. We could buy the apartment for the money.
Speaker 1:And make the plate more, maybe Many plates, I think in any case in relation to today.
Speaker 2:And then it came out and we got into quite good distribution and a lot of places came into the country and so on. But in a country like Oroza there's no point in that and it's still not a fantastic plate, but there's no point in that?
Speaker 1:No, and that's what happens. When you're passionate about something and you think something sounds good, it's not always a success. There are more things. It's not just that it's good that it's so successful. There's a lot of things that need to be done in the same direction in order to make things happen.
Speaker 2:But it can be a plate, like the ones that are now looking for old plates and suddenly find them and then think that's fantastic. It is a fantastic plate.
Speaker 1:It's completely in it. But is it such an experience that you take part in when you're standing for the economy and it's your home that's standing on the table? Is it something you've taken part in, in the experience, and so on, of course, because and you have to take care of it.
Speaker 2:Yes, and of course, I'm sad about it, both on their own, on my own, in relation to the fact that we've used the money and so on. But when I start the plate myself, then there's not a lot of money and suddenly I had to stand for my own money and so on, and the worst thing was, as previously mentioned, that we didn't have any distribution on all of this. So I also used the time when we took the time to go to Germany, to go to England, to try to find out because you also have an answer as a plate maker that you have bought some artists free and then they would also like to come out in the world so they could come out and be heard. And it took a really long time. But I found a good platform with some of the VMEs down on the Western Bulkade, which was in a backdoor, and we were together for a really long time and gave a lot of fine plates in the beginning, and the development from Music for Dreams has been that we gave out, as I said in the beginning.
Speaker 2:I don't know if we gave out anything special, but for many people it was certainly a lot of money, but when you look back it has always been like this, that you can say that it's music.
Speaker 2:You can hear it on a beach or you can hear it in a elevator or in a hotel or in a bar, but it has a little more to it, I think, and I think that's what makes it still not existing today and we are a, if I may say it, a rather fantastic label.
Speaker 2:But what I'm still going on is always melodies, and then, of course, you have a number that could be believed, but where there is something in the sounds of the drums or something else, but there is always. There is a red thread on one side, and I think that has been found out in the meantime. It is that I am drawing people from personality, because they have something personal inside of each other, and at the same time, it is also that it should be melodic, and I think that's the two things that go again, and then it should be here inside, after my opinion, high quality. So even if you listen to something from Music for Dream, it's not necessarily that you can like it, but there's probably something else you can like from the label, and I know that I'm not good at that. You can't make everyone feel free, so that doesn't make sense.
Speaker 2:I would only make a record contract with the heart in relation to giving out some music that I can like.
Speaker 1:And I think that's very satisfying because there are not many people who do it today. It's about radio hits, and then it has to be stronger and then there has to be a new radio hit, so it's one of those labels on the world. I think that is most interesting for someone like me.
Speaker 2:Thanks, thanks.
Speaker 1:Among others, like Claremont, that makes this genre of music. There are not many behind them, I think, and you've been out now in what Almost 25 years.
Speaker 2:Yes, and I would say that I would rather not recommend any new and started record company. There are really many layers in it and some of the biggest mistakes, I would say. But now I've been lucky that I've been on both sides of the board, both as an artist and also to drive direction. But direction has never been what has come first to me. It has always been the music.
Speaker 2:And what is important when you start a new record company that you don't think about is that you get a response. You are on a different level of gift with this artist. And then there is what I mean that it is important that you pay your artists royalties so they get the money if they have streamed or not. And the difficult thing is a tendency to I say not everyone does it, but there are really many who don't necessarily pay for streamed artists and I think it's because it is a one-man person or two people who run a label and then they are quite busy with being creative and doing cool things and not giving cool things, and then the money that comes in. They are probably used to something new and then they don't think about it.
Speaker 2:But there are actually some people here who could have some money Exactly and I'm not saying that it's wrong or something, but I have always had that with me that we have some savings or if we have some royalty that is forgiven, then we have to see if we get out of the door so I'm not standing on a bar and then there comes in saying you haven't paid for it.
Speaker 1:I always get statements from Music for Dreams, but then I say that I don't get it from Bärfunke. They still forgive me for the last ten years. I get statements but I don't get the money and it's just a lot of money. In the last month or the last time I paid for it and they call me and I say that couldn't be understood and it's just been a lot of money that's been going through the last ten years. It's a little bit of a headache because it can only be 78,000 each time, but over ten years it will also be a kind of money.
Speaker 2:I would say it's up to 100,000 or 80,000.
Speaker 1:Yes, and that's something I have to go with. It's a little bit of a headache, but it's always used to something else.
Speaker 2:We also had an artist who had been given out a lot of independent labels and he said that he has been given eleven labels and we were the only ones who paid for it. That's also a disadvantage Absolutely.
Speaker 1:I have received my statements and things all the time and it also did that on Eskimo as a driver.
Speaker 2:There are other labels that have undergone some things.
Speaker 1:Yes, there were also drivers on the streets, and that's important because you have to remember that there are some people who live here, who have studio jobs, who live out of their own lives, and it has definitely not been better to get a point with streams compared to physical salf.
Speaker 2:But I would say, in terms of the record company part, I'm not necessarily the only one, because I know that there are many who say yes, but Spotify they pay, and so on.
Speaker 2:But if you have the story I have with you and you have been promoted and you have been renewed and you have to sell it because the artist you work with is known in the country, you should find the distributors who sell this vinyl in Europe or in the USA or in Japan or wherever it was, and then you will see that and you should do the same. And then sometimes you will not always pay when you have received a cent or something. But the difference is that with all the work you have done before and after contrary to now you have made the number and then you give it away and then you have, if you have made a really good promotion job around this, this contribution, then you have a lot of people who are interested in your project or your artist from day one, and it's the whole world, and then you can say, ok, you don't get that much money for a stream but you get it every time.
Speaker 2:You get it every time, and at the same time you also get the whole world. And then it's just how can you get more money?
Speaker 1:And I understand that very well. I think that people think that suddenly you have 2 million streams, if you have sold 2 million records, then you have a lot of money right 100% you are, and it's a different game.
Speaker 2:I was also just going to say if we go back to the music history, how many records have sold? 2 million?
Speaker 2:Well, you haven't seen that many and it's also that you have to remember and then you can say here you actually come out to many more people at the same time and you have a much bigger chance to make an international career, because you can see in the numbers on your Spotify. You can see when I'm popular in Istanbul, I'm popular in Paris, I'm popular in Bangkok or where you are now, and then, if you have a good manager or a good booker, you can make a tour and you can play all the places, because you can see it's completely correct there you have a public home and then you have the chance to actually stream, especially with Radio 40,.
Speaker 1:Right Now, my own friend has made a lot of the same gobs which I actually haven't had airplay before, but they have 120 million streams on Spotify. I will have complete sense, right? So he has built a career over streams, especially, can you say, radio and record sales, right?
Speaker 2:I can say there is a, in any case for me, and then there can be someone who has another position. But if you stream a million, then you have approximately for 25,000, approximately. Okay, Then you can say if you have streamed 120 million and then you can make your own money.
Speaker 2:Yes, and then there is a little money in there still, then it is that you are sure to buy a small apartment or a house or a car Exactly and know how it is today when you have to make sheets, is people come with it or is it?
Speaker 1:then you said the first thing about Music for Dreams when you used millions of dollars on studios time and such things.
Speaker 2:Today, we have home studios.
Speaker 1:No, but at the beginning, not flexors and those things you buy out or you also use money. You can say, sure, it is a whole other game today, or a whole other game where you have a lot of home studios, where you actually many of the things I have ever been, and then we just had to send it out.
Speaker 2:Today to run a record company, there are different programs In the independent section.
Speaker 2:There are a lot of people who are divided, where you are completely down to the fact that the artist gets 20% of the record and we're a little back to the time when Whitney Houston and Kim Larson made records where they got a contract, they got 14% or something and you could also make a lot of campaigns and the studio time was expensive, etc. And today, as a record company, I'm sure I'm the artist myself and I'm the artist that we make with all our time. So it's 50-50. That means that if you have used 50,000 records with studio music and what has been there trumpet and everything then we have to stream our record from 42 million and streams before it's rentable, before we go to zero, and when it goes to zero we share the record. So that means that if we sell it for 100,000, the artist has earned 25,000, and we have earned 25,000. You have to recoup it first, at least in that type of deal and you were the first to make the deals at home.
Speaker 1:I know the artist from Andy Wilson who made the factory records and the first to make 50-50 deals right.
Speaker 2:I don't know, that's not enough.
Speaker 1:But you know everything.
Speaker 2:No, I don't. I still learn every day.
Speaker 1:I can do that too, but you can learn that today. Yes, maybe I think I've read the studio records.
Speaker 2:He hasn't written anything for a week or a week, so he couldn't do anything.
Speaker 1:He couldn't sell anything.
Speaker 2:What else he wrote in a blood contract yes, and now that we're about to read it, there's a fantastic film called 24 Hour Party People, which is about the Manchester factory records. Factory records are a company that produces new order. And you're happy to have said that, the big actor you were a legendary club where the acid house and fantastic club music were played, which is in the history books today. But it's a great film to watch. Because you think it's just a lie?
Speaker 1:It's completely nonsense. And the whole story about Blue Monday, which costs 10 kroner for them every time, for example, because the covers that have been made in the company. I don't think they're a floppy disk. It's simply expensive. They get it for free.
Speaker 2:It's not made as a floppy disk, it's made. The cover was made so that what's it called that the covers themselves were cut out, so each one of the covers they made was standing out, so there are holes in it. And then there were all the colors you were using.
Speaker 1:But the floppy disk, I think, is the floppy disk for computers. You're starting to get it. It's the one you made from.
Speaker 2:But that's If you go into the modern term. There is a, if we go into the Danish term to get it up to the modern times, there is the Danish band Cotton Moves, and I remember there was a fantastic DJ called Jørgen K For Aarhus who had found an anonymous acapella, the cover. It means a cover that was white and there were no acapellas, and that means it could be sung from a number that was on it. And they took it from this acapella sheet right here right now and made a number for Cotton Moves which was number one on the American Danish chart, and Hamdor had printed this anonymous, he hadn't said anything, and suddenly he just stuck up and said listen, I'm just going to pay. And that means that, as far as I know, that just on that one, cotton Moves would pay every time they sold the X-ray, so they would lose their money.
Speaker 1:Yes, I know that because Pilla Varberg is a member of the band and one of them is a member of the number there, and if I want to talk about the code, I get a cleaning every time because Cotton Moves is playing. So it's a happy story, but that's Samples.
Speaker 2:Exactly, it's Samples, and you know that today, if you just think about your hip-hop, there are a lot of numbers that sometimes have, I don't know, from two to ten samples, and that means that if you say that there are only 100%, then there can be someone who comes out with 200% and then there are so many money to be paid each time, but then in general you get the hit and at the same time you can go out and make some big concerts, but you lose money on your own.
Speaker 1:And we two have had a sample. We once had to clean together. Do you remember that? Yes, it was the luckiest last, but it was a hard fight it was. I never think I've been so sweaty in my life because something came up at Hotel Costes and they said I'm not even in front of the cleaners and you were just, we're just running. And I thought, no, no, let's see it again. But it's going to go really well, it's luck, it's luck, but how?
Speaker 1:have you your own attitude towards this? With samples, if some of your artists have come up with something, have you tried to lock them from it or have you tried to clear it?
Speaker 2:We try to clear it, of course, and I would say that if you go in and look at it, then I have locked the one that has sampled, at least in the beginning with Dr Baker on K-Ears. It's filled with samples. It's a lot of my music too.
Speaker 2:I would say that if you are there and it's been a long time and it's 33 years since we made K-Ears and I can remember we said backstage I had just played as DJ for a big event in London and I think we're also up to date with Dr Baker. So we're sitting backstage and then comes Adam Ski, who has made K-Ears, who has made a cover version of George Michael, and K-Ears with Adam Ski that time was also number one in England. And he comes back to me and says and how did it go? Because we had met each other at Ibiza and different places. And then he says with a smile on his lips Kenneth, how should I make the next album? So you can get in and out of here.
Speaker 1:Yes, but it's very beautiful, but it's such a great place for music too, right.
Speaker 2:And today I actually use examples, I try to create samples, if you can say it, in studio sessions and then say it's the kind of beat we use from one country that has played to push forward for music. And it really started for me from the very beginning, when I made my first solo I mean Kenneth Baier, the Fragments album I chose to work with some of the musicians who were probably from the most advanced groups. Some of them just go in and play and then they play almost the same as you did for the first time. And then I remember the Fragments album which is out on Music for Dreams, which was the Danish Music Award nominated by the children, all the jazz musicians I had in mind. I said to them you play, it's out there.
Speaker 2:And it was a great relief and it was because I wanted to make and try the music from a Blue Notes Miles Davis principle that you play and you take it. It just needs to be out and of course I programmed beats and I really did a lot of things and then it went pretty well with a record.
Speaker 1:You'll see. How did you know about Music for Dreams today? Because you look out of the window. I don't make music anymore, I just feel like sitting down. There will still be a lot of records on Music for Dreams. Many of the artists are from Ibiza, many of the records and I can see that many of the same people are there in a year to be part of the recording and playing on and stuff. Have you made a stock-aiding Award for Music? What have you set up today?
Speaker 2:The story is that if we jump back to Program 2, it's the one that starts the so-called Jaleh damage, which is this collective, all kinds of studios that still exist today. Out on Amar, I met with my father, the brothers Norsøs and Arto, who is Tobias Rahim. There was the idea that I had a dream I didn't study it that much, but I had a dream and I read that there was a house where they played Motown Blader, where on the one stage some of them played bass and drums and on the other there was a songwriter and so on, and then they helped each other, they worked on the other, and then they just made hits and made music. And when we made Music for Dreams, the story was on Jaleh damage, that in three years 28 studios came. It just grew completely random.
Speaker 2:And then I made Music for Dreams and now I'm on my own and now I decide. But the over-reaction was found out that there has not been anything I have thought about. But when I suddenly analyze it I analyze it all the time what I do, why I do it and where we should go and then the vision is under development and then I found out that we have actually managed to make a modern motoring within our style, all these artists who come out on Music for Dreams, and one of the things that is important to me is that it is a super cool person who can be in the same room at the same time, where there are no people who are quiet or something, some hoax or something, but where everyone has one goal it is to make the best piece of music when you are in that room together. In the same way as a football player, he wants to score goals and win.
Speaker 1:So a goal for the team.
Speaker 2:If we have made a number together, peter, then you can say that it would be cool to have a saxophone solo on this number. Then we know in our region, if we send it to him there day after we have a saxophone solo, then we know that we can also have a funky bass player who plays like Markus Miller or Ham from Schick, bernard Edwards or some other. Then we send it to him there in London, then he comes back in a few hours. If we also want to have violins on, then we send it to a fire that is in Belgium, then we have violins coming back. So in that way it is built so that everyone can help each other to get better. And it is actually a bit.
Speaker 2:If you look again at hip-hop, it is actually the same that they have done Drake, jay-z and so on. They have also had all kinds of songs or rappers in their songs, so that it is a product that comes out to the last is better. I have just done it. For what should you say? A country? I don't know if you can call it a chill out or a lounge or a country. No, I don't know what the details are.
Speaker 1:I don't know either today. It's music, yes, it's music, stem music in a good way, yes. So there is a setup. It's also a bit easier to do a setup today where you can send the files, where I think before you were going to travel to get a violin, one violin, to Vienna to get the recorded 2-2 times.
Speaker 2:So in that way it has been much easier. And when people have become more sensitive to their computer and to both do it and do it, then there are all kinds of different ways to do it. But at the same time we also take a lot of songwriters and musicians to Denmark, where we also make camps. For example, we have been to a farm or I don't know if it was a farm, but it was at least a place up north of Norway where we were 22 people. Then we had made four different studios and then we made it so that every day when we stood up we got some great breakfast, super delicious breakfast, because it was important that we got some super good food. So we were on top all the time. And then we went to the studio from 10 to 2 o'clock and then the four people if you were together, or five at all you should make one number, yes, okay. And then you start to learn that it's not useful to think that I should make a number, because if the other four don't want to make a number, then they won't make a number. And then there is one that we should make this type of number, and then after 2 o'clock we eat from 2 to 3 and then again from 3 to 7 o'clock.
Speaker 2:We made the new number and we made something I think 65 numbers, exactly as a big set all together. It was made in a week and we had thought that when we eat breakfast from 7 to 8, people should be free time and just rest and play and what they would do now. But that was not the case. After the first day people were swinging so well together that when people can eat breakfast we went to make the numbers finished or made the new one. Who has solved it? And then people worked, sometimes until they were actually late, late, late, late, and then again, sometimes the last few days some actually worked at half past five in the morning and then up again. But that's because I think you become as a musician and as a composer. You get high and be together with a lot of people who just have great energy and who just are super happy.
Speaker 1:Yes, you get inspired. By each other.
Speaker 2:Yes, it was like that, and at the time there was a Kodak moment where someone came in and played with his bass and he played the bass and he then went in the other number and played, and he said, ok, cool, but there was no one else, he played the bass and it was fantastic, Super, super, super fantastic.
Speaker 1:What is going on with the label now?
Speaker 2:After 25 years, I think all the time we are on the way into the new era. We have as the biggest we have had a year which we have now half a million of, and Bliss has been a great name, and today we have Jarek Gurevitz who I think has 400,000 months of life. We have Bidz Wensen, we have some of the famous guys who play a lot of concerts around the world in Europe and a whole lot of others. We have some pretty big artists and we have, for the last few years, been so lucky that we have created one of the biggest new Danish female talents called Julie Pavon. She is completely her own and has the most energy on stage, but she reminds me of a mix of her own song. If you make a reference, she reminds you of Grace Jones in her voice.
Speaker 1:It's a very cool reference.
Speaker 2:And Nina Harden. Okay, wow, I'm looking forward to hearing that and right now we have a number that is played by the other artists. In the middle of the club there is a remix that is a big, most important feature in some stories, where you can see that it is played by a lot of people, because it is Améa Dixon and some different big DJs who play this and she has on almost a year something and now she is playing in the Russian-Kilde summer and she has played the South for the Sun and all the Danish festivals last year and she has already played in the Netherlands, euro Sonic, and she has played in the Berlin and in England and here in the country.
Speaker 2:She also plays one of the biggest festivals in Germany, which I think is the biggest in Russia, called Fusion.
Speaker 1:Good aside, right. So it sounds like a label that is in full swing and maybe the biggest it has ever been.
Speaker 2:I don't know if the biggest has ever been, but maybe it is in relation to the fact that we have really used a lot of time on infrastructure, to be a, if you can say it, and I think it is very positive. We are a kind of an oiled machine, so when an album is finished, everyone knows where they are going to run, and that is for promo and giving out uploads and materials in the whole thing, and I think that is fantastic and that makes me, more than I have ever been before, a fish in the water and just more or less take around and visit the studio and listen to fantastic music and then have to come out and lay down plans with these different artists.
Speaker 1:It is fantastic to hear about Kent. It is in the 90s that we start for several hours in part 1. And we are talking about the three and four tracks you made for the first Danish Maxi Single remix your remix and the first Maxi. Or the outing TV2 with Bob Musikers' show Kent. It is many years that we have talked about that. There is something you do differently. Is there something you think has really done something really good?
Speaker 2:It has done me every day, even though I was in the luggage room yesterday I had just got a new computer and it took me to a meeting and my two old computers with a lot of music and pictures of the family and so on, they are in the luggage room where there are black holes. When I came back and said that it is just like that, where there can be an apartment in the car and then we sit in the car and say that there is nothing that fell down, then there were some glass dumpers that fell down in the back of the car because they were smacking and then the computers went away.
Speaker 1:And the VIPs, so I'm dumb every day. Yes, that's good, but there is not something you think has done something different in my whole career, or is there something that I have done really well that makes the knowledge develop and work in my career?
Speaker 2:I have never thought about developing artists and making them, but I would say that from some point on, I think I should not give the fragments or something like that. I think it was number two or something like that, One or the other. There was about 2010, 2011,. There was a journalist from BT who was going to interview me and then he says that I have now looked at your career and there is one thing that strikes me. It is have you not done all that you want? You want to do it yourself all the time and I say, yes, I have it and I still do it. I still know that and I'm happy that I've been back from a very early point of time to the time when my cousin could live to be a fish in the water and work with music every single day.
Speaker 1:I don't think there's anything better than making your own personal life and your hobby, which it really is. I've been so lucky to be able to do it.
Speaker 2:You do it too. You have your night loop, you drive every weekend.
Speaker 1:Exactly. I've also been living my hobby my whole life, and it's something that's much more fantastic. There's a lot of it. That's what you have to say. Is there a little bit of a joke, anadote, that we're going to have with you because you're a man who has done a lot of stupid things?
Speaker 2:That's what we're going to say what's your name.
Speaker 2:I remember at one point I think it was in 1901 or 1951 when the English DJ Maxine made his first top 100, the world's 100th best DJ.
Speaker 2:I was so lucky to be in the same team with Franky Knuckles, carl Craig, derek May and all kinds of iconic figures I think I was the only Scandinavian who was in the top 100. And I remember in the sport what was the most embarrassing moment yes, and one of them in any case, was that we played with Dr Baker in the Pumpehuset, where I was playing in the area of Copenhagen, and then we decided we were number one on hit list, that we, with Tönnop Music, decided we wanted to make a special techno version and then we got a Danish who made techno called Lederstrip. He made a fantastic version of it, and then we wanted to do that after the concert, which is an extra number which we did for the first time, and at that point I think we had a lot of people's heads water, cornflakes, sea green and everything, and we were pretty pumped towards doing things. And I remember that we had a very iconic look where two female members, camilla and Charlotte, were in a sort of yes, down there, or shorts or whatever.
Speaker 1:it was A short, simple, short pair of pants.
Speaker 2:Yes, and what was it called? Shortestrumper and these 32-year-old Dr Martens. And then in Fjord, sortbh, and we as a fireman had a short roll-craf on and shorts on which went down to the knees and these 32-year-old Dr Martens. And then we decided that in the last number we would do this surprise with this new, exciting version. So we made a time point that we should imagine that there is light, there are a lot of smoke just at the start of the number and the light is still on and we go out and stand out on stage, which also comes from Ubro, the kind of killer. We go back to back and then these two women, like Camilla and Charlotte, on hook, like if they give us a blowjob or whatever.
Speaker 2:You don't know that at all, but we did what we did in our shorts we had the sick Velcro in it and they take so much weight on each side of this Velcro, and then they pull our pants in and then we stand in a pair of leather what should you say? A g-string, like some chaps, I think and I go up on stage and stand and dance. And then Camilla dances slowly to me like as if I didn't know. There is one other guy, people on the first and second row just stand and grieve and they are all flat and grieve, and then she says I think they are also hanging out. No, I haven't thought about that, so I dance back and then after that, every time we go up, I always had a coffee table.
Speaker 1:But that was a really fun moment. Yes, that's what you have to say. I think we will stop here. It has been a long time we will stop here. It's a good time to stop. Thank you for being here.
Speaker 2:Thank you for being here.
Speaker 1:Thanks for the inspiration. We have a lot of people here and we hope that you and your label are here many years ago and thank you very much.
Speaker 1:It's me who thanks you. Thanks for joining us on this week's Music Local podcast, Music Mit Drug. I hope you have enjoyed the music of the Trillen universe and found inspiration for your own musical journey. If you would like to listen to today's guest list over the youth songs, you can find the list on the Music Local Spotify list on Spotify. I look forward to exploring more aspects of the music's journey in the upcoming episodes, which can all be found on Spotify and Pottymove. 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 Music Local right under the Nightclub Mosaic in Little Kings Garden in Inter-Kirbenhavn.