En åben snak med Dj & Producer Buda om hans passion for musik .
En åben snak med Dj & Producer Buda 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 have been a very young person. Since I was a child, I have been sleeping with headphones on and listening to music during my entire night sleep, something I still practice. Music is my passion, my drive, my mood and daily forms change 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 from 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 Meet Drug. And welcome to Torsten Jacobsen Thanks, can you do that? Better known as Buda, yes, yes, do you like Buda after all?
Speaker 1:Yes, I do it when my family tells me Come here with your red hole Exactly.
Speaker 2:Welcome, buda. I am really happy to be a part of this podcast about music. I am very happy to be part of it. You are a person I have known so exaggerated in many years after we have been on some of the same labels, we have made many of the same things, but it must be the last few years that we get all our connections both in the same way but also in music.
Speaker 1:That must be said, we have been in the same category, we have been DJs and played around the world and met, but we have never really talked to each other.
Speaker 2:We have not, and we have actually also played incredibly different music In that regard. Yes, where we now, with our all of them, have probably approached us more and more than the other. They see it in the question. In any case, I have been in many, many years.
Speaker 1:the last 20 years I have been very deep and a little bit dumb, but where the last few years, the last 5-6 years, I have started to play a little bit. I have had some residencies on Ibiza that are about the sound industry and then you are forced to play something else and the sound also does something else. So my music style has also become very different.
Speaker 2:And how do you start music from being a child Like the other one? Where do you start your experience of music?
Speaker 1:I have not grown up with a musical family at all. The only thing that was there was the obligatory business and work and some top of the pop collections, but they were never heard.
Speaker 2:No, okay.
Speaker 1:But I think I have had a great meaning for me throughout my life. Some of the first pictures I have seen of myself. I have my guitar and my brother has made microphones and paper tubes. So this always means a lot. But it is like when I get 10-11 years old I start to feel really much.
Speaker 2:Do you remember what music you have there? Is there any channels? Is it via radio? Is it via friends? Is it in the school?
Speaker 1:Yes, but it is in the school.
Speaker 2:It was 200 years ago.
Speaker 1:There were not so many channels. There was DR, there were some music programs and there was Kim Schumacher and Myljus. But it is like it is waking up and suddenly there is a little more. That is where I start to get a little more electronic into the patch mode. All those old things from the 80's.
Speaker 2:That is where you first started the music from the 80's.
Speaker 1:I remember when you went to the youth club and danced with Kier Eggers. She went to the same youth school. Do you remember that?
Speaker 2:Is it music or is it Kier?
Speaker 1:It is music, but I remember that we were a group dancing to that thing, and then you went crazy.
Speaker 1:When there was a school festival, I started to trigger something. I could see that it was something I thought was cool. There was a DJ and he was one of my heroes, one of the ones I saw when I was very young, a DJ from Helsingør, a guy who worked at the Phono Tech. I saw him once. He was with Thomas Helmi. It was one of the first concerts I saw. He was with us. He was a huge Danish flag. He only played vinyl and it was a little different. And then we found out that he was standing in that record shop in Helsingør and then we looked at him and we found out that he was new. He was something new.
Speaker 2:So we went crazy. It was a fun experience when you first see a DJ in action. I remember that from my school days, but my first experience was at the Paris and he played Kits in America. It was the 41st time that I was so excited. It gave me the pleasure to see a DJ, but it's the rock that gives you the pleasure to see a DJ.
Speaker 1:I think it was a great experience, and it was just like that, after I had seen him a few times, I suddenly had seen him once, so I wanted to see him again. What the hell was that about? Before I had only seen some old.
Speaker 2:A classic family party.
Speaker 1:You don't know where some people are playing or are having fun. But suddenly there was one guy who had a check on it he could mix and he was so he had some cool moves and he was just a cool person. So it probably made it in my head. So I started with mobile discotech and I think now I should try that when we all started. Yeah, it's fun, it's. 90% of all DJs know Denmark. It's not abroad, but in Denmark there's a lot of it. But as you started when you were young and built, then there was one that was bright and then there was the sound.
Speaker 2:Yeah, exactly. And then you could hear some leaves of one country.
Speaker 1:I didn't have. The first party I went to play was like a Bon-Up to you. It was second class. Yeah, wow. Then I'd been sitting and playing with Bon, you know, and taking a break from my stuff.
Speaker 2:So you were over two or something.
Speaker 1:So I'd been playing with him and then with a blue hand you know the old school and then some tape, and then I played with that in second class and people thought it was the coolest thing, it was insane. And then again, yeah yeah, yeah, it's so good to go down and back.
Speaker 2:No, that's the point it's not what you can see. No, it was fun. And can you remember your? Can you remember some of the music? What were you? You said it was an electronic song. It was a passion, all that stuff. Was it also when you were out, when you started playing?
Speaker 1:No, at the start it was my first public job, a real public job. I had some money and been playing a lot of some kind of class parties and a school party with our mobile. They should have thought it was light, sound, very original, Wow yeah, yeah, yeah, but I think it's called something with light.
Speaker 2:Yeah, exactly, Starlight. I think we're called Starlight that's it. Starlover maybe. Yeah, it's one of a kind. It's very popular.
Speaker 1:No, but my first paid job was on pop and sport. Yeah, and the game came back to me. And Are we in Helsinki? Yeah, they're in Helsinki. Yeah, where people played billiards and bowling. People played Danish pop and sports and I loved it. Yeah, it was fun. When you got the money to play boards, it was insane.
Speaker 2:Yeah, but that's how you start. You don't start playing amnesia, I think, on VB. No, it's the worst that I do in any case. You start in TIT, as you say, denmark, with a mobile discotheque that you have the interest to collect and play the boards right.
Speaker 1:Yeah.
Speaker 2:And then you get to come in on a nightclub or a discotheque, as it was once.
Speaker 1:Yeah, exactly.
Speaker 2:How do you get on with pop and sport in Helsinki? Is there anything that drives you on to Copenhagen?
Speaker 1:No, I'm going to New York in I think it's in 1991. Yeah, where I've just been a student there. And then I'm going to New York to go to school and study business law and business administration and I'm studying it in a book but it doesn't go so well with exactly that part of my life, but I'm learning. Some people know me who are, who are making music and playing reggae and hip-hop, yeah. And then I'm going down to a club called the Hunt which is located in upstate New York, where they only play reggae and hip-hop and have a lot of concerts and stuff. And then I have my record collection with me and it's not that big but it's.
Speaker 2:Do you have it from Denmark or have you made one?
Speaker 1:No, I've also made one, but I've taken the records with me. You know two record boxes with me, yeah, yeah, fantastic, and bought some too. But then in the evening, where it's completely wet, I had a fire truck and there were actually a lot of emergency statuses so you don't have to get out if you couldn't get up and park, then two bullets in your car. You know it was with that one. I drove down to that club and Hamm DJ-ing, he can't come because I'm so much snow and I have my record collection with me. And then the next day I was with him DJ-ing, he was fired and then I was put in the scene so I played there. So then so yeah, I was happy with my fire truck, yeah, so it was actually a bit more of a whole understanding, but a fantastic place to come and get to play a little.
Speaker 2:And that's how it started to be DJ-ing, or being mobile, to the point.
Speaker 1:Yeah, it does. It's a place where I go to school but at the same time I've also had jobs. You never know once a week or whatever and come down here and see and get permission to be in that club and actually help them make some sound for the Wailers. You get into a family. You know how it is a club. It could be a special and strange family, but it's a.
Speaker 2:But it's not really a thing you can get back with Exactly.
Speaker 1:And then from there I came home to Denmark and started making music and made a band called Bansai Republic.
Speaker 2:And we're far away now. We're in 2000,. Right?
Speaker 1:No, we're in 95, even I started making music with some dream musicians from one of the cities and one is called John, from Australia, who is fantastic at playing piano, and then we started, Then we made a record and then suddenly DJ-ing in the boutique. Okay.
Speaker 2:Where did that record come from? It came from Music for Dreams.
Speaker 1:Okay, Bansai Republic.
Speaker 2:It came from a music-hard band called Music for Dreams.
Speaker 1:We played before that but it never really became a thing. We made it together with Joachim from Bass and Drop, which produced it, and it was something like drum and bass. It was really cool but it never came out. But the first band was so impressed by Kenneth Baer's Music for Dreams.
Speaker 2:Yes, which is a fantastic record, I think, and at the same time with me, Kenneth Baer's.
Speaker 1:Music for Dreams. That's where we started learning to know each other from the beginning of the 20th century. Yes, it's something like that.
Speaker 2:I think it's exactly that, maybe in 2001. That's where we started learning to know each other, and I don't think ever in any sense there has been a song with a backing track in that period. It probably has. I think it's pretty fun. I know that we started it, but we are so far from each other musically.
Speaker 1:We can just enjoy a lot of the same things.
Speaker 2:But we are really far from each other. Musically I think it's just pretty fun because we are on the same label, we are maybe frequenting in the same clubs at that time, but we are just as far from each other as we are.
Speaker 1:Yes, you have always played a lot of balleric and soul-skin music.
Speaker 2:in my eyes, I have played everything. I have played pop in my youth.
Speaker 1:I haven't experienced that.
Speaker 2:No, that's what you should be happy about.
Speaker 1:And that's also what it is. It's still not the same time.
Speaker 2:When it goes a little too well. But I have started playing pop music with you on discotheque. My first nightclub or discotheque was also a commercial, 100% with pop music. But I think it's always been so fun that we were out on the same label and right away we were so far from each other musically. I think it was really nice to see that there was a place where there was so much bread Music for Dreams you could say yes, exactly.
Speaker 1:That time it was the first big compilation that came out.
Speaker 2:Is it the book? Yes, the book. It's really a nerd talk.
Speaker 1:But it was really very bread. It was spread from right to left. There was of course a new sound, you could say, but it was good enough. Higher and left, it was long, and high and low.
Speaker 2:It was a mistake. It was actually a big fan. Yes, I could also like that. And Buddha, how does it go on? You get to play a lot of compilations. I remember I didn't think about it.
Speaker 1:I think we got it out on. I think the band is out on five, six compilations. There was actually a Buddha bar. Now I'm called Buddha, so instead I was thrilled that it should be called Instead of Buddha bar it was just Buddha. I had one I think it was number seven Buddha bar. I had six numbers I had put it on. So it was the time when it was like a launch. It came out and it was hot.
Speaker 2:It was a Buddha bar, hotel Costes, cafe Del Mar. It was very what can I say? It was a big compilations at the time, exactly.
Speaker 1:But it was also very. It was a good fit with the band. But a little longer in time it was a little. I think it started to be a little cheesy At the end. Many people knew something about me, Something familiar, which of them had the start?
Speaker 2:Yes, yes, absolutely. I remember most. There are more records, I think they still make compilations. I know that, but are there more bands or is there only one? No, there is only one?
Speaker 1:I think so, but again we made.
Speaker 2:I don't know 100 Remakes. I think yes, there are several remakes.
Speaker 1:It was insane.
Speaker 2:It was a fun period, and it's actually also me who's a bit. It's not about him talking about it the other day, but I'm a bit introduced to Trante Möller in this too, right.
Speaker 1:I met Trante Möller where he was at home producing music and of course he was a well-known person in Copenhagen he was in it at the time and then I heard his album at home, where he was with the locked curtains and everything was dark, and then he just played the most violent tracks. I never heard of that style before. And then we started to hang out a bit and I started to learn to play the music and we started to have a Sunday club on the airfield yes, which was actually the reason why we called it our Sunday club, lulurus.
Speaker 2:Yes.
Speaker 1:And Trante Möller was with us in the band Lulurus in the old days, but he was so busy at that time. It was like when the guy from Thomas is playing Lulurus.
Speaker 2:He's doing it. He was with us at the time.
Speaker 1:Yes, that's what you have to say, but we were at least allowed to play the music. We got his tracks and sent them to Caspar Björke and the next month there was a blast on his guitar.
Speaker 2:But he still hasn't done a lot of music, as you can say we were at the same CD as him with the Winter Music Conference, where you made a Danish, it was probably 2003. A Danish foreign music now you should call it the Danish electronic music when we were at with All Night, you know with Mejland, and he was at it with Røggetid, and I just had to say just a few years later he was a little longer away from us.
Speaker 1:Than we were.
Speaker 2:It was a lot more of him. Just to say that.
Speaker 1:I can remember that at the Bandside Republic we were going down to play our album. There was a huge branch thing called Meetem. It was a European thing where all the new record companies have their own new history and we were one of them. We were at Universal with Kenneth Baer it wasn't Music for Dreams at first when we had Trent Möller with us. It was the first time he was with us and then he played Keyboard. We sat down and he didn't leave any records or anything and people.
Speaker 1:It went completely wrong, not so much over Mejland and Ailam there was a big picture, but they were really here just over.
Speaker 1:Trent and the Japanese photographers were standing all the way up in the head and I was really hit. And at the same evening, mejland and Trent were standing with Palma. We found some Palma sheets. We were really really full. And then we stood in front of the room RK Køls he was also going to present his new stuff down there and was also very new in the game and then we stood as his you have to say slavers.
Speaker 2:Palma.
Speaker 1:Palma, Palma, slavers. We were his air condition all night long on the stage of Mejland and Trent Möller. Yes, that was.
Speaker 2:That was strong, that was crazy. Yes, that's what you have to say. You say, even though it goes a little further with Lutte Ros after Trent has been with him, but then it's like you and THM who take it further. I'm going to make a big.
Speaker 1:If you get love. It's not a joke or whatever they call it. No, but it was like a. I feel like one day we were at least involved in making that deep, sharp, domed, a little bit of the house-like techno sound.
Speaker 2:It's a little domed from Rekha, domed to techno in the front, isn't it? Yes, so to say it's a bit out of the ordinary.
Speaker 1:We were very inspired by the rhythm and sound, which are two German that just make something. It's almost loop-based, but they're so good at controlling delays and reverbs you know, very domed, isn't it? It's very, very sharp, very, very domed and very, very heavy, but absolutely fantastic. So we all had that together, and then it was like that from we drove on, didn't we? So we took our sounds and continued from there.
Speaker 2:And Luluruski is a completely new opportunity. Jobs, lots of DJs, lots of things to do. I have you know.
Speaker 1:I have tuned it all the way. Yes, I have to say we were lucky. Like you, we also filled it out on some things there. There was something in Brazil and you were part of a Brazilian tour. I think you were before us too, didn't you?
Speaker 2:Always yes, you are, we have always been a bit after this. No, I was just before, but it was just.
Speaker 1:But it was just like the same not the same venues, but the same thing. We didn't break it, we didn't play no one else, we played. Yes, I don't really know.
Speaker 2:No, we played a bit of work. I don't know. Yes, you did, and what. It's a long period where you were playing, quite a long time, where you almost got tired. So what are you doing?
Speaker 1:Well, we have. Oh, there were some years where it was not completely fine, but I would also say that we used a lot of time in the studio. Yes, we have made two albums and we used five per piece almost.
Speaker 2:Yes.
Speaker 1:And at the same time we were, I think, what we were more familiar with than our own music was all our edits and bootlegs, which were played all over the world, and all possible DJs. And in Denmark there were several years when UNC where you came, then you bought a bootleg, a rioter, and you made a rioter to the UN?
Speaker 2:Yes, exactly.
Speaker 1:And it really gave us a lot of time in a studio called Fat Berries which made all these things out and which also had a great success and made distortion fests with Fat Berries. It was fantastic. Yes yes, so there were many years. We have been all over the world actually.
Speaker 2:Yes, and you will have an idea around the world. I don't know if you're tired of travelling, because you also get a crown, which maybe doesn't, unless I have a friend who thinks it's so cool that one man is still playing, and on that point you actually pull the stick a little from here and take the T-Bit and lock it completely down from the music. What's going on there?
Speaker 1:I think everyone knows that and it's just as cool, how cool it is to think what you're doing. I'm always the leader of my hobby and my passion, but at some point it also becomes a job At some point.
Speaker 1:I think there was a year when I played for the Måde-Une and I played for Thomas 35 jobs the only way to get a taxa in 10 minutes and then you could go to other places and the other driver came and he just drove for four days and we had a lot of time in it and at some point it just so I thought Thomas was also enough for each other.
Speaker 2:It can be good. If you go so much up and down the road together, then you get it.
Speaker 1:I saw more at UM than I saw in my family. So at some point it was enough, and my wife also had a little bit of a. So we both packed everything and then we drove to an old transporter. We took the dog and drove to Bitter.
Speaker 2:And do you know what it is? Have you taken something home from and laid down?
Speaker 1:No, I had a friend, a legendary dancer named Lenny Bissar, who is a musician and at the same time a man of fantastic people, who has made a lot of lounge music and got a great success in the beginning of the 2000s. So he bought a huge house and a huge floor and the neighbor floor was also empty and it was the most ideal, fantastic, 350-year-old house. So I had talked to him and said we are really tired of our situation in Denmark. Can you help us? Well, I have this house up on the balcony. It happens right away, and I came down there in the summer before and I was down there in.
Speaker 2:You have been playing there for many years, yes, for many years.
Speaker 1:But then I thought down there and then we saw this house. It was completely fantastic, but there was no electricity, there was almost no. There was no hole in the ceiling, there was no toilet, there was no kitchen, there was no window. So we started with Meimein Komen. We didn't have a field of children at that time. One of the reasons why we were so tired from Copenhagen was because we had been trying for six years and we were stressed.
Speaker 2:And now we had to burn something else.
Speaker 1:Then there were four months, she was pregnant and we had been given a plate, a piece, a solar energy device and a multi-alert. So then something happens again and again.
Speaker 2:Yes, that's what I have to say, and you actually pulled the music out of the way right At the beginning.
Speaker 1:Yes, I pulled the music out of the first two weeks. I didn't make any music at all and I didn't play any DJ jobs.
Speaker 2:How did you get to the point where you were living there?
Speaker 1:Well, I had had so many jobs I had obviously saved a little money, and I also had a little money from my father and my wife had a little side job. So we didn't have a lot of money, but it worked.
Speaker 2:It must have been a fantastic experience, and I didn't pull the music out of a stressful life. You have had a fantastic life, but what you have burned, what you have loved, your passion. But I would like to say that we are taking some seasons here where we don't do anything new in life.
Speaker 1:It was fantastic In Bitsa. It's always a good idea, but it's also a good idea to have a good time just from your life and reflect on what is going on. Sometimes it goes so fast you know that yourself so you can't close what's happening. But where in Bitsa, it was just nature and our data that was running around with children and we were out and about twice a day, in the head and living our own green-sayer. It was fantastic, fantastic, buddy. So that's a big thing. And the only reason we actually went home was my wife. She missed her friends, her family, and I couldn't be like no, no, we were just at home again.
Speaker 2:But you're still not down now. Yes, but while you're down, you're actually going to play again.
Speaker 1:Yes, it's pretty fun because I didn't really have any thoughts about playing. But I met Rune RK and he says hold on, why don't you play and use this for yourself? And then he says what are some of the drinks? I've been talking to Mambo Brothers, who owns a lot of bar and legendary places Mambo Cafe, mambo hostels and tortas and so on.
Speaker 2:Yes, some really cool places.
Speaker 1:And then he talks to the coolness of the two drinks and then he says and they've known each other since they were 16. You know, before they got anything, they got something to do with it.
Speaker 2:It was the father who owned it. The father who owned it.
Speaker 1:I had it and controlled it all. So they went up to me because I came to Bitsa and I had new bootlegs with a new CD that they got promised to get. So they've always called me Dr Buddha.
Speaker 1:I'm a sound doctor, right. And then he writes to me you have to pick up and visit. They want to know you and love you. And then, since that day, I've been a resident DJ at Mambo, at the hostels and tortas, and got promised to control the music in a new place, Kars and Markka. So yes, I'm there every summer and I love it.
Speaker 2:So it's a tour back and forth now, but you're down there how long have you been there? For 56 years. We've been there for 5 years.
Speaker 2:Yes, we've been there for 5 years, and now we've lived in Denmark again for 4 years, but where I'm back from May to October every summer and as Tatiana and the players are coming back, we've got the pleasure of staying at the local music museum for the other weeks, which we're really happy about, and I think it's good for families to have a period of time where they can be themselves. I can't stop my family, so I'm going to take a foreign job. When we got number 2, because I think it was because at first I was really excited about being with me before. But to travel around with my playing task it seems exotic and fantastic, but for me it was pretty boring and that was it for you.
Speaker 1:Yes, but it's the same.
Speaker 2:You've had a lot of times with the TOM, but you've also had and I know myself when we talked in the summer when you've been alone and you're going down to play 10 days. It sounds fantastic when you're on the road, but when you're in the air you almost want to come here, right.
Speaker 1:Yes, I mean, I love it, but it can also be pretty boring. Yes, also because I've brought you here. So for me it's like being a tourist in Copenhagen. It's hard. I don't go down and see all the places and many of the friends I have, they are moved. Yes, it's like that in Bitsat. You say normally you live there between 0 and 5 years.
Speaker 2:You're there and then Then you go on, then you go on or you're done.
Speaker 1:Or you just get ear-cooled and you can't be over-earned.
Speaker 2:It's an ear that many people have taken to and then never really came home again.
Speaker 1:Yes, or at least in another way they came home.
Speaker 2:Yes, I know more people who have come home in a kistel. It's pretty sad sometimes in any case, but it's a very, very cute ear that I also have a lot of.
Speaker 1:For me it was a bit of a different side, because I just I never really I don't take stuff and I don't go. I think while my wife is living down there, I've been in the city three, four times, where everyone else goes to the city all the time, because there's always something cool. You can always see something cool and there's always something open, yes, but for us it was a bit of a hiatus to be in the city with nature and try something else.
Speaker 2:Yes, I think it's fun, you say, to be able to have your own concept and go yourself and build these things, or what do you do with it. But you're thinking about toilets and what else to do.
Speaker 1:Yes, I've built, I've had 10 thumbs up fingers and never had anything as a hero. But I've learned that, like down there, the first evening where it rained a lot in Denmark it could rain a lot while a group or a middle-sea storm that rains completely wild and the first evening I've woken up where it rains, where we've made maybe two, three weeks, it just sounds like our whole stage and if you put the classic pans and pots out, it makes music in the studio while it just whilts down. So up and down and week after you make a multi-lid with where you collect pine, what is it called? Some kind of granola, because it makes it smell like it wasn't in the previous heat and you had to shift it. It was completely water-free and my wife sat in the tall white in a 20-degree not 20-degree cold, but a 5-degree warm, you know and in the rain in the rain in the toilet.
Speaker 1:It was wild.
Speaker 2:Yes, but it must have been wild, because you come home, you have a DJ, travel around the world to go to a good hotel, live in a nice place in Denmark, and then suddenly it's like there's nothing that works if you do something yourself in absolute learning by doing.
Speaker 1:I would say one of my healthy things. If I didn't make music, I would always like to be a gardener, so I know a lot of plants.
Speaker 2:I know that. Of course, I think they're more than the ones. You know that. You know a lot of plants and we don't want to get into what it is for someone I can like.
Speaker 1:Those who are very much for trying, I agree, but I'm good at all plants. I have green fingers.
Speaker 2:Yes, that's good and good at taking, but how did you get your child in another?
Speaker 1:country. It was madness, my wife. It's not easy to learn to speak Spanish in a bit, because when you are 1.5 meters tall and red-skinned, at the same time you speak all the languages. There was no doubt that I tried to speak Spanish. I tried to speak Spanish, but I didn't get two yellow-red fingers, so they answered me back. It was a bit difficult, but I've heard that the only thing you should learn is to learn to love. But it was mega difficult to be at the hospital because I was with three women, with A mother and a daughter.
Speaker 2:I don't know if it's a mother or a daughter, I don't know if it's a boy.
Speaker 1:We know what we're talking about, but they don't speak Spanish very well. There were many situations where you got a bit down but you didn't feel completely. We had a lot of friends who helped with the transition to the important things. But it's also cool that you're not alone. You had to buy a car. Where to go? What?
Speaker 2:And the chance to be nice. You think about the whole time.
Speaker 1:The first car we bought, we also bought a four-wheel drive. What's it called A back-wheel drive, a light four-wheel drive, A rear-wheel drive or something like that. But the first one I got. It's also a classic biter example my insurance man. He's a very nice driver, he's a Turkish off-road driver, he's the sweetest driver. He says after we're done, we have to go down if you have any problems. You should know that I'm also a member of the whole insurance company and that's my insurance man, so there was never any problem to see what happened?
Speaker 1:It was a typical biter. You can't really tell who they are.
Speaker 2:And it's a bit of a corrupt death. It's as beautiful as it is to think about it. That's why I'm thinking about living with my child. Is it the state-born or is she a bit of a Spanish?
Speaker 1:In Spain you can't have double state-bornness, but it could be in the old days. She's the state-born we were on the consulate in Mallorca and she was sent in. She's a show-historic because her name is Louis and that means him. So when she was checked out for the hospital, louis was taken, and Louis is a little boy with red hair, with a dog and not a T-shirt.
Speaker 1:So we're going to the law firm because she's going to be in three months, because we're going to pass her. And then we're going down and we're going to the police station and he says I can see her in a day. And we say we know that we know that our little girl has been a little girl since we were born, so he's also a classic Bitta. But I don't know, I'm a bit of a laissez-faire.
Speaker 2:How did she feel down there? Music you have two children. Has she been born with a different view of music than we do? The Danish sons? They're both Danish and I don't know if they've ever been born in Denmark or in Bitta. Is there a difference in their hearing and music?
Speaker 1:Yes, that's right, just because there are two different ways. There's something else. My first wife, who I have my son Aska with, who is 27,. She loved Radiohead, rock and Pistopirgo and they're out there. My new wife, camilla, who is something different, electronic and has a better acoustic sound. It's something completely different. I don't think so. So of course they've got a different. I've never really heard so much music Me and you have talked a lot about it, about the fact that I have you always hear music.
Speaker 1:You hear it in the intro when you're asleep and you hear music when you walk a thousand kilometers a day. Where I hear the music? Because I'm in the studio every? Day from Monday to Friday making music, and when I'm done with that, I can't.
Speaker 2:So you can't really hear it anymore? No, you can. Then you should also play it.
Speaker 1:Then I should also play it Friday and Saturday. So it's a lot of work on the phone and at home in our home, when my dad would like to hear some pop music or whatever.
Speaker 2:Because you're just trying to get the room. Maybe yes or maybe.
Speaker 1:Yes, then my head will run in the air, I think.
Speaker 2:Because you also spend a lot of time finding music for your play and inspiration for making music.
Speaker 1:I think I use it and I've always done that. I've used it at least two hours a day for finding music. And now I'm a bit fast. I'm not in the old days. I should have been in the mood to stand.
Speaker 2:Yes, yes, yes.
Speaker 1:First I had things going and then I stood and played them. It took a lot of time. Now I'm sitting on Spotify and I'm blasing around on other lists and finding inspiration, so it's a bit faster. Or you can go through more yes Than you did when you found 30 boards or 40 boards down in the ground and you should swap it through with it.
Speaker 2:Is that what you've done in? Music man in the old days, because you've just gone deeper into the music today, because it's easier to get used to.
Speaker 1:No, I think I'm not going to sit and calm you down, it's going to be something and there's not even a moped here.
Speaker 2:No, you've been a cuss.
Speaker 1:But I would say that I've inspired you to do something. You've also started in my musical field. You've told me before that you've made band-side albums in the past. You've made some strange bootlegs Beatles, Organic and now it's just deep and dark. I've started out extra. I've had a time in Ibiza where I play the music of the band, so I don't do that, but now it's just been more incorporated into my evening set.
Speaker 2:Yes, because you haven't been the typical zone-dealer in Ibiza, because when you come down and hear the others, there's a big difference between you and the band. But you've had your own style as well.
Speaker 1:Yes, I think so. In Ibiza there's a lot of that ballerica, a lot of lounge-like soul and a lot of positive attitude and a lot of acoustic guitars and Spanish music.
Speaker 1:I've had a different angle of entry, more of a drop, and made some more, so I've made edits and bootlegs really long time ago. I don't play them down there, but at least a little bit, and that's been my thing. I'm the only one who plays. I think there's one called Andy Baxter who plays a little like me fantastic DJ as well, but there's not so many who take that version of the zone-dealer set, so that's been my thing, it's funny.
Speaker 2:It's funny because we're going to get more into it, but it's because it has a lot of things to do with what you think and at the same time, you're a very open-minded person.
Speaker 1:Yes, out of the blue, but you're not always going to be on the table.
Speaker 2:I was standing over there. No, that's true, but it's funny. How do you get that depth of depth? Is there something in you Buddha? Yes, it's something that triggers it.
Speaker 1:Yes, I think so I can like when things get deeper. I don't sit and sit and sing or sing in it.
Speaker 2:Or it's depressive.
Speaker 1:It's depressive. I'm not like that, but I can like when something touches me in a different way, I get happy. The best tracks, I think, is something for me. It's something I always wanted to know. Where there's someone who's gone from one or Rage Age Hicks, where there's lonely tear drops, there's something painful. Yes, I don't know why. Maybe I know it well. Basically, I think my music style changed so much that my mother died, which was a great meaning to me, and from that I also started to listen to other things. I was more and more thinking about things. I started to listen to some green plants. It also made me happy. I heard Rage Age and I'm really happy, but I chose the double side which is deep, like the dark side.
Speaker 1:I always did it. I can like when things get darker and I can't have a good sun.
Speaker 2:But, I'm always thinking about it, but you've been making music and playing music. Have you been in your mother's place and yourself, have you been in the same way as your mother?
Speaker 1:I think that's for all artists, whether it's happy music you make or something, but then it's an outlet. I always said that.
Speaker 1:I always said that it's been my love. I have a wife, but music has always been my lover and it's always the way that if I have a real problem, I can just put myself in front of the computer, I can close it and then it takes 6 hours when I haven't been sad. So it's good to go into it because you're sad about it, but it's also a way to get transported away Because when you sit in it the process is what I love about music. I'm happy with the outcome. I know it sounds smart.
Speaker 2:It's something I like. It's also been for me.
Speaker 1:For me, it's the journey I sit and make it. It's fantastic. You can hope that everything will be fine, and some people think it's just as fine. But it's what I'm doing and you think, wow, is it fine? Where the hell did it?
Speaker 2:come from, it's fantastic to have done something, and it's always fantastic, it's always fun, but it's the journey. It's more about getting away from something and I can remember. It's just because I live a little bit more. It was the pain from your mother's death that made you both do some tracks. I've made a decided track with me. It has lyrics about my sister's suicide, which is quite popular to hear. The intro is a trick that goes from a trick on a goal to a taboo right that chooses to hang yourself. But it was quite insane to get through it now and then. And when I hear it today it means a lot to me.
Speaker 2:It makes it a song, but it was a wild output from something you go through with a pain, but you don't know how you get through it. For me it's not the whole thing. It never comes to that. But it was a very easy one for me and there are not many people who know about it.
Speaker 1:What's the?
Speaker 2:name of the song.
Speaker 1:It's called the Chair. It sounds really good. How do you feel about it? It's just played.
Speaker 2:It's a remix. It's actually our best record.
Speaker 1:I think so too. I think I've played it.
Speaker 2:I didn't know that I had a talk with Karsten Laudermann about lyrics.
Speaker 1:I don't do that myself, you don't know that I don't know what lyrics are On our other album, which is also called Sign Me Out, our first single. Yes, and there was my father's name. Yes, and I was up and standing together with my brother. He was the last one, the last one.
Speaker 2:Yes the last one.
Speaker 1:And where I asked him, not just there, but up to where he was at the hospital. Where I asked him I don't want to create some damons, what do we want? Michelingamad, where he just said I'm so happy, it's crazy, it's over. He wanted to look at his family's pictures. But the song I sang with Fanny and Thomas, it was about something else, something about a love, but for me it was about Sign Me Out. It was like now I'm not giving up, now I want to go on, you're going to give up.
Speaker 1:Go on to another place. Yes, and there are not many who know about that.
Speaker 2:No, I didn't know that.
Speaker 1:No, but I don't think I've told anyone about that.
Speaker 2:And when you hear it today, do you hear it at the same time.
Speaker 1:Yes, I hear it. Some people don't. I'm not the big one who listens to my own tracks. When you're over it, you're over it. I've played it a lot of times with TOM when we've been out playing concerts.
Speaker 2:So did it have any extra meaning when you played it?
Speaker 1:For me, yes, For me it's.
Speaker 2:It's the most I've ever played.
Speaker 1:For me. What I hear is I think about my father, some of the words we got down. I don't need to be here any longer.
Speaker 2:It's almost as if you can make a song, something that really means something to you. It sounds more interesting than making a big hit. We got to make a.
Speaker 1:My father worked on what was called the Lions Club and they made concerts to make money and one of their first concerts was Savage Rose Wow, my father made a poster for it. My father was a graphic designer. He made a poster that I've always had in my home and filled my whole life. And then I was a grown-up and when I started to understand things, I was a huge fan of Anise. She's one of Denmark's best singers yes, one of them. We wrote to her and she wanted to be with us. She wrote a song about her husband, Romano Song. There was no one who knew that. She told us about it. It's fun to be like it's not a big world. You cross it.
Speaker 2:You have to be prepared. It's also the interest you have Exactly. I think that's the way life is. It's something you get in our room. You start looking back and think, wow, that gives you a lot of good memories Today. It gives you a lot of good memories Connecting with you for 20 years. Even though we didn't have much to do with each other, we have done things that we are connected today. Can you tell me?
Speaker 1:We've had some references to the music we built. We've had a friend who we built up to and he means a lot to us A musical cultural group, and that's something you can gather together 20 years later.
Speaker 2:That's right. Both of us and I want to give him some respect. He was the one who started out with music. We've had some great things.
Speaker 1:You know the Grand Old man. There's no electronic music. You can't do anything else than give him a lot of gifts and respect.
Speaker 2:Exactly, he's the one we built up to. We've built up a big band that's done a lot for people and for music. Exactly, and I think it's the same thing you and I did, I think we're very compromise-free.
Speaker 1:You're one of the people I've thought Hold it man, he's even more compromise-free than me. Which one do I look up to? When you do something, you do it completely. Yes. I do you don't do anything at all. You don't go out with music if you don't have a chance when you go into this podcast you go out with me?
Speaker 2:I don't do that. I've always been a bit too casual. I've also been a bit of a jerk.
Speaker 1:I know you're from Freda and Lördham. At a museum you don't have a special.
Speaker 2:No, I'm a bit casual, you do. You do that yourself If you've played badly. It's important to be careful. You play badly and you're still not good, but if you've played badly you can still be good. I've had a night where I didn't play very well. I was very good at playing. I've had other connections. I think it's nice to be in a good mood. You do that too. You call me the day after if you've played Lördham. What's going on? I think it's nice to be in a good mood. I'm preparing myself for that. If I'm going to be a podcast or a goalkeeper, I don't have to be a good handmaker, but I'm doing it seriously. I think that's what you do?
Speaker 1:I don't give out much. I think there are a lot of artists who have their own personal findings. When will they be finished?
Speaker 2:Have you been good or bad?
Speaker 1:I've always been. I think it's the best way to make music with other people If it's myself. There's no deadline. I'm not good at setting it up. Is there some kind?
Speaker 2:of a coincidence, I think so.
Speaker 1:I think it's the starting point in Jacob Mejler.
Speaker 2:He's so talented, he's absolutely talented. He can play and produce. He's so talented he's never done something so dangerous. He's made music for thousands of people. They can't compare to what we can. He was right for me. I think I was right for him. I have a lot more to listen to. My first album. I didn't make it first. I didn't make it number three. I'm more. You can do the scores. I'm quite compromise. It's not good that it could get better. It's the best thing that ever happened.
Speaker 1:I'm so disappointed. I'm one of those who can't hear what people are saying. I don't hear it. You don't want to hear it. You've spent two weeks making hi-hat and a big drum track. It sounds like. Jacob, I've talked to Kenneth Baer several times. He's like you're not your home. What are you doing?
Speaker 2:You're supposed to be doing something.
Speaker 1:I could have done seven tracks, but if you don't feel it, it's as clear as anyone else. There's a big fan of Rick Rubin, his podcast, where he gives advice to musicians and some guidelines. He's got some good advice. I started listening to him and got a comment. He's a big fan. Now it's in my studio where there's Love and Light from Rick Rubin and I think, if he can, I can.
Speaker 2:I can do it myself.
Speaker 1:It's not that bad. And if you're dead and born, gone and away, it doesn't mean much. It's my own fault. It's very faultful.
Speaker 2:It's fun. I'm a little bit off with the fault. I like it. I'm a great fault myself, I know, and you say just as we're used to it. It makes me think that I'm asking everyone if there's music for their digression. Can there be music when Buda is left behind?
Speaker 1:Yes, but.
Speaker 2:You're just afraid to leave Two seconds.
Speaker 1:It's a shame, I don't know. I've been to many digression, the last part, which is really boring, but there's been some quietness. I've played some mantras and some indis and then there's some Danish salmons. I don't know what I've played, I know my.
Speaker 2:Do you know if there's any music?
Speaker 1:Yes, of course.
Speaker 2:It's music. I think you're a fan of music and have made music all your life and you're going to get used to it and die with it.
Speaker 1:My wife's brother would like to have. He said it too late. When I leave he says the numbers somewhere. It's where people just run into the church. But it's an archaic, it's almost a little bent in the hip. But I'm going to play a little bit of a flute, or my son and my dad, whom I hope you'll be able to sing with One more song of course, fantastic Buda.
Speaker 2:It sounds beautiful. It's not a day.
Speaker 1:I'm looking forward to no, no, no.
Speaker 2:But I hope it's going to be long for now.
Speaker 1:Yes, yes at least six or seven years. What time is it now? But actually, thanks for being here, yes, but thanks for meeting me. It was such a pleasure.
Speaker 2:Thanks for joining us at this US Museum of Local Podcast Music, my 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 about youth songs, you can find the list on the Musaerlokals Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the upcoming episodes, which can all be found on Spotify and Potimo. So until next time, let the music continue to be your most trusted lead series. If you want to hear good music and good music in the real world you can find Musaerlokals right under the Musaerlokal town.