02.10.2019 | Words by: Elisa Luengo and Luc Mastenbroek
Luc: You told me briefly you went to Groningen for the first time, to go to Fafi and Miss Jay’s HOMOOST party at OOST, how was it?
Elisa: Yeah, I’ve been wanting to visit OOST for a long time and promised Fafi and Jenny to join for a dance (and skinny bitches) whenever I had a free weekend. Perfect excuse to explore outside Amsterdam territory. It was very refreshing! Super sweet team, I have a weakness for soft-hearted people. Unfortunately, I didn’t get to eat this Dutch deep fried “delicacy” called eirenballen. Maybe for next time.
L: And how was the (not so) ambient room?
E: I loved when Hajar, who is part of a queer refugee group called SEHAQ
, played Arabic songs and everyone in the room started dancing to them. She’s the first Moroccan lesbian to be publicly out of the closet and has just been granted asylum in The Netherlands. I grew up in Tangier so her story and the music she played really touched home. Then Nocturnal Femme played super beautiful ambient surrounded by huge decorative dildos :) what about you? Did you get over the post Sustain-Release blues and enjoy the weekender right after?
L: I actually came back with restored faith and new energy. And many nice memories: DJ Python at the basketball tournament, Perila at the Bossa stage, DJ Voices and AceMoMa at the rainy and smokey poolside. Experienced my first ever jet lag when I came home Friday afternoon so had to miss Philou's set on Friday, but the weekender was a great welcome home party. A few highlights > Stellar Om Source, whose liveset went from acid, Orbital-like house and Legoweltian synths to vocal deep house and big-room italo. Tammo's garage set, Resom in the garden. And I'd never met Héctor Oaks before and learned he does the techno-I-like. Faith restored again. Before NYC you went to see uhm Ariana Grande right?
E: Yeah, me and at least 15,000 teenagers… ha, nothing to hide! You know I love pop music as much as I love dance music. Ariana’s Sweetener album was our main office soundtrack for 2018. Sad you missed out! Anyway, what are your thoughts about November’s program?
L: For me, November’s program is a bit of a blueprint of what we’d like to do next year. The nights with double rooms especially. Avalon does her own one where she plays all night with JASSS, while Jondo, Oceanic and me play upstairs. Shanti is releasing her debut album in November so she will play in Het Muzieklokaal together with Peach and Elias, with Freddy K and Job Sifre returning to the basement. And maybe my favourite: Or:la and D. Tiffany (she was great at Sustain too and I love everything about her label
) upstairs, and a rare appearance of Silent Servant with Volition Immanent and Interstellar Funk in the basement. You’re probably the most excited about Aurora Halal and Laurel Halo’s night right? That night is almost an anagram!
E: I’m happy we could find the right match for Aurora after Sprinkles. But looking at the whole month, I can’t choose. The double-room nights are definitely highlights but I think that the Fridays also spice it up. BADSISTA, Special Request, Zaliva-D, DJ Assault… I’m honestly going to spend every night locked in the basement.
L: Also in November we’re going to Le Guess Who, right? Crazy to get the chance to see Jenny Hval, Dough Hream Blunt, Holly Herndon… I’ve read an interview where Herndon explains the influence of this technique called sacred harp singing
on her PROTO LP. It’s a centuries-old religious music genre from Alabama that I fell in love with through this compilation
. But when Herndon talked about it I actually started noticing the connection. Really, if you listen to some sacred harp songs
before putting on PROTO it has a special effect. Like how fries taste better after a day of swimming. And besides Le Guess Who, there’s many Subbacultcha
concerts I’d like to see: Erika de Casier is playing s105 in two weeks, and in November there’s Moor Mother, Kedr Livanskiy at Garage Noord, Carla dal Forno at OT310. You were really busy today, did you manage to wrap up the talks for ADE?
E: It’s been a looooong day. For months, I’ve been trying to set up these talks about music rights together with a team of colleagues and friends (shout-out to Donelle, Mike, Lucy and Ron!). It all started with Barker and Mat Dryhurst’s twitter discussions
about the economics of music production
. I was happy to see how RA
and some other media picked up the issue and wondered what could we, as De School, do to contribute to the conversation. Providing the physical space for it seemed like a good start but it’s been quite a long process. Finally, we’ve set up two panels. The first one is about copyright, neighbouring rights, the role of collecting societies and music-recognition technology. In the second one we want to explore alternative income sources for producers apart from gigs (publishing, licensing, sync…). It’s quite a complex topic so we’ve been having some troubles in finding the right speakers. But anyway, we worked our way through and we’re ready to announce the event later today. It’s happening during ADE on the evening of Wednesday October 16th. It’s free of charge and everyone is welcome to join!Tickets for all our November nights are now for sale.