I-f

Gerd Janson

Our guest this afternoon is someone has been a constant source of inspiration for DJs, music fans and record collectors around the world. He’s living in the Hague in the Netherlands, and over the years he’s started record labels, Internet radio stations, infamous mixtapes and has had even the odd minor hit. The man by the name of I-f, please give him a warm welcome.

(Applause)

We’ve heard a lot about techno today and its aesthetic, the independent approach and the way to put out records. So, maybe you can talk a bit about your feelings for it.

I-f

Techno died for me in the late ’90s, like ’96-’97. We were heavily involved in it from about ’91 with Unit Moebius. This was all local, in the Hague, in squats, and it was the beginning of our do-it-yourself thing, inspired by Underground Resistance, who we were huge fans of. They put out lots of records, and we thought, “We can do that too.”

Gerd Janson

Maybe you could just explain who Underground Resistance are, for people who’ve never heard of them.

I-f

That’s silly if you’ve never heard of them, but they are an organization in Detroit, led by Mad Mike and for me, they more or less invented the techno thing, because techno also means the do-it- yourself attitude. Make your own music, release your own records, throw your own parties – that’s techno for me.

Gerd Janson

Unit Moebius, the Hague… you mentioned the squats – can you elaborate on what the scene was like?

I-f

I did a record shop in the Hague in late ’92. I met Guy from Bunker [Records], and Jan from Unit Moebius, and they were looking for a distributor for Bunker Records. I’d never heard of the guys, but I listened to their stuff and I was immediately impressed by the minimal sounds. This was already a minimal thing, with no effort made to put a lot of instruments in, because we didn’t have a lot of instruments.

Where should I start? I was a DJ, I had a record shop, I imported and exported records. Then Guy came in with the Bunker stuff and opened a new world for me with the underground parties in squats and things. I came from a different direction, being totally into Chicago house, and I had no idea there was a scene in the Netherlands for electronic music. I’d heard of Speedy J, who was doing things for Plus 8, but that was far away and this was within reach. I was invited to do mixes in the squats, and that is how it started; I made my own music in ’93. I’m dead nervous by the way – I never do lectures, I just DJ and produce in studios and stuff.

Gerd Janson

No need to be.

I-f

Nevertheless, this is how it started. The underground scene started in 1992 when me and Bunker met.

Gerd Janson

Maybe we can hear something from them? And they’re all kind people here, no need to be nervous.

I-f

No, I know, I won’t be eaten today. I don’t have any Bunker records with me but I can play you one of my first records. No, I don’t have acid [house] with me because these days are long gone, but I can play you one of my very first records. Hold on a second… Yes, here we go, here it comes.

(music: I-f – “Portrait of a Dead Girl”)

Gerd Janson

Why do you think this sound appealed to the squat scene? You’d think they’d only listen to punk…

I-f

No, no, no, I even managed to introduce Italo-disco to the squat scene. It was a matter of knowing things and not knowing. There was a lot of music I didn’t know they introduced me to, like minimal wave, for instance. I wasn’t totally into that, but it got big for me personally. It had the same attitude, punky and obscure, and the best songs only came out on tapes or 7”s. Never with large record deals or distribution, just small record labels where people make records and distribute themselves. We did the exact same thing with electronic music.

Gerd Janson

So, here we are again with the do-it-yourself thing.

I-f

There was no other way, because nobody else liked our music, so we were forced to do this. We were lucky, I’d just started up in distribution and had some contacts for selling records. This is how it started: if one label goes, another one comes, and soon we had our own little imperium.

Gerd Janson

So, how did you do it in the days before the golden age of sending links for downloads?

I-f

Telephones. Huge bills from playing records on the telephone. “How many, how many?” That was the only way to do it or send promos.

Gerd Janson

And you also got in touch with the person on the other end of the phone, right?

I-f

I think it was a person I spoke to [laughs].

Gerd Janson

No, I meant because you said there was this wave, all of a sudden, from all corners.

I-f

Yeah, it happened fast at that moment. This was the way the music turned around the major industry, because they were never interested in something they thought they couldn’t sell. But, later on, when techno was established came the big record deals, which meant the end of techno.

Gerd Janson

That’s why you said in ’95-’96 it kind of died for you.

I-f

Yes, but also the parties. We noticed half the people came for the music we played and the other half came for the drugs. One half is still around, the other is dead or in rehab.

Gerd Janson

There’s another record you wanted to play, right?

I-f

Yes, along with “Portrait of a Dead Girl,” this was a very important track for me; lots of anger and frustration. It’s called “Superman”, and it’s from the “Portrait of a Dead Girl” series. I was lucky Disko B liked the songs we played in Munich, otherwise it never would’ve left the Hague.

(music: I-f – “Superman” / applause)

I actually can’t remember why I was so pissed off and frustrated, must have been something.

Gerd Janson

Whose voice is on there?

I-f

It’s mine, talking through a headphone through a Boss effect. The synthesizer’s a Pro-1 and the drum machine is an 808.

Gerd Janson

You said major labels weren’t interested in that kind of stuff, but shortly after this you did a track we should listen to.

I-f

I did a few more tracks in between under a different alias, working with some other people. We did The Brothers Fuck, Lonny & Melvin, and I think that was it. But we did the Murder Capital series, then this super hit. Stand by.

(music I-f – “Space Invaders Are Smoking Grass”)

Gerd Janson

And how did you deal with all the sudden recognition?

I-f

I actually didn’t deal with it, I ignored most of it. But it saved my ass, because we were going bankrupt again due to problems and shit. It was a good deal.

Gerd Janson

But other people would have taken advantage of that, trying to make another “Space Invaders,” and another, and maybe another.

I-f

I got offered album deals like that, but I’m allergic to things you have to do in a certain time. I can’t function well like that. I need this freedom to either make an album or not make an album. I get fed up with something, or want to make another sound or another project. It’s not good for my sleep.

Gerd Janson

And when was the last time you made music?

I-f

2003 .

Gerd Janson

Because you’ve been occupied with another project?

I-f

In December 2002, I started the Cybernetic Broadcasting System, the C-B-S internet radio station. I was always doing radio, even before I had a music career; pirate stations in the Hague and Rotterdam. I was always DJing for those, and was sometimes involved in putting transmitters in elevator shafts, and a tiny one in someone’s house, so if the police came, they’d get the wrong one and not the people behind it. We were fanatical about making mixes and doing radio shows locally. We played everything from disco, Italo, electro, acid, Chicago… we’ve always been playing this kind of stuff. Thanks to the internet, it was possible to do a really cheap radio station and people could tune in worldwide. That’s the amazing thing, you’re suddenly not just doing it for your neighbors and your street. The entire world could tune in.

Gerd Janson

And there was quite a community around it.

I-f

I never expected it to happen because my thing was just getting the music out. One minute without the music being streamed, I consider a loss. It’s very important that this music is always available in the form of radio if you want it. There was a forum, almost a code around it. We did parties in Rotterdam, because this is the best place to do parties, very central, very cultural. It got out of hand… earlier this year, I stopped the station because it was at its max. It was doing well, but the future wasn’t so bright and the concept was also its limitation. Sometimes you have to destroy something in order to continue. And there’s a new station coming.

Gerd Janson

And the name of the new one?

I-f

Intergalactic FM.

Gerd Janson

Why were you dissatisfied with it? Was that the concept from the start, to do a radio station for a short period?

I-f

It started more or less as a joke, and the name C-B-S was a parody on the major CBS – the all-seeing eye; we had the all-seeing UFO. We put all this music in one stream, from minimal wave, soundtracks, Italo, disco, but that was also its limitation. Most of our listeners are listening at work. Sometimes it’s a problem for people to switch styles – for me, it’s no problem, I can listen to anything at any time – but the switch from obscure soundtracks to Italo disco and then to minimal wave was too extreme. With this new station, there are three streams with plenty of variation per stream, but you can choose according to your taste.

Gerd Janson

And how are these three streams separated?

I-f

Channel 1 is the west coast sound of Holland, which is anyone involved in and around the Hague electronic music scene, but also across the border. Clone Records is involved, Rush Hour Records, the Hot Mix Bunker Crew are involved. Boomkat from England are involved, Stefan Robbers from EevoLute will do a show. We have plenty of people from labels with a solid musical background who we want to give airtime to. IFM2 is the Dream Machine: soundtracks, space, obscure, waves, acid, at designated times. You know, dreams and nightmares. And IFM3 is classics, disco and Italo.

Gerd Janson

And this gives you more satisfaction than sitting in the studio and making music? Because I imagine it’s time-consuming.

I-f

Yes, it is, but I have plenty of time. I lost interest in producing music, but also due to practical problems – after I moved, I couldn’t make noise in the place where I lived, I couldn’t produce. If I even looked at an 808, the neighbors complained. But radio is pretty practical and anonymous, unless I start screaming into a mic.

Gerd Janson

But you couldn’t rent a studio?

I-f

There were no funds for that. The good news is we found a place deep down underground, where we can make noise 24/7, so the production studio will be built up again. And the radio station will go there, too, lots of live action, phone-ins, contests. It’s gonna be good.

Gerd Janson

You’ve mentioned Italo a few times. You did a famous mix CD called Mixed Up in the Hague Vol 1. Maybe you can talk about that, because there aren’t too many Italo tracks on there, but it’s often cited as being responsible for the revival of that sound.

I-f

That triggered the C-B-S radio station. This CD had a massive impact, although it was just a demo CD for my DJ set. I thought it was a good idea to do a demo, because there was a lot of confusion about what I played. Lots of people still thought I was on my acid trip, doing loud, nasty Beverley Hills 808303 acid, but I hadn’t done that for years. I played lots of old Chicago house, not so hard anymore. That’s why I made a demo, but it got out of hand.

Gerd Janson

Do you have something with you from that CD?

I-f

I’ve got plenty of classics with me. This isn’t on Mixed Up in the Hague, but it’s one of my later favorites. I didn’t know the track at the time. I think I destroyed the CD player. No, I didn’t [laughs].

(music: Alex Valentini – “Beautiful Life”)

Italy was very important for dance music, not just in the ’80s. In the ’70s there was Claudio Simonetti who did a lot of soundtracks. Easy Going was huge in the early ’80s disco scene.

Gerd Janson

Maybe you can elaborate more about your fascination with Italo disco. You talked about the lyrics.

I-f

I love melody, bassline and sexiness in tracks, things I miss in modern music. Sometimes you can hear it in stuff from Omar S and Theo Parrish, I’m a big fan of both of them. There’s something really warm and straightforward and honest, something you remember next time you hear it. It has character and lots of modern music doesn’t – no personality. I miss that, it doesn’t all have to be cold and stripped and druggy.

Gerd Janson

Why do you think it is like that?

I-f

Lack of talent? It’s so easy to make a record these days, and that’s a good thing, but the bad thing is music has been devalued. Many things you hear now sound like someone’s first record and will always stay that way. I wouldn’t even play you my first record, because I think it’s awful – there’s nothing in it, but you’re just so enthusiastic… I understand the feeling, “Wow, I did this, I pushed the buttons and this is coming out of it.” It takes a while to understand in-depth how synthesizers work, how you record a track and the problems you encounter if you want to lay down a good mix. You can’t do that like in the old days with the acid tracks where, if the VU meters didn’t move any more, we started recording.

Gerd Janson

So, it was a completely live take?

I-f

More or less, yes.

Gerd Janson

Do you think we need more filters, not like in filter house, but…?

I-f

We need more bass. Basslines. Sexy basslines. And good strings. You don’t need an orchestra, you can do it yourself in your studio. What’s wrong with a deep, funky bass? I’m a sucker for a good bass.

Gerd Janson

I didn’t mean filters as a technical thing, but musical filters, because you say too much is coming out.

I-f

A music dictator, you mean? [Laughs] No, I don’t think that’s a good thing, but you can be a bit more self-critical. Initiatives like the [Red Bull Music] Academy are very good, because you never stop learning in music. I’ve been here a day, and seen so many things I didn’t know existed. You’re never ready as a producer. It’s good to hear other peoples’ experiences and try to put in as much of yourself as you can. I did that when I worked with Intergalactic Gary on the Parallax Corporation. He’s a very patient man, especially for string sounds, and we can work together very well. We spent a year recording that Parallax album, and in the old days it took like two days. But there’s much more in it – anger, sex, happiness, frustration, whatever – it’s not so sterile.

Gerd Janson

So, patience is a good thing while making music?

I-f

Yeah, sure.

Gerd Janson

And who is Intergalactic Gary?

I-f

He’s an amazing DJ. He’s been around even longer than me. He’s always been a club DJ, and now he’s traveling abroad to work. He’s one of my favorite DJs and makes super-tight mixes, has an amazing knowledge of music and has very good sounds…

Gerd Janson

Speaking of favorite DJs, Mixed Up in the Hague made you a favorite DJ for a lot of people. How do you feel about being put on a pedestal, a cult leader? You don’t seem too comfortable with that kind of position.

I-f

No, you get pushed into a political corner and I’m very allergic to politics, it really destroys entire music scenes. People think too politically, and that makes me a bit scared. Also, like I said, at Acid Planet in the Hague we did these non-stop, sick acid mixes. It was like one big nightmare, for two or three years. But then suddenly, it was enough. As a radio DJ, I’d always had more variation in my music. The problem is with a big record deal, you make a “Space Invaders” and the label expects three more albums of “Space Invaders.” If I want to mix it up with disco or Italo, I should be able to do that.

Gerd Janson

So, maybe we can listen to something else. Is there something you’d like to play?

I-f

I’ve got some really juicy disco, one of the best disco tracks ever made.

(music: Number One Ensemble – “Back to Heaven”)

This is also from Italy, in 1980, for me the Number One Ensemble, an instant push-button happiness record. [applause] Without getting nostalgic, I miss this sound. Fat basses, the nice girls singing.

Gerd Janson

But you had to put a helmet on when you played it for the first time at those acid parities?

I-f

A leather helmet, yes. No [laughs]. We didn’t play disco at the Acid Planet parties, just acid, Chicago acid, Hague acid, maybe another style, but disco was a no-go then.

Gerd Janson

And you are also running a record label?

I-f

Not really, but Viewlexx Records and Murder Capital Records still exist. The last thing that came out was Novamen with “Lies,” and there’s a plan to release another record. But I’m not too anxious to release records, I think I can do way better with radio. You can make a lot more music available for a lot more people at the same time.

Gerd Janson

So that’s your thing, to make music available to people?

I-f

Yes, I have an incredible drive to push music that I think has something in it.

Gerd Janson

You’re more interested in the radio side than the record business?

I-f

I’m more or less out of the record business and, to be honest, I couldn’t care less about it.

Gerd Janson

Is that because of the economics?

I-f

Partly, but also I’ve been there, done that. I’ve had all the joys and troubles with everything – publishing, releasing, distributing, making the records, pressing the records. I don’t feel it anymore, so I shouldn’t do it.

Gerd Janson

But you still buy records?

I-f

No.

Gerd Janson

So how do you get music?

I-f

I get an amazing supply every day for the radio station from labels everywhere. I find my music in the strangest places. I also pick up my old records and re-edit them to make them more suitable for the dancefloor. I sometimes buy digital and download stuff, but I don’t buy vinyl any more.

Gerd Janson

You don’t like vinyl?

I-f

I love vinyl, but I’m annoyed that if you want to buy an old record you have to spend at least €50 on it. That’s bullshit. Music is made to be heard, that’s why people make it, not to see it end up in some obscure collection with someone who will not play it for you.

Gerd Janson

Raoul is right there.

I-f

But Raoul always plays his records for me.

Gerd Janson

You shouldn’t have put out Mixed Up in the Hague, then all these people wouldn’t have wanted to buy them.

I-f

I never saw that coming.

Gerd Janson

And another thing that’s controversial is the re-edit culture that came along with it.

I-f

I play a lot with CDs lately and I can be way more creative as a DJ with CDs because I can make my own edits and my own breaks and play whatever I want within minutes on the dancefloor or on the radio. I don’t see anything wrong with it.

Gerd Janson

I meant making an edit and pressing it up.

I-f

That’s bootlegging and I’m not in favor of that. You’ve got to take care of the artist.

Gerd Janson

There were also a lot of bootlegs of the tracks from Mixed Up in the Hague.

I-f

I didn’t do it.

Gerd Janson

And you can’t control it.

I-f

No, it’s out of my league.

Gerd Janson

How do you feel about it?

I-f

I don’t feel anything about it, I just think you should pay the artist if you release his record. I re-released “Robot Is Systematic” by the ’Lectric Workers and I just asked, “Guys, can I do this and you get the mechanical royalties?” And they were so happy, not with the money, because it was only about €300, or not even, but just the recognition for the artist, that someone shows interest in what they did. They’re already past music – I don’t know what they do, but not music – and it’s such an acknowledgement for the artist that 20 years later someone wants to remix their record.

Gerd Janson

So, you think it’s a matter of respect to ask?

I-f

Yes.

Gerd Janson

And what are mechanical royalties?

I-f

That’s the amount you pay to Gema, Stemra. When you press a record at a legal pressing plant you pay 90c per record that goes directly to the artist per pressed copy. I think that’s a good thing.

Gerd Janson

Do you have something current? You mentioned Omar S and Theo Parrish.

I-f

I think I forgot all my new stuff, because I’m only playing in Spain this week and they only like the old stuff. But I want to play you “Lies” by Novamen. This is why I reactivated Viewlexx last year, because I think this is amazing.

(music: Novamen – “Lies”)

Gerd Janson

So, you won’t manufacture a CD?

I-f

If you want a CD to be manufactured, then you pay for it. If you want to burn your own CD, you can do that.

Gerd Janson

But with your new stuff, it will only be online, you won’t make a record?

I-f

There will always be records because I’m romantic enough to always make a vinyl pressing.

Gerd Janson

But how should an artist get paid for online sales?

I-f

Give away the mp3s for free and if you want audio files you pay a small fee.

Gerd Janson

For the WAV file? OK, this gets me back to internet radio, where everything is available on demand with instant gratification. Do you think people still have the patience for a radio show?

I-f

If you add value to it, with live transmissions and special shows by third parties, people will definitely listen. That’s my experience with C-B-S, when there was live action or a special show – we had wave specialists and space specialists, and there were always a good number of people listening. And trainspotters, too. You always discover new tracks from other people.

Gerd Janson

And why do you think your sound is so popular in the Netherlands, with people like your peers and a label such as Clone? What is it about your new-breed electro Italo thing that appeals to so many people in the Netherlands?

I-f

That’s a good question. It’s a good scene, because it’s an old scene. We’ve been together a long time, since the early ’90s, and slowly more people have got involved. Really great producers like Alden Tyrell, DJ Overdose, Mr Pauli and so on. The thing we always do is support each other, with advice, machines, whatever. The distribution is close to hand, Clone in Rotterdam is selling our stuff. It’s very easy to communicate, and everyone is pretty straight-up about things.

Gerd Janson

So, you’d recommend having a collective, rather than being a lonely soldier?

I-f

There are plenty of outlets for lone rangers. But if everyone is his own boss, has total freedom in what he or she does, there aren’t too many rules or politics, then you will survive.

Gerd Janson

I was also looking to hear about Rams Horn. There was always this love for...

I-f

Rams Horn was really shabby. This organization put out a lot of people’s records without telling people.

Gerd Janson

Has anyone heard of Rams Horn?

I-f

Let’s keep it that way.

Gerd Janson

But they had a nice sleeve design, at least.

I-f

Really? It sucked, I think.

Gerd Janson

I like it. Do you have anything they exploited?

I-f

If there’s an old disco track, Rams Horn exploited it. But I’ll play you some real electro that inspires me constantly. It’s Michael Jonzun who did the Jonzun Crew back in 1982.

Gerd Janson

Maybe we should open it up to the audience.

Audience member

I’m Felipe from Peru and I was wondering if you could tell us the lyrics to “Space Invaders.”

I-f

“Space invaders from outer space / Space invaders, they’ll take your place / Space invaders, they’ll kick your ass / Space invaders are smoking grass.”

[Applause]

I thought everyone knew those by now [laughs].

Audience member

I think I appreciate techno music even more now. When I came to Barcelona, the first gig I went to they were playing techno and I didn’t know what was going on, it was crazy and hectic.

I-f

Where was it?

Audience member

One of the big clubs, called City Hall Theatre or something. I think it was you playing [points to someone in the audience]. I didn’t really understand it before, but I think I understand more now about what you feel when you make techno.

I-f

There is nothing to understand, you just have to feel it. I have this with heavy basslines, melodies, disco, drums. I can’t really describe it.

Audience member

It’s a funny feeling. Some people don’t understand my music, but I have a deep feeling for it.

Audience member

I have two questions, one is what does I-f stand for?

I-f

Interference.

Audience member

Cool. The other is, how does a DJ who plays hardcore techno in squats fall in love with one of the cheesiest genres of all time?

I-f

It’s the other way around. I come from the mid-’80s, early ’80s, when there was disco, electro, Italo, all that stuff. Then, because of the Chicago thing, I thought Armando and DJ Pierre were heroes, with their 303and 707and they had such incredible grooves. They were basically my instruments, and I just started ranting out tracks. This clashed with the Bunker guys, and this is how it all happened. I was away in a crazy trip for two or three years with this acid and techno thing, then I went back to normal.

Audience member

So, it was from cheesiness to hardcore and back. Is there a thread connecting them? Do they have anything in common?

I-f

The 303 was used in more experimental but still danceable Italian records from ’83/’84. It was a weird instrument – as a bassline it was a failure. It was meant to be a bass synthesizer but it didn’t quite work and then the Phuture stuff came and opened up a whole new thing. Alexander Robotnick was big with the 303, he was one of the first who could program it…

The first time I visited Chicago I found the missing link, because this Italo stuff was huge, huge, huge there and this inspired the Chicago guys to do their own thing, in their own more stripped way. Alessandro Novaga, a producer from around Rimini, was one of the first to make house. He made a record called “Drums” and it was just like a 707 and a bit of an 808 kick. It’s a bit of a boring record, but I found out it was huge in Chicago and this is how Jesse Saunders got the idea for “On and On”, the repetitive, stripped, funky stuff. There definitely is a connection, yes.

Gerd Janson

Do you have any of those tracks with you? Phuture? “Drums”?

I-f

No, no, no. You can find basically anything online. I think that’s a good thing, the record industry shouldn’t be complaining about that.

Gerd Janson

I don’t think they’re complaining about that, simply that they won’t earn any money from it.

I-f

Oh well, just become a DJ, that’s where the money is. And for a band, it’s in performing; this is where the money is. I hate to be the one to tell you, but these are the times: Promotion for what you do, a record or a mix CD. All producers are basically DJs, or they perform live with their laptop set-up. This is how you make money.

Gerd Janson

So, you should feel as comfortable on a stage as you are at home in the studio?

I-f

I feel very comfortable on a stage DJing, but not sitting in a couch talking – this is not my thing. I love to DJ, although every DJ will have experiences that totally suck, I’m still always up for it. I’m more a DJ than a producer, it turned out. Because, as I told you, I have this unstoppable drive to play music. Sometimes within five minutes you’re in an empty room playing for yourself. That happens. It comes with the job.

Gerd Janson

But you have to sit a bit longer on this agonizing couch, because there is another question.

Audience member

You played Michael Jonzun, and I guess he was a great influence on some people who’ve had some airplay on C-B-S, like Egyptian Lover and Arabian Prince, who you could call early West Coast hip-hop. I was wondering if you ever would’ve described yourself as a hip-hop fan, and are you feeling it now?

I-f

Not really, but for me that comes with the electro category. I loved the old school hip hop like MC Shan, Schooly D, Mantronix. Later, it became too much of a product, but I wouldn’t say I don’t like hip-hop because I still hear good tracks now and then.

Audience member

Ferenc, it’s your old pal. Bunker, Atlantik Wall, what’s the fascination for World War Two with the whole aesthetic these labels display?

I-f

The Bunker philosophy – Guy Tavares is the owner of Bunker, so I won’t talk too much about him, but he is a major freak for bunkers and the Atlantic Wall and we were always very proud that we were part of the Atlantic Wall in the Hague. Our dream thing was to have our own bunker where we could produce music and make noise and walk out onto the beach. This is our fascination with bunkers and World War Two… Bunker uses the old Panzerkreuz [military symbol used in WWII] from the Germans, and the philosophy behind that is that it’s very clear and hard, and no bullshit. That’s the Bunker thing, like concrete and no shit.

Audience member

Do you think the Hague also has a special thing with bunkers because of its historical background?

I-f

Yeah, the Hague was part of the Atlantic Wall and during the war the Germans had their headquarters there and they loved it, it’s a beautiful city.

Gerd Janson

It’s not related to politics?

I-f

No, politics is bullshit, but the government is there. The Hague is a very political city, but we like to avoid it because you get this scary political correctness which goes against my idea of freedom of speech.

Gerd Janson

Any more questions?

Audience member

Do you think Fischerspooner are the ones who made “Space Invaders 2” and “Space Invaders 3”?

I-f

Probably. In ’96/’97 there was a second wave of electro coming up… There was Adult, Ectomorph from Detroit, there was Electronome, I-f. There was a movement all at the same moment, this just happened. Fischerspooner came later.

Audience member

The Hacker…

I-f

But that was also ’97,’98, he came with his thing at the same time. We had long discussions about that.

Gerd Janson

I think he’s referring to – and the word we’ve been trying to avoid in the last two hours – electroclash.

I-f

I was also blamed for that, and to be honest, I don’t know what the definition of electroclash is. Maybe it is “Space Invaders Smoking Grass,” but it got a bit slick, commercial and a bit smelly.

Gerd Janson

Electrocash.

I-f

Yes, yes. This isn’t what we stood for. “Space Invaders” happened because I wanted to make a record like that, I wanted to use a vocoder and make a record with space invaders. And when it was done I was satisfied with that. Cool. Move on.

Audience member

Who are your favorite young producers, people who haven’t been around for many years?

I-f

Like now? Omar S, Theo Parrish.

Audience member

No, I’m asking about young people.

I-f

Roberto Auser from Rotterdam, he’s extremely productive and very talented. It’s possible he’ll do something on Viewlexx… I’d love to carry some of his tracks. Mr Pauli, he’s been around for a while, but he’s been reborn, his music is amazing and his live set too. I’m not often impressed by live sets, even my own – I’ll never do that again, it was terrible.

Gerd Janson

Why?

I-f

I can express myself way more playing records than playing live sets. I always blow up my head and scream through the microphone. I’m a bit silly when it comes to that. Shit happens.

Audience member

I was wondering if the Belgian scene – because there was a big Belgian scene in the early ’90s – whether that had any effect on the Dutch scene, or was it more the other way around?

I-f

I’m not sure what scene you mean?

Audience member

Like Cherry Moon, Boccaccio.

I-f

No, I think that was on its own, people from Holland went to Boccaccio and Cherry Moon to be there. They were very important for Belgium, and I think it’s strange they’ve gone… there’s almost nothing left there.

Gerd Janson

Have you been there?

I-f

I went to Boccaccio once, but I crashed my car the same night, and never went back again. It was an intense experience.

Audience member

If you don’t buy vinyl anymore, how do you get the stuff from Omar S?

I-f

I get the digital stuff from Omar S.

Audience member

Does he sell digital?

I-f

I have contacts with Clone, who get promos. I got stuff that nobody has [laughs].

Gerd Janson

He mentioned Belgium, was new beat something…?

I-f

No, that passed me by completely, there was nothing in it for me.

Audience member

Rotterdam, the Hague and Amsterdam all have their little scenes. Was there a lot of rivalry between the scenes?

I-f

The Amsterdam scene is non-existent for us. There are some producers from Amsterdam who are involved in our thing – we call our sound the west coast sound of Holland – but Amsterdam isn’t really part of that, only a few key figures. We’re also working with the Rush Hour shop for Intergalactic FM and I’m very glad about that because it’s always been separated. Amsterdam is nice if you’re 16 and want to be naughty and smoke bad joints in a coffee shop, but if you want the action and the intense club life, you’ve got to be in Rotterdam. For the last three years it’s been really booming. The scene isn’t just the Hague anymore, it’s expanded to Rotterdam, and that’s how the West Coast scene got started. There’s been some involvement from Amsterdam and other parts of Holland, but Amsterdam is really a bit dead, there’s not really any club life. There was Club 11, which was really insane, but I don’t know what happened, there’s not much going on in our field.

Gerd Janson

OK, so let’s call it a day. The man like I-f…

[Applause]