COMPILATION · TOUR · INTERVIEWS · SOUNDFILE

NO WAY TO NORWAY

OSLO RECORDS | CD & TOUR | OCT 2011 – JAN 2012

Oslo's debut compilation CD 'NO WAY TO NORWAY', which is compiled and mixed by its label head Federico Molinari, attempts to put the focus firmly back on the DJ.

The special mix CD contains only unreleased and exclusive tracks from 20 of the most exciting producers in underground house and techno. And in a major break from tradition the mix album does not have a tracklist. Instead it comes with only an alphabetical list of the artist contributors, which means the listener will not know which producer made each track. That's not to say that the Mannheim-based label doesn't respect its artists. On the contrary, by keeping the CD's tracks completely anonymous it allows the listener to fully immerse themselves into the mix without prejudice. And with all of the contributors shown equal respect and disregard, the listener is more able to fully appreciate the artistry behind the mix.

Altogether 20 known and respected artists (mostly Oslo favourites, some new to the label) provided 18 exclusive and unreleased tracks for 'NO WAY TO NORWAY'. They are: Christian Burkhardt, Damián Schwartz, Einzelkind, Ernesto Ferreyra, Franco Cinelli, Guillaume & The Coutu Dumonts Feat. Qzen, Ivel Tax, Johnny D, Juan Sorrentino, Skipson, Leonel Castillo, Maayan Nidam, Michael Melchner, Markus Fix, Noidoi, Reboot, Ray Okpara & Nekes and Sascha Dive.

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NO WAY TO NORWAY | TOUR

In support of its forthcoming debut CD compilation No Way To Norway, some of Oslo's respected DJs and artists will embark on a three-month European-wide tour.

From October 1st, the label from Mannheim will take over hot dance spots in Germany, France, Britain, Ireland, Belgium, Austria, and Switzerland.

As well as the compilation's creator Federico Molinari, Europe-based clubbers will be able to catch performances from some of the CD's contributing artists including Christian Burkhardt, Nekes, Johnny D., Einzelkind, Damián Schwartz, and Guillaume and the Coutu Dumonts etc.

01.10. START @ Cargo London UK | Christian Burkhardt · Nekes
15.10. GEBÄUDE 9 Cologne GER | Federico Molinari · Johnny D.
22.10. LOFT Ludwigshafen GER | Federico Molinari · Nekes
29.10. DAS ZIMMER Mannheim GER | Einzelkind · Federico Molinari · Nekes
04.11. POD Dublin IRL | Christian Burkhardt · Damián Schwartz
12.11. DANUBE RAVE Linz AT | Christian Burkhardt · Federico Molinari
18.11. WATERGATE Oslo vs. Raum...musik Berlin GER |
        Christian Burkhardt · Damián Schwartz · Federico Molinari · Guillaume & the Coutu
        Dumonts · Johnny D. · Maayan Nidam · Nekes · Sascha Dive · Ray Okpara · Vera
19.11. CLUB 102 Düsseldorf GER | Christian Burkhardt · Federico Molinari
20.11. PEARL Lyons FR | Federico Molinari · Nekes
26.11. InsideOut Newcastle UK | Christian Burkhardt · Federico Molinari
02.12. PRATERSAUNA Vienna AT | Damián Schwartz · Guillaume and the Coutu Dumonts
03.12. KANTINE Konstanz GER | Johnny D. · Nekes
16.12. CHACA CHACA München GER | Johnny D. · Nekes
17.12. VIA FELSENAU Bern CH | Federico Molinari · Johnny D.
24.12. DAS ZIMMER Mannheim GER | Federico Molinari · Johnny D. · Nekes · Ray Okpara
31.12. ZEBRA Bacau RO | Federico Molinari · Noidoi
06.01. ROCKER 33 Stuttgart GER | Christian Burkhardt · Johnny D.
13.01. SECRET WAREHOUSE - RESOLUTE pres. OSLO New York USA |
        Damián Schwartz · Federico Molinari
14.01. WEEKEND Berlin GER | Einzelkind · Ray Okpara
14.01. EVE Miami US | Damian Schwartz · Federico Molinari
21.01. CLOSING @ FABRICLondon UK |
        Damián Schwartz · Federico Molinari · Ray Okpara

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INTERVIEW WITH FEDERICO MOLINARI

Oslo boss Federico Molinari explains the thoughts, processes, and special concept behind his label's debut CD compilation 'NO WAY TO NORWAY'. Mixed by Molinari, it is Oslo's first ever mix CD and features 18 exclusive tracks from 20 of the most exciting artists in underground house and techno. It also comes without a tracklist. Federico Molinari explains more.

What is 'NO WAY TO NORWAY'?
It is the label's first CD compilation and our first ever mix CD. It is also so much more.
The compilation includes only new, exclusive, and unreleased music. It also comes without a tracklist - instead there is only an alphabetical list of all 20 contributing artists. The reason for not including a tracklist is because we wanted people to listen to the mix without prejudice. A DJ mix should be considered in its entirety, and listened to from the beginning until the end, it doesn't matter who made the first track or the fourth track. At least, not for the first couple of months. In January 2012 the digital unmixed version of the compilation will reveal which artists made which tracks.

Why does it matter if the listener knows who created each track?
A DJ mix is a carefully sculptured work. However in our digital, micro consumption world, I feel that the art of the mix CD has become lost somewhat. A mix CD is about a journey - a carefully constructed voyage of sound that has a beginning, a middle, and an end. A tracklist provides the listener with knowledge that can reduce some of the anticipation and drama that a DJ has attempted to create. If you know what is to come then you end up waiting for specific moments from specific artists, rather than just sit back and listen as a passenger.

So for the moment we don't know which producers contributed to specific moments, but we do know which producers supplied tracks for the compilation. Can you tell us more about them?
Most of them are Oslo or Love Letters From Oslo regulars. Altogether 20 artists contributed 18 tracks to the compilation. They are Christian Burkhardt, Damián Schwartz, Einzelkind, Ernesto Ferreyra, Franco Cinelli, Guillaume & The Coutu Dumonts Feat. Qzen, Ivel Tax, Johnny D., Juan Sorrentino, Skipson, Leonel Castillo, Maayan Nidam, Michael Melchner, Markus Fix, Noidoi, Reboot, Ray Okpara & Nekes, and Sascha Dive. Some of the artists were new to the label such as Skipson, Michael Melchner and Juan Sorrentino. It was hard to persuade some of these guests to contribute in the beginning because as an artist it is quite difficult to give away a track exclusively to a CD mix compilation. When it came to choosing which tracks to include, I took great care before deciding if a track was usable. Usually with an EP release on Oslo, artists send me many track options and the decision is normally quite fast. With 'NO WAY TO NORWAY', the artists didn't send many options. So I thought of the tracks more as parts, rather than as completed works. When a whole track didn't fit into the mix, rather than discard it I thought about how I could take certain parts of it and combine it with something else to make something great.

Without giving too much away, can you talk about the mix that you constructed?
The CD is exactly like the kind of electronic journey that I would like to hear if I bought a mix CD. It has an introduction, and from there the journey develops slowly. It builds in pressure, then there is more pressure, until finally the mix reaches a peak point where all of the energy is concentrated. And then after that, it moves in a different direction and becomes a bit trippier. The mix gets quite special in the last part. After a lengthy percussive period some melodies come into the mix for first time which gives the CD a natural ending.

Why did you decide to do a studio mix?
I have never been a fan of live club recordings. A mix that is recorded live in a club is only an audio record of a certain moment, from a certain club, on a certain dancefloor, with certain people. A live recording only provides you with the audio from that moment, and it will only ever be that moment forever. You don't know why the DJ played that way or why that drop, effect, or build up happened. But in electronic music, it's important to be there to understand why things happen. A studio mix on the other hand is about creating a different experience for the listener, rather than just playing them a moment that has already happened. A studio mix does not raise questions in the listener about how the club was, or how the dancefloor was. It is made for home listening or a car journey.

Did you have to make any special considerations for the listener because it was a studio mix?
Yes. The most important one was the construction of the mix. It had to be as seamless as possible. When a DJ plays in a club, they have the benefit of seeing how the people on the dancefloor react to the music and the mixing, and they can therefore react to this mood, and change energy levels and atmosphere as and when needed. A mix CD on the other hand, has to have as strong and smooth a line as possible, because the audience is much broader and will be listening to it in any number of situations. Some may listen to it at home. Others may be on the bus, on the way to work, on a train, or with some friends at an afterparty. Therefore a studio mix CD has to be as perfect as possible. On a club recording though, mistakes are forgiven because the listener understands that the DJ was reacting live to the environment around them. On a CD though, a mistake is for eternity.

How did you build the mix in the studio?
I used Ableton Live for the CD, as well as some external plug-ins for EQ as I don't like the digital EQs of Ableton. I used a MIDI controller and recorded the mix manually in real time, before going over and correcting any mistakes later on. When I DJ I usually only play on vinyl or CDs, so I didn't want to do this mix on the computer as it would have been hard to reproduce exactly what I had in my mind. Also when you play live in real time, you get into a certain flow that cannot be replicated by working solely inside a computer sequencer. At least for me anyway.

'NO WAY TO NORWAY' is special then, in a number of ways.
How do you think it will do?
Because this is our first CD, it's a totally new field for us. I don't know what will happen in terms of sales, but artistically, I feel that this mix is different enough to warrant attention from those who know and like Oslo. Ultimately I hope that listeners will appreciate the care and detail that went into the mix, and consider it in the way that I intended − as a complete journey of electronic club rhythms, from start until finish.

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INTERVIEW WITH
GUILLAUME & THE COUTU DUMONTS

At the heart of Oslo and its debut compilation CD 'No Way To Norway' is a group of artists whose exceptional productions have helped elevate the label to its current position as a leader of the underground house movement.

Berlin-based Canadian Guillaume & The Coutu Dumonts has contributed 14 tracks to the label since its inception, spread over five noteworthy EPs. Alongside Johnny D and Christian Burkhardt, he is the label's biggest donor of beats. As such, his music has helped to create Oslo's unique, forward-thinking house sound. Specifically, it is Guillaume & The Coutu Dumonts use of organic drums and live percussion − skills that he learnt whilst studying Latin and classical percussion at college - that boosted Oslo's brand as a reliable and credible purveyor of deep, funky, rolling grooves.

Here we speak to Guillaume to find out more about his thoughts on Oslo, his track for No Way To Norway, and the label's forthcoming tour.

What does Oslo represent for you?
For me Oslo is Federico Molinari. I only work with friends generally, and this friend happened to be looking for some music at the time that he was launching a new label. It just happened quite naturally. He has always said that I was the black sheep of the label.

Why's that?
Well, looking back at all four of my releases − five if you count our collaboration as The Per Eckbo Orchestra - maybe it's true.

How would you say the label's sound has developed over those years?
I think, I hope, it has evolved. Isn't that what we all wish for? Maybe the sound has got a little fuller, and there are fluffier arrangements now, but it's hard to find major shifts as the label's sound has always been loose. On each EP though, there is a story.

What about your sound? How do you feel you have developed as an artist over those releases?
You should probably ask Fede that! I hope that I have drifted away from that 'ethnic' box that everyone wanted to squeeze me into. Some of those elements are still there but they are (as I think they were for most of the time) used for their sonic properties much more than for their references. Over the past four years I've also experimented with many different styles of music, most of which is and will probably remain, unreleased.

'No Way To Norway' comes without a tracklist so we don't actually know which
track you produced or what it is called! So let's call it X for now. What can you tell us about X?
It is in fact quite hard to answer this question with anything meaningful without letting the cat out of the bag. I love the compilation's idea of not including a tracklist because that underlines the music and the mix. Anything that brings the focus back to the music is fine with me!

So do you think we will be able to guess which track is yours from the style or
sound of it?
Maybe. Were you able to?

Maybe, although there are a few moments that I think you could have produced.
Is there anything that you can tell us about the way that you produced X?
If I remember correctly, that track really came from the bass. Maybe it wasn't the first element in but it's probably when I wrote the bassline that I felt it could be a keeper. Then I invited a friend over to the studio and she put her sparkle into the mix.

As well as contributing to the compilation you will also be touring for Oslo in Europe over the next few months. How do you think those gigs will be?
It's always fun to spend some time with friends, so yeah I am totally looking forward to it. Fede is the kind of guy you actually can talk about a lot of things with, like cinema for example, for which he has pretty good taste, except for Woody Allen's Matchpoint − what a sad lousy flick that was!

What should clubbers expect from your sets on this tour?
I always play live − I don't DJ. Although, I totally respect DJing of course but so many people are doing a great job of it that I don't see what I could actually bring to the art. Maybe one day I will pick it up, perhaps for wedding and bachelorette parties. As for my sets on this tour, like always, I will keep them alive so that I can surprise myself.

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SOUNDFILE