We’re pleased to welcome reputed musician, selector, and tireless seeker of underground music, Interstellar Funk. A key figure in the Dutch scene, he’s joined forces with well-known initiatives Rush Hour, Dekmantel, and Red Light Radio. He now runs his own record label, Artificial Dance, which has quickly gained momentum both thanks to his dedication to unearthing old gems and to releasing forward-thinking contemporary dance music. No stranger to production himself, Olf lives up to his moniker through his own distinct productions, in which he lets his passion for analogue gear and futuristic sonic journeys come to life. We look forward to seeing what the future has in store for this bold label and artist, as well as to his anticipated forthcoming debut LP.
Good morning Olf, how was your weekend?
Morning! Good. How are you?
I got sick so I spent the whole weekend in bed. What have you been up to?
Ah shit. That’s annoying. I took it easy and didn’t do much.
Are you optimistic about clubs reopening again in the Netherlands? I didn't fully grasp the situation over there. What happened?
Clubs reopened last weekend, but only allowed till midnight. I don't really get why it’s only till midnight, but at least it’s something.
These sudden covid limits brought in a few unexpected and beautiful moments over here, which I hope were inspiring to some people. Have you noticed any stimulating effects they might have had on the scene in your country?
Amsterdam only opened last weekend so no I haven't really experienced any of those situations. We had one weekend that we were allowed to open and that was indeed a really nice party. But it felt very bitter as well because the weekend after everything was shut again.
You've recently debuted your live performance at Draaimolen Festival and a few days after I saw you mentioning you have finished mixing your record. Is it the same material? How does it feel to premiere a live show at such an event? Has it affected the mixing process or any other aspect of the final outcome?
Yeah, it was really nice. But it was not exactly the same material as from my upcoming album. I’ve been wanting to work on a liveshow for a long time already, I just never really found the right moment and time to work on it. Last year I had plenty of time because of obvious reasons and when this request came in, I decided to go for it.
So what can you tell me about the upcoming record without giving away too much? What was your main point of focus in the creative process? What was the trigger at the beginning?
It started with a 12” but I pulled back because of covid. I didn’t really feel the need to release it and I decided that I wanted to keep working. It slowly transformed into something completely different. I made loads of demos and slowly I found a certain idea and sounds that I was looking for.
It’s not just a selection of tracks that I’ve put together. I tried to create something where I can express myself in many different forms and ideas without genres or boundaries. Not sure if I’ve managed to do so, but that was the idea.
I am interested in the difference between a collection of tracks which aren't connected that much and the more conceptually conceived album. Does it mean you are growing as an artist? Looking for more complex forms of expressions? Or do you think there was just something inside you've needed to let out? Did working on the music for 'Scores III' had any effect on the way you approach creating music?
For me an album is more than just a collection of tracks. It’s about a certain sound or concept. With the ‘Scores III’ I was already in the process of the album and it does fit within the idea I had for the album as well. During the process of the album I’ve spent so much time in the studio that you’re growing as a producer for sure. I’ve never spent this much time in the studio because of work or gigs. So I’ve definitely taken some steps further.
Where are you at the moment actually?
I’m at home preparing for next weekend. First full weekend since lockdown.
Wow, preparing on Monday already, I guess you have some DJ gigs this weekend?
Yeah I have two gigs this weekend and haven’t sorted out my music for a long time. So I wanna reorganise everything. Two gigs the weekend after as well.
Oh wow, it’s pretty sunny as you can see.
It’s just my living room.
In which area of Amsterdam do you live in?
Do you know Amsterdam a little? It’s very near De School. RIP.
Yes, I've spent half a year there, It's Amsterdam West right?
That’s great! Yeah it’s like 5 minutes away from De School. It’s called Admiralengracht, maybe you know the canal.
Amsterdam felt like a very comfortable city to live in, yet I was a visitor and didn't get so comfortable in that limited period. Have you ever lived someplace else? Outside the Netherlands?
Yeah, it’s very comfortable. Very expensive as well but really nice. I grew up in a different city called Arnhem and lived in Utrecht for a year, but that’s about it. Never lived abroad. Still wanna do it sometime.
A lot has been said about the De School and the club's end, but maybe we can allow ourselves to be a little bit nostalgic now, huh? What do you miss the most about it?
I do miss the people and friends that I would see there every month. The energy of the parties in the basement, but also upstairs on the weekends, were something else. I do miss that a lot as well.
As planned, the club would close eventually anyway, just without the bitter end. I think this ‘deadline’ or a limit is super interesting. To plan something to be over in some time and stick to it. For a lot of people it’s unthinkable, at least in my circles. How do you feel about it?
I like the idea that something is temporary, and that's also a way these organisations are able to start a project like this. The buildings are empty for a few years and the city wants people to do something with them, and then the organisation moves to the next venue. But I wouldn't mind if Club 11, Trouw or De School were still open, obviously.
But then there is also a risk of the club not being able to maintain the same level of quality in a longer period, and then everyone is left just remembering the good old days.
True, there is always a risk that the new club won't be as good as the previous one, but that's also the case with a club, when it's open for a longer period of time.
What are your plans with Artificial Dance? How has your relationship with your label changed over the years? I’ve read somewhere you don’t want to be the ‘label owner’, rather just use it as a platform for releasing music you think should be out there.
Btw I love the name, Artificial Dance. How did you come up with it?
Artificial Dance is an output I use to release music from artists I admire, friends and my own music. I like the idea of putting out music without going through all the phases you have to deal with when you release at a big label, it feels more free. I decide whenever the record comes out and I don't like to wait, or let artists wait for too long. So I don’t really work with a full schedule, but I always have a few releases lined up.
The name comes from a release from the artist Savant. This is a reissue on RVNG Intl. and I used to listen to this album a lot and find it still very inspiring. It also covers the idea of what I like in music the most. Dance music that doesn't fit in boxes. This can be anything of course, but the name does fit perfectly with what I try to say with the label as well.
What do you think is the most important thing in maintaining your quality in the long run? When it comes to running a label or producing and releasing your own music?
I think that quality is subjective and is heavily overused. It's a matter of taste and most importantly it is that you stay true to yourself. That you can look back on what you have put out as a label or producer, and still understand why you did it. It's a continuous journey where you learn and discover new music. Hopefully this will keep going for a very long time and as soon as it stops, it's time to retire.
* Interstellar Funk had a conversation with Jonáš Verešpej via facebook messenger between 11:44 on Wednesday, Sept 1 and 10:33 on Monday, Sept 13 (2021) by Jonáš Verešpej.
Tracklist:
Exhausted Modern - The Self Unselving
Regis - Clean Air
A//O - Lockdown
Loefah - Ginnocchio
Last Life - Bar Break
Body Unknown - Gestalt Perception
Westlake & Hayter - Chain
Sepehr - Night Is Young
Identified Patient - Visualize It
June - Navigation
Underground Resistance - The Final Frontier (Nomadico Remix)
Interviews - Throat
NHK yx Koyxen - Parallel Displacement
Crushed Soul - Family Of Waves
Alessandro Adriani - Ecstatic. Feeling
Scroll to Top ↑
We’re pleased to welcome reputed musician, selector, and tireless seeker of underground music, Interstellar Funk. A key figure in the Dutch scene, he’s joined forces with well-known initiatives Rush Hour, Dekmantel, and Red Light Radio. He now runs his own record label, Artificial Dance, which has quickly gained momentum both thanks to his dedication to unearthing old gems and to releasing forward-thinking contemporary dance music. No stranger to production himself, Olf lives up to his moniker through his own distinct productions, in which he lets his passion for analogue gear and futuristic sonic journeys come to life. We look forward to seeing what the future has in store for this bold label and artist, as well as to his anticipated forthcoming debut LP.
Good morning Olf, how was your weekend?
Morning! Good. How are you?
I got sick so I spent the whole weekend in bed. What have you been up to?
Ah shit. That’s annoying. I took it easy and didn’t do much.
Are you optimistic about clubs reopening again in the Netherlands? I didn't fully grasp the situation over there. What happened?
Clubs reopened last weekend, but only allowed till midnight. I don't really get why it’s only till midnight, but at least it’s something.
These sudden covid limits brought in a few unexpected and beautiful moments over here, which I hope were inspiring to some people. Have you noticed any stimulating effects they might have had on the scene in your country?
Amsterdam only opened last weekend so no I haven't really experienced any of those situations. We had one weekend that we were allowed to open and that was indeed a really nice party. But it felt very bitter as well because the weekend after everything was shut again.
You've recently debuted your live performance at Draaimolen Festival and a few days after I saw you mentioning you have finished mixing your record. Is it the same material? How does it feel to premiere a live show at such an event? Has it affected the mixing process or any other aspect of the final outcome?
Yeah, it was really nice. But it was not exactly the same material as from my upcoming album. I’ve been wanting to work on a liveshow for a long time already, I just never really found the right moment and time to work on it. Last year I had plenty of time because of obvious reasons and when this request came in, I decided to go for it.
So what can you tell me about the upcoming record without giving away too much? What was your main point of focus in the creative process? What was the trigger at the beginning?
It started with a 12” but I pulled back because of covid. I didn’t really feel the need to release it and I decided that I wanted to keep working. It slowly transformed into something completely different. I made loads of demos and slowly I found a certain idea and sounds that I was looking for.
It’s not just a selection of tracks that I’ve put together. I tried to create something where I can express myself in many different forms and ideas without genres or boundaries. Not sure if I’ve managed to do so, but that was the idea.
I am interested in the difference between a collection of tracks which aren't connected that much and the more conceptually conceived album. Does it mean you are growing as an artist? Looking for more complex forms of expressions? Or do you think there was just something inside you've needed to let out? Did working on the music for 'Scores III' had any effect on the way you approach creating music?
For me an album is more than just a collection of tracks. It’s about a certain sound or concept. With the ‘Scores III’ I was already in the process of the album and it does fit within the idea I had for the album as well. During the process of the album I’ve spent so much time in the studio that you’re growing as a producer for sure. I’ve never spent this much time in the studio because of work or gigs. So I’ve definitely taken some steps further.
Where are you at the moment actually?
I’m at home preparing for next weekend. First full weekend since lockdown.
Wow, preparing on Monday already, I guess you have some DJ gigs this weekend?
Yeah I have two gigs this weekend and haven’t sorted out my music for a long time. So I wanna reorganise everything. Two gigs the weekend after as well.
Oh wow, it’s pretty sunny as you can see.
It’s just my living room.
In which area of Amsterdam do you live in?
Do you know Amsterdam a little? It’s very near De School. RIP.
Yes, I've spent half a year there, It's Amsterdam West right?
That’s great! Yeah it’s like 5 minutes away from De School. It’s called Admiralengracht, maybe you know the canal.
Amsterdam felt like a very comfortable city to live in, yet I was a visitor and didn't get so comfortable in that limited period. Have you ever lived someplace else? Outside the Netherlands?
Yeah, it’s very comfortable. Very expensive as well but really nice. I grew up in a different city called Arnhem and lived in Utrecht for a year, but that’s about it. Never lived abroad. Still wanna do it sometime.
A lot has been said about the De School and the club's end, but maybe we can allow ourselves to be a little bit nostalgic now, huh? What do you miss the most about it?
I do miss the people and friends that I would see there every month. The energy of the parties in the basement, but also upstairs on the weekends, were something else. I do miss that a lot as well.
As planned, the club would close eventually anyway, just without the bitter end. I think this ‘deadline’ or a limit is super interesting. To plan something to be over in some time and stick to it. For a lot of people it’s unthinkable, at least in my circles. How do you feel about it?
I like the idea that something is temporary, and that's also a way these organisations are able to start a project like this. The buildings are empty for a few years and the city wants people to do something with them, and then the organisation moves to the next venue. But I wouldn't mind if Club 11, Trouw or De School were still open, obviously.
But then there is also a risk of the club not being able to maintain the same level of quality in a longer period, and then everyone is left just remembering the good old days.
True, there is always a risk that the new club won't be as good as the previous one, but that's also the case with a club, when it's open for a longer period of time.
What are your plans with Artificial Dance? How has your relationship with your label changed over the years? I’ve read somewhere you don’t want to be the ‘label owner’, rather just use it as a platform for releasing music you think should be out there.
Btw I love the name, Artificial Dance. How did you come up with it?
Artificial Dance is an output I use to release music from artists I admire, friends and my own music. I like the idea of putting out music without going through all the phases you have to deal with when you release at a big label, it feels more free. I decide whenever the record comes out and I don't like to wait, or let artists wait for too long. So I don’t really work with a full schedule, but I always have a few releases lined up.
The name comes from a release from the artist Savant. This is a reissue on RVNG Intl. and I used to listen to this album a lot and find it still very inspiring. It also covers the idea of what I like in music the most. Dance music that doesn't fit in boxes. This can be anything of course, but the name does fit perfectly with what I try to say with the label as well.
What do you think is the most important thing in maintaining your quality in the long run? When it comes to running a label or producing and releasing your own music?
I think that quality is subjective and is heavily overused. It's a matter of taste and most importantly it is that you stay true to yourself. That you can look back on what you have put out as a label or producer, and still understand why you did it. It's a continuous journey where you learn and discover new music. Hopefully this will keep going for a very long time and as soon as it stops, it's time to retire.
*Interstellar Funk had a conversation with Jonáš Verešpej via facebook messenger between 11:44 on Wednesday, Sept 1 and 10:33 on Monday, Sept 13 (2021) by Jonáš Verešpej.
Tracklist:
Exhausted Modern - The Self Unselving
Regis - Clean Air
A//O - Lockdown
Loefah - Ginnocchio
Last Life - Bar Break
Body Unknown - Gestalt Perception
Westlake & Hayter - Chain
Sepehr - Night Is Young
Identified Patient - Visualize It
June - Navigation
Underground Resistance - The Final Frontier (Nomadico Remix)
Interviews - Throat
NHK yx Koyxen - Parallel Displacement
Crushed Soul - Family Of Waves
Alessandro Adriani - Ecstatic. Feeling
Scroll to Top ↑
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