How to play dancing with myself on piano
Dancing With Myself Sheet Music | Billy Idol
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Cart purchase includes printout, plus:
Interactive sheet music
- Transpose to any key
- Playback
- Tempo control
- Printable PDF in all keys
Official publisher PDF
Access anywhere, including our free app
Add to Wish List
Product Details
- Artist Billy Idol
- Score Type Interactive, PDF, Included with PASS
- Writer Tony James
- Also Performed By Glee (TV Series)
- Format Digital Sheet Music
- Pages 7
- Arrangement Easy Piano
- Publisher Hal Leonard
- Product ID 76661
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Cover versions of Dancing with Myself by Billy Idol with Generation X
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Added by Bastien
- Originals
- Highlights 7
- Versions 41
- Adaptations 5
- Discussions 1
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Versions
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Dancing with Myself | Gen X | October 3, 1980 | First release | ||
| Dancing with Myself | Billy Idol with Generation X | October 24, 1981 | Hit song More famous than the original | ||
| Dancing with Myself | Lost Souls | 1990 | |||
| Dancing with Myself | Hudson | 1994 | |||
| Dancing with Myself | 30footFALL | 1995 | |||
| Dancing with Myself | Röde Orm | 1995 | |||
| Dancing with Myself | Blink 182 | March 10, 1997 | |||
| Encore........Act III - Kim Esty Mega Mix | Kim Esty | 2003 | |||
| Dancing with Myself | The Donnas | September 21, 2004 | |||
| Dancing with Myself | Star Rats | September 25, 2004 | |||
| Dancing with Myself | Nouvelle Vague | June 9, 2006 | Editor's cover song pick | ||
| Dancing with Myself | Handsome Hank and His Lonesome Boys | February 23, 2007 | Live | ||
| Dancing with Myself | Laura Bell | June 5, 2007 | |||
| Dancin' with Myself | Tomas Nicholas | March 2009 | |||
| Dancing with Myself | Glee Cast | November 3, 2009 | |||
| Dancing with Myself | Stuppicore | March 19, 2010 | |||
| Dancing with Myself | Anaïs [FR1] | 2010 | |||
| Dancing with Myself | Bulldog Courage | 2010 | |||
| Dancing with Myself | The Shields Brothers | February 27, 2012 | |||
| Dancing with Myself | L. Mounts | November 30, 2013 | |||
| Dancing with Myself | Barbara Lusch | September 23, 2014 | |||
| Dancing with Myself | Taylor Locke | September 30, 2014 | |||
| Dancing with Myself | The Thomas LaVelle Four | 2014 | |||
| Dancing with Myself | Cary Brothers | July 15, 2016 | |||
| Dancing with Myself | Brad Davis | February 24, 2017 | Unusual cover song | ||
| Dancing with Myself | The March Divide | October 26, 2017 | |||
| Dancing with Myself | Scott Bradlee's Postmodern Jukebox feat. Chloe Feoranzo | September 20, 2019 | Unusual cover song | ||
| Dancing with Myself | The Dollyrots | June 12, 2020 | |||
| Dancing with Myself | The Cooltrane Quartet & Ituana | March 5, 2021 |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| i | Dansar med mig själv | Sandelin & Ekman | 2005 | ||
| i | Dancing with Myself | Piano Tribute Players | March 16, 2010 | ||
| i | Dancing with Myself | Jammy Jams | 2015 | ||
| i | Dancing with Myself | 8-Bit Universe | May 3, 2016 | ||
| i | Dancing with Myself | Midnite String Quartet | March 24, 2017 | ||
| i | Dancing with Myself | Camille and Kennerly | April 29, 2020 | ||
| i | Dancing with Myself | Sweet Little Band | August 17, 2021 |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Ik dans wel met mezelf | De Kreuners | 1982 | First release |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Playing with Myself | Blowfly | September 12, 2006 | First release |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Humppaan itsekseni | Eläkeläiset | March 1999 | First release |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Dansar med mig själv | Dag Vag | 1982 | First release |
| Title | Performer | Release date | Info | ||
|---|---|---|---|---|---|
| Dansar med mig själv | Sandelin & Ekman | 2005 | First release |
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Jam`s cool music school for children and adults
You were given a life sentence and there is only a piano in your cell? Then we have something for you... From Liszt to Scriabin - 10 of the most technically complex pieces ever written for piano.
Piano teacher Amir Jam's cool founder, curriculum author
The complexity of any piece of music, including piano works, lies not only in monotonously repeating the notes written on the sheet of the score, but also in the transmitted melody, the spirit of the music, the transition from forte to pianissimo, changing the key, etc. The complexity of the work lies both in the technique of execution and in the virtuosity of its performance.
Even basic etudes and polyphony may seem difficult for any novice musician, but as you hone your skills, you will be able to “take” more and more interesting and complex pieces into your repertoire.
FREE LESSON
1.Franz Liszt - La Companella
La Campanella, which means "bell" in Italian, is a piano transcription of the violin piece of the same name by Niccolò Paganini. The etude is considered one of the most difficult compositions ever written for the piano.
The texture of "Campanella" includes huge jumps in the left hand, while the right gets complex passages at a very fast pace.
In this video, virtuoso pianist Lang Lang plays this piece so easily, as if it were not much more difficult than "Dance of the Little Ducklings".
- Maurice Ravel — Gaspard at Night (Visions of the Night)
When Ravel was working on the Gaspard de la Nuit suite, he deliberately wanted to make it the most technically difficult piece in the piano repertoire. He said that when writing, he was guided by Balakirev's Islamey, wanting to surpass him in complexity. One of the leading pianists said that playing this piece "is like solving endless quadratic equations in my head.
"
- Kaikhosru Sorabji — Opus Сlavicembalisticum
Playing this piece is even more difficult than pronouncing its title. Opus Clavicembalisticum consists of 12 actions with a total duration of more than 4 hours. The composer himself described his composition as follows: “The last 4 pages are as catastrophic as everything I have ever done - the harmony stings like nitric acid, and the counterpoint grinds like the mills of God.”
- Conlon Nancarrow - Etudes for Mechanical Piano
The American composer Conlon Nancarrow's works for mechanical piano are some of the most deliberately complex, frantic pieces of music in the piano repertoire.
They are designed to be played on a mechanical instrument, not played by live pianists. But this does not mean that no one tried…
- Fryderyk Chopin — Etude Op. 10 no. 4
Unlike Chopin's gentle nocturnes, this etude leaves the pianist no chance to rest. Marked presto con fuoco (fast, with heat), it requires an extremely fast pace and constant mobility in both hands.
Daria, Jam`s cool piano teacher:
“The most difficult thing for me to perform this piece was the coda, after which there is a crazy passage all over the keyboard up and then down.
By the end of the story, you are usually exhausted, but here the climax falls on the last page. And, of course, like any study, No. 4 took a lot of time to develop the necessary technical skills.”
- Charles Valentin Alkan — Piano Concerto
Alkan's concerto is rarely performed live, and for good reason. An epic 50-minute job requires unprecedented technique and physical endurance. Alkan's melodies are not as pleasant and catchy as those of Chopin or Liszt, but he certainly knows how to best demonstrate virtuoso technique.
- Alexander Nikolaevich Skryabin — Piano Sonata No.
5
Alexander Scriabin's Fifth Sonata makes the most of the technical capabilities of both hands, but the main load falls on the pianist's brain. The sonata was received with bewilderment by many contemporaries. For some of them, it became the line from which they refused to accept the composer's work.
- Igor Fedorovich Stravinsky — 3 fragments from "Petrushka" for piano
3 fragments from "Petrushka" is called one of the most difficult piano compositions. All parts include numerous glissandos, tremolo and fast 2-octave shifts. As they say, it's not for the faint of heart.
- Sergei Sergeyevich Prokofiev — Piano Concerto No. 2
The Second Piano Concerto is Prokofiev's most dramatic work. Of particular difficulty is the cadenza of the first movement, which consists of three steps and requires the pianist to make frequent and wide leaps with both hands. And yes, it lasts a full 5 minutes followed by 2 more intense parts.
- György Ligeti - The Devil's Ladder
Well, what a list of the most difficult pieces for piano without Ligeti.
The etudes of this Hungarian composer frighten novice pianists. Of particular horror is the "Devil's Ladder", and not at all because of the name. The work is a masterpiece of dynamics, which develops from pianissimo to 8(!) forte.
Sign up for piano lessons and maybe you will learn how to play these pieces.
You will dance in tears and quit on Monday
Vladimir Ivkovich and Leonid Lipelis belong to that breed of DJs for whom playing records in clubs is not a craft or even a profession, but an art. Ivkovich, a long-term resident of the legendary Dusseldorf club Salon Des Amateurs, and Lipelis, who in the past few years could be seen behind the turntables of various Moscow venues (from Arma to Simachev and Strelka), do not carry flash drives, but bags stuffed with vinyl build the dramaturgy of the sets like the plots of films or literary works and carefully choose each next track, avoiding obvious moves.
Their conversation takes place in Dusseldorf (where Vladimir lives, and Leonid stopped by literally for a few hours between performances in Belgium and Holland) at the Hitsville music store (“the last record shop left in the city,” as Ivkovic describes it). The conversation about music and the essence of DJing drags on for several hours, Vladimir and Leonid are constantly distracted by showing each other some records, but the smiling store owner Ralph (“He has been working here for many years, but still looks like he’s sixteen!” Vladimir jokes) hospitably agrees to work longer and doesn’t close the doors until the guests are done.
Lipelis, Ivkovic
© Yulia Mayorova
Vladimir Ivkovic: My first subconscious musical impression was what my parents listened to. They had a lot of hippie rock, psychedelia - Gentle Giant, Pink Floyd and stuff like that. So music has always been around - my father comes home from work, starts a record ... As I grew up, this music became an older generation for me, and I began to subconsciously reject it.
I discovered The Fall, then The Smiths started. The Smiths are arguably the best pop band the world has ever seen. This humor and this ability to say in two and a half minutes everything that a 14-year-old teenager needs to know about life ... Then came the Factory label, Throbbing Gristle and all this “white machine music”. It was very in tune with my ideas about what dance music should be. There was no funk in it at all!
Leonid Lipelis: Well, not exactly. I would argue with this from the standpoint of a musician.
VI: I mean funk in the sense of James Brown. Perhaps we need to find a more precise word for this. This music seemed to me much more emotional and elevated than all this funky “get down with me baby”.
LL: Well, it also depends on the background. If you grew up in a church and heard gospel music from infancy, then funk would excite you much more. And you probably heard the trains passing by outside the window, so mechanical music affects you so much.
VI: The fact is that if music is based on church and religion, it sings of God, it sort of deprives a person of responsibility. For everything that happens to you, the Lord is responsible, and you can relax and dance. And I'm interested in music that appeals to those qualities that make us human - a sense of insecurity, the fragility of the human soul, and so on.
LL: Are you saying that gospel takes away people's sense of responsibility?
Lipelis, Ivkovic
© Yulia Mayorova
VI: Probably not, but the difficult path is closer to me, when you yourself are responsible for your freedom and you don't need an extra point of support. At the same time, I admire people who understand gospel music - they may reach such depths that I cannot. In any case, this is my path - what happens to you at the moment when you are formed as a person remains with you forever. So if we talk about the fact that I play as a DJ, then it was this synthetic music that shaped my tastes.
At the same time, I have never been fascinated by noise and all this nihilistic culture: “everything is bad, the world lies in evil” and so on. I understand why people need it, but for me it is an impenetrable boredom. In addition, there are too many groups around this dark subculture that flirt with right-wing ideology, Nazi aesthetics and other shit. So, back to Throbbing Gristle: maybe it's noise, but it's not made to scare people. This music has its own structure and its own beauty.
LL: Absolutely. Throbbing Gristle has structure, rhythm, and meaning, they clearly understood what they were doing and why.
VI: Now tell us your story, how did you get into music?
LL: I'm from a different generation, but I also started with what my parents played. My father listened to Joe Dassin, some instrumental fusion and stuff like that. I didn't like this music then, but over the years I began to understand it better and now I wonder how much my dad's tastes influenced me.
I remember very vividly my first encounter with records. Every summer I spent at my grandmother's, she had a record player that stood on the closet, and to play a record, I had to climb onto a chair. I just now, talking to you, understood why it is not difficult for me to put the needle in pause between tracks when I play in a club. After all, I learned this at the age of six and somehow did it without looking!
VI: There seems to be only one photograph left from my first birthday. I'm sitting on my mother's lap, in front of me is a cake with one candle, and in my hand I have a seven-inch! My parents said that my first word was "gagam", which meant "gramophone" - this is how I called this strange thing that gave me sounds and emotions. So music has always been with me.
LL: Oh, I have that photo too! I am a year old, I am without pants and I play the piano. But going back to how my tastes were formed, my older brother, who was a DJ in the nineties, played a decisive role here.
He started playing when he finished school, and at that moment in Penza, where I come from, there were only two sets of DJ turntables. And only a few people had DJ records, to one of whom he went to study. But we had a CD player and cassettes at home, so I listened to the Thunderdome, Reactivate Classics compilations, which included the DHS track "House of God" - I was eight years old then. But there is one cassette that especially influenced me. It was a compilation "DJ Grandmaster 97" from the first Russian DMC championship. There are several short, 7 minutes, DJ sets. The first one is drum&bass, and the second one starts with Gloria Gaynor's "You Can Exit" (of course, I only found out years later that it was Gloria Gaynor), which was mixed with some 33rpm new-beat record. Now it has become something ordinary, but then, in 1997, it was wildly strange! Then DJs used to mix one house record with another, and then some strange soul, which you really can’t mix with anything.
VI: We are in danger of moving into politics, but now there is a certain "code of dance music" where there is Stonewall, David Mancuso, Larry Levan and so on.
But if we talk about my home club Salon Des Amateurs, which opened 15 years ago, then its ideological inspiration was Toulouse Low Trax, who came to Dusseldorf from the south. And there, on the border of Germany, Switzerland and Italy, space disco was in fashion. So we all listened to cassettes of Daniel Baldelli and Beppe Loda mixes. But no one wrote about it, the Italians, unlike the Americans, did not work for a huge marketing machine. I believe that this established code perfectly reflected New York, it was a certain society, certain drugs, the flowering of the neo-liberal idea: “Me, me again and me again, I can do anything!”. But those guys had a completely different understanding of music than Baldelli and Loda! Now, thanks to the Internet, we can listen to the surviving mixes of New York DJs, but we understand that this is nothing more than one piece of a giant puzzle.
LL: If you look at the history of Russian DJs, many of whom started playing in the first half of the nineties, they had practically no information.
They didn't have mixes, they didn't know anything about the history of this movement. Some fragments reached them, from which they tried to extrapolate the picture as a whole. They, in fact, invented their own history and mythology. But in the end, they themselves came to approximately what Baldelli did. For example, they had a very limited set of records. Gloria Gaynor was a rare example of disco that was released on the only Soviet label Melodiya. The first Russian DJs learned how to mix and scratch on cassette decks because they heard one DMC mix and found their own way to do the same. This lack of information about what a synthesizer, sequencer is and how this music is created is the basis of the entire Russian musical and DJ culture.
VI: Do you think these local traditions have any continuation now? Do teenagers today know about this tape from 1997? Because today everyone knows about Paradise Garage.
LL: I remember it and it affects the way I play. And then, maybe after our conversation, the children will become interested and find this tape! In general, the emergence of the electronic scene in Russia in the 90s is not documented at all, although this was not so long ago.
Probably the Russian scene has not yet grown enough to write its own history, but I constantly think about it. Almost all the clubs where all this originated have already been closed - the first "Arma", "Solyanka", "Simachev", small technoclubs from the early 2000s like "Mix". They have greatly influenced the current scene, but all this is not documented anywhere.
VI: Too bad. I have a romantic idea that if you understand your roots well, it determines how you look at all the new music that you play. Before, when I visited different cities and countries, I noticed the following thing: even if the DJs played there the tracks that I knew, there was something special in the way they played them, some kind of local flavor, which I really loved . Now, in the days of Facebook and Resident Advisor, everything is unified. There are no more youngsters who would spit on everyone and do what they want. As soon as they open the Internet, they see a lighthouse to which they need to sail. What I liked about Salon Des Amateurs was that they always eschewed Facebook announcements and all that globalization.
But we have a suitable city for this - not too small, not too big, rather slow. If you go to the Salon, you have time to carefully listen to the music of Detlef [Toulouse Low Trax] or Lena [Willikens].
LL: I've always had the stubbornness not to play by the rules and not to do what was then the mainstream. It sounds funny now, but even then I sort of kept that tape in my head. I remember once someone played Manu Chao in a club and mixed this track with a techno record. And I did not feel the genre inconsistency at all, it has always been in my DNA, I have always done it myself! I have Attention Deficit Disorder, so for me the constant change of genres is an absolutely natural thing, this is how my brain works. So I've always found strange transitions and the inclusion of something non-dance in the generally accepted sense in the set, it has become part of my style. I was lucky to be in Moscow at the right moment when the first wave of the disco renaissance happened. And I myself was very fond of disco at that time and shortly before that I discovered Larry Levan.
If you play disco, you have a lot more freedom than if you play techno, where you have to keep the same vibe for several hours. And with the disco craze, eclectic play styles became the norm, so I was in the right place at the right time. I played disco classics and some house tracks that I brought with me from my hometown, and everyone was happy with them. I was lucky to be where I could play what I want and how I want - this is your case too. And here we come to the main question: does a DJ always need a place where he has complete freedom, where everything is allowed to him to the extent that loving parents allow the child to grow and become an independent person? Is this really the only way to improve yourself? Because if you tour a lot, you always have to adapt to a new venue and it is very difficult to grow in this mode.
VI: That's right! There are no accidents in life, everything happens exactly when it should. Salon Des Amateurs never had global ambitions, it was a spaceship in the hands of a bunch of idiots.
I can't even say it was "learning by doing" because we never learned anything. We weren't kids at that point, we came from different places, but we were bound by a sense of insecurity and that we were all wondering what the hell are we doing on this planet at this time? There was an unspoken rule between us that when we were together, we didn't waste each other's time on nonsense. Now it's been 15 years and we've played an insane amount of music there. The door was always open, but the club was never aimed at anyone in particular, did not have a target audience. We were glad to everyone who came, but we did not try to force anyone to dance longer and buy another beer. It will sound strange, but I have never felt responsible for anyone's happiness.
When I go on tour, I rely on the people who invited me to know what they are getting into. Of course, I don’t have the goal of deliberately enraging the public and getting into the position “I brought you a mountain of Turkish sevens, and now you will suffer, and I will demonstrate what a cool collection I have.
” I understand that there will be those in the club who have paid to dance on Friday night, and it gives me incredible pleasure when they dance to my records. But this is a journey where I determine the route. And somewhere the path will be longer, because we will take a detour. And it's great if they dance at the end, even if the set as a whole doesn't excite them. But I'm not Theo Parrish. I really appreciate what he does, but I don't even want to try to go this way, because it's not mine. Even if things go wrong, this is a more honest way to communicate with the public. Even if my set pisses them off this time, the more pleasant they will be to hear what they love in a week. Music for me is not even art, but something completely personal, I cannot apply an opportunistic approach to it.
LL: I recently went through this scenario. I played at a party and for the first half hour of my set, not a single person moved. It was during the day, so people just stood and talked. After half an hour, I looked into the hall and one guy looked at me in response with the expression “hey, what the hell are you doing here?”.
I played about what I usually do: not very fast, but danceable music. As a rule, the audience is satisfied, but not at that time. I just happened to be at the wrong party. But I decided that something had to be done about it - after all, I was not there to enjoy myself.
VI: It's very hard to fight the accepted norms of how DJing should be!
Lipelis, Ivkovic
© Yulia Mayorova
LL: I understood that this guy and I had our own reasons for being at this party, but sometimes it happens that we find ourselves on different wavelengths. I decided to take a step towards him, and in the end people said “thank you” to me. But I felt that I had grown so much that I was no longer offended by the fact that someone was clearly dissatisfied. And before, I was wildly stressed about it.
VI: Yes, you also seem to have come to the conclusion that you are not responsible for everyone's happiness. After all, if you don't like it, you can always leave, the door is open.
As a DJ, I also have my rights. If you don't like it that much, go home and don't try to ruin my evening. But sometimes you still wonder "what the fuck am I doing here, could I be chatting with my friends right now."
LL: How often do you ask yourself this question now?
VI: Now, of course, less often than before, but when it happens, it's not a new feeling for me. Until 2004 I toured a lot, and one morning after a set at the Moog club in Barcelona, I was sitting in the airport and thinking: “What am I doing here? I arrived somewhere with a suitcase of records that no one wants to hear. And a week later Salon des Amateurs suddenly opened, and I found myself surrounded by nice people. The Salon didn't have any nightclub trappings like lights and smoke machines. It was an empty place where you were surrounded by your own life. It was always in line with my idea of what a club should be, rather than the concept of “come to us, forget your sorrows, and by Monday, be back in your crappy office, your crappy job and your crappy wife, and you will be fine” , which was personified by Paradise Garage.
LL: Are you sure that's how it was phrased? You will be fine on the weekend, but no one is responsible for what will happen to you on Monday!
VI: It's a recharge that helps you get through the work week. And so you can live forever. But having come to us, you will not get away from your problems, but, on the contrary, you will find yourself face to face with them. You will dance with tears in your eyes, and on Monday you may quit your job and start growing organic food. I cannot call it my mission, it will sound too ambitious, but somehow I imagine my task in this way.
LL: You want to separate yourself from New York disco and its attitude to life…
VI: No way! I love this music, I have several meters of records from this era in my closet!
LL: But what you're talking about is Studio 54 rather than Paradise Garage, which was a gay club for people who were not accepted by the society at the time. Let's not forget Larry Levan's connection to Frankie Knuckles and the Chicago scene, which was much darker.
VI: You're absolutely right. But Studio 54 has never been an important place for me. It would be great to be there myself and see it from the first person, but from stories, books and music, I can imagine how it was. Take the song "Ain't No Mountain High Enough" for example - it's a great track.
LL: Ha, I was thinking about him exactly five minutes ago! Yes, he is wildly optimistic, and very "gospel".
VI: Yes, and there is no problem with that. But when the track ends and they say “thank you, see you in a week” into the microphone, people should start building the Paris Commune around Paradise Garage, defend their rights with weapons in their hands.
LL: It's not like I took your words about Paradise Garage and the disco scene personally, but I was a bit offended by it. Many people get this story wrong, especially in Moscow. For example, many people think about me: “Oh, he played in Simachev, he probably put something pleasant there for the contented rich.
” Which is not necessarily the case. Simachev, for example, was visited by skaters who do not fit into this scheme at all. And if you ask a DJ if he prefers music that makes people cry or that makes them happy, he will most likely choose the former. So am I - I'm a rather melancholy DJ. But, fortunately, Moscow is quite a diverse place. There was "Arma" where I can play darker music. At the same time, having played in Simachev, I could put something in Arma that no other DJ would put there. They are not exactly narrow-minded, but when you are inside a narrow stage for a long time, you naturally develop a rather narrow view of things. But, fortunately, everything has changed recently, today Arma is one of the most broad-minded and open to everything new communities. And even the fact that they started to invite me speaks of their openness - it was some time ago, when everyone was obsessed with techno. And after that, I could have staged something more gloomy in Simachev. Every place I play affects me.
The problem is, the more you tour, the harder it is to be yourself.
VI: Even if I go on tour a lot, I play records that I spent money on. And I buy them primarily for myself. When I arrive in a new city, I sometimes go to a record shop there, buy something, and then at three in the morning I open my bag and think: "Damn, what am I going to do with all these psychedelic albums?"
LL: And then you take out a flash drive with all Detlef's tracks! (laughs)
VI: But it doesn't have to be mainstream music. If she makes anyone uncomfortable, so be it, that's part of the game. There is nothing easier than mixing beat to beat, moving the knobs on the remote control and entertaining the audience. But this is not for me, I would never go to another city in order to entertain someone there.
LL: But wait. I heard you live several times and listened to your mixes. And it is clear that in different situations you play different music, for example, in Moscow in Rabitsa and in Paris you sounded completely different.
And in Moscow you just played quite a dance set!
VI: When I arrived at Rabitsa (and my plane was then very delayed) and listened to what sounded there, it seemed to me that it would be impolite ... I didn’t want to be a stranger, I wanted, on the contrary, to be part of this action. And if I play last with a huge delay, I have to figure out for myself what happened before and how this event can end beautifully, what can I add to this. Interestingly, I always have records that I love to play in clubs on a big sound, but I just can’t bring myself to include them in the recorded mix for Soundcloud, that’s another story!
LL: How I understand you! I can't record mixes at home at all, especially dance mixes. I get asked this a lot, and I always have to explain that for a good mix, you need an atmosphere that you become a part of.
VI: Sometimes you can record a mix live in a club and then put it online if it works out well. But then I have a problem that once the tracks are in the recorded mix, I can't play them in clubs anymore! And before that, I could play the record for years.
It's almost masochistic, but for me it's a tragedy, these records are lost to me forever. On the other hand, having lost these, you are forced to look for new ones.
LL: Same story. Every published mix deprives me of many tracks, and it scares me. Every time I know that a set is being recorded, I have to think: “play this record now so that I never play it later?”. At the same time, I know that if I put this thing on, the audience will be delighted. This is a very strange feeling. But tell me, since The Salon became popular, and you and Lena became famous, many people obviously wanted to play like you. It's clear that it's all very superficial - they can't reproduce your cultural background from which your style has grown, but they can just play the same records, but it happens anyway. Do you want to go somewhere else after that? Or does it not bother you and you can just be yourself?
Lipelis, Ivkovic
© Yulia Mayorova
VI: Well, I probably just can't stop being myself.
Besides, I don't see what you're talking about. I am surrounded by nice people and their music. But sometimes the feeling is strange. You have no idea how many people are trying to imitate the Toulouse Low Trax. Instead, it turns out to be a slow schranz with a pumping bass line. 15 years ago, fast techno rumbled everywhere - DJ Rush and so on, now it just became slow, but it's still applied music. It was made for children to dance to under speed.
LL: Yesterday I accidentally hit Youtube on someone's Bolier Room and it was disco, upbeat to the point of disgust. And I love disco! And in the middle of the set, this guy put on a very pop track from the 80s (okay, it was ABBA), and I thought that this is the music of my parents, which I could not stand, and this self-identification through denial has always been important for me at least until I grew up. And here you see a crowd of children who are having fun to the music of their parents, which they don’t even suspect, the information flow is too great.
I thought that if I played ABBA, it would sound very different than the way this guy plays it. There was some kind of strange entertainment here, and this was done by people who positioned themselves as great experts from the underground. However, when ABBA plays I-F, he does it in such a way that I understand: he knows the history of this music. He's not doing this to make people think, "Oh, I know that thing!"
VI: Yes, I believe him. What I don't like about modern DJs is sarcasm. We don't have time for this nonsense. Speaking of the Bolier Room, the other day I saw quite famous DJs playing thrash pop hits from the 90s and the whole crowd sang along. It is not right. This is a falsification and devaluation of human feelings. I'm a Barbie Girl and so on - I don't want to be reminded that this shit exists! Now, if one of the famous DJs puts on a Faust record on a large dance floor at three in the morning and it touches someone, it will be cool! After all, DJs like Nina Kravitz with millions of Youtube views are in a position to show their audience something out of the ordinary.
If five teenagers watch the recording, ask what kind of record it is, and then listen to the album with friends, then all this is not in vain.
LL: It's all about context and purpose - why are you doing this. To me, the difference between I-F and that other dude playing the same track is that I-F somehow fits the track into the big picture of his vast knowledge and understanding of music. I saw him do it in Arma, where people usually snobbed about pop music. But he delivers it in a way that they like, some context is given along with the track. And that dude does it for fun.
VI: This is going to sound like new age chatter, but whatever... Everything we do on this planet leaves footprints, butterfly effects and all that. Also, a deep understanding and faith in what you are doing are transmitted to the listeners.
LL: If you take all the social context out of ABBA and imagine that we have a test press of 300 copies, you will see the track in a completely different perspective and think: “This is the best track on the planet.
” The problem is, you can't forget that context. And the environment that I-F gives to this track helps you forget that context. You don't think of it as your parents' favorite song. And in the case of that other dude, the problem is not ABBA, but the context. Context is important. And I see my task as a DJ in this recontextualization.
VI: The best example of a DJ for me will always be Tako (Tako Reyenga), with whom we played together many times in the Salon. He can put on records that I'm even afraid to touch, what a terrible pop cheap thing. But he can play this disco-reggae record at night in the salon so that for me from now on and forever it will be a Taco track. But this is his art, and if I try to do something like that, lightning will strike me. The music I put on must mean something to me. We must create new meanings, we must make sure that life does not look like a rat race. Salon gave me the amazing feeling that you don't have to play house for 6 hours to have a dance party.
