The Story Of Steen Kong & 10 Thousand Records

“I was into making mix tapes from an early age. Started on my dad’s Revox A77 reel to reel and later on my cassette recorder. Much more preoccupied with doing that than with an actual dance floor.”

Steen, how many records do you own and what is in your collection?

I think I own between 8 and 10 thousand records. Right here in the apartment I might have around 5 thousand and then the rest is in the basement. During the years, there have been periods when I had a little more but I sold some, gave some away. I think I have around 10 thousand records at the moment. Half of my records are stored in the basement.

Do you ever go to the basement?

Usually once per year. If I see that there is a crate that I don’t use that much, I’ll bring it down to the basement and then bring one or two boxes up.

I need to update my shelf system so I can buy more records. My wife is quite patient, and we have been so many years together. She knows my game. We have had a thing about records coming in, and I admittedly have tried to sneak a copy or two in.

Every so often I consider – what should I do with the records after I die. I don’t have any children or close family, and I would like them to live on. My friend Kjeld Tolstrup, who died 10 years ago was also a prominent collector. We have been Djing together from the mid 80s. I suggested his family to bring his record collection to a warehouse, and then invite his friends, journalists, musicians, promoters, ravers and all the different people he knew. Then they should start digging in the collection and find three records each that in a way connected them with Kjeld and the Danish DJ culture. They would take a picture, tell the story and we could put together a coffee table book with pictures, covers, labels, logos and stories.

In all modesty it was an awesome idea, because for me, he is an emphasis of the Danish club culture. Kjeld was there from the beginning. He played at the underground and more mainstream parties. It’s definitely a great story, and by telling his story they would also tell the story about the development of the Danish club and DJ culture. However, they didn’t really get my idea and sold his records somehow. That was a shame, because that could have been really nice. Maybe someone will do a similar project with my collection. It would make me proud. I promise there is a hell of a story in those records.

What is in your crates roughly?

Hmm. I am collecting from disco to house to techno and electronic, you know, ambient and stuff like that. Also, occasionally a good pop tune. I think those are the four main genres that I am collecting. It all started up when I was a youngster playing disco, then got into electro, new wave and different 80s sounds. Then later moved into house music, and then techno and now I am just all over the place!

I play disco and boogie from the 70s and 80s, I play straight up house, and I still love playing a banging techno set. Back in the 90s I had a club called Mantra, and that is a good example of how diverse my musical taste is. It started out on Islands Brygge and ended up in Tivoli. We played from techno to house music and being open three night per week. We had a drum n bass night, and we had house/gay night and we had a techno night. I have always been around these three things and for me there is a clear connection, you know. Disco evolved into house music, like house music was disco’s revenge.

I’ve always been fascinated by the story when America blew up disco records. The white radio guy made this gathering at the baseball pitch and people brought their disco records to burn. And it was not only disco records, it was almost like a racial thing, because people brought soul and funk and all kinds of stuff. And then they just blew them up with a dynamite or whatever. I think house music was born one year later. Then house turned into techno, and in Europe there was the Summer of Love 88/89 with disco, techno, house and everything in one big happy unity. That was pivotal years and defining for me.

Did you start collecting records for playing out?

No, I think I started collecting records just because I like music and was fascinated by stardom. Back in the 70s we used to get coupons to buy all kind of different things every month and there was also coupons for records. I used these coupons together with my parents to buy my first records solely from the cover, what I had read in magazines, and a descriptive text. My parents had many friends and liked to party, so I remember playing records I bought with my dad at these parties. And then it turned into buying constantly.

At some point I was running a newspaper route and started making my own money. They paid me every Friday and I used to spend all my money buying 7 inches in a record store in Viby, south of Aarhus, called “Robert’s Music.” When I was 13, we had a youth club and I was going to the parties there and standing next to the DJ. When they got too drunk or started kissing with the girls or whatever, I saw it as my opportunity to get in the booth and play records. I remember the first record I ever bought with the purpose of playing for the floor was Michael Jackson – Rock With You. That must have been in 1979.

My first paid DJ gig was in 1984. And from 84 to 88 I was Djing occasionally, but it wasn’t my main focus. First and foremost I was a raver, loved getting lost and dance, hanging with a crew of DJs, musicians, artist, maniacs and lovers. My focus was just to have a good time. I was more on a dance floor, enjoying life to the max, also getting into organizing parties and stuff like that. I bought my first pair of Technics in 1987. At that time house music came to Denmark, I was getting more into DJing and thought I had something special to offer. So in 1988 I said – OK I want to try this out.

It has been a 40 years long journey with records, am I right?

Yeah yeah, more than 40 years.

OK, it is still interesting to me. You said you have no organization in your record collection, would that be alphabetic or by the genre or something else. Why do you take this approach and how do you find your records?

Part of it is laziness and another part is just because it works best for me. I worked my way into this. The thing with vinyl is that you have to feel it, you know. When I am DJing and playing records I stack them so I can find what I played the day after. I remember the vibe, the chronology and I keep records that mixed well together in one batch. This organization may inspire my next gig, mix-tape or what ever. I think that’s how it all started.

OK, I have a little bit of organization. There is a section with most of my disco and 80s stuff, then I have a section with more techno and electronic and I also have a house section. So there’s a little bit of organization and I feel that this way I am in a dialogue with my records. I don’t know if it makes sense, but it’s just like we are working together, you know. If I have a stack of records that I know works and suddenly I remove two, put them somewhere else – I have new stories emerging. Doing it this way allows me a better access as well, because I feel that I have to look for records in the specific area.

However, at the moment I am a little bit out of touch with my collection because I have not been out Djing that much. When I do, it takes just to have a quick look and I know every section. This style of organization just works best for me. Sometimes, of course, I use extra time to find records, but I know roughly were to look for it. OK, I admit I am using more time, but that also means that if I don’t find exact records, I have to take something else and I get inspired. I find records that I have forgotten about and then my set and night evolves around the coincidence, a kind of divine intervention.

Do you know the records you play by heart?

Some records I do, because I play them so much. But sometimes I find records that I have never played. Sometimes it makes sense playing records 20 years later for the first time, it is a really nice feeling. Dropping a record, feeling the floor and immediately understanding the reason for buying it 20 years ago. Sometimes, it is just a treasure hunting. I find the secret gems that I was not aware of or I forgot. Maybe I just played them once, and it makes sense again, you know. Of course, I also experience listening to my records and thinking – why the fuck did I buy this one! But you never know maybe in another 20 years!

I like the coincidence, and with age I appreciate it more and more, because it gives me energy. I am getting surprised and inspired instead of just mentally preparing to play records I know. It is more natural, and I would say it is almost like a spiritual thing for me.

You have been around for a long time. How is the DJ culture different today from what it was? And how has it evolved during your time?

I would say that we have a settled DJ culture nowadays. Young people are coming to the scene with a perspective and expectations of how things have to be. They see famous DJs performing and rookies almost have their poses prepared and they know how to dress and all that. Everything is kind of a preset. A lot of it, right? Years ago we did not know what this shit was about, and we were inventing things and stepping on new grounds all the time. These days people know the grounds and everything is so fabricated sometimes. But there are still good vibes in the underground and people gather for the passion and trying to push the limits. However, sometimes I have a feeling that I need somebody to push the limits a little bit more and try to challenge the culture.

At the end of the day, I can be surprised, and a lot of people still inspire me. They have a nice energy and a good passion. But the mainstream scene sometimes is just killing the vibe. Happily, there is still a healthy and solid underground scene in Copenhagen and around Europe.

Who is your musical inspiration right now and who was when you started?

My greatest ever inspiration is Kjeld Tolstrup. I have to mention him. We grew up side by side, threw parties together. He was the DJ and for me it didn’t matter who played the records. But at some point I felt like wanting my own language as a DJ.

In the beginning we were just together on a mission throwing parties and bringing people together. We grew up having the same inspiration, buying the same music and magazines from London, following newsletter from different record shop around Europe. We were developing our musical vision together. But at some point I felt I wanted to discover my own voice.

In the early days it was Radio Luxembourg, German TV and Kim Schumacher. But in 1988 I was really looking to London and it was people like Andy Weatherall, Colin Dale, Gilles Peterson. Before that I have to mention Larry Levan, Frankie Knuckles and Ron Hardy. I was really into US stuff, out of Chicago and Detroit. People like Juan Atkins, Kevin Saunderson, Larry Heard and Marshall Jefferson.

The UK acid house scene was a big inspiration as well, The Orb, The Future Sound Of London, Bomb The Bass, the indie dance as well with Primal Scream, New Order and people like that. These are the names and sounds that really got me going.

Later on Mark Broom and Black Dog, who I was so lucky to do a gig with in Stockholm in the early 90s which was really inspiring. Also I had a ton of respect and admiration for Underground Resistance, Jeff Mills and Robert Hood. Always been a huge fan of the dutch scene, you know people like Steve Rachmad and Orlando Voorn. Of course, also Sven Väth and DJ Hell from Germany.

Is there a DJ who inspires you nowadays?

There are of course people that inspire me! Ellen Allien for example. I think she is still kicking ass. I remember booking her for a first ever gig outside of Berlin. I booked her to play at my club Mantra. We had a night with only female DJs. It was way ahead of it’s time. Ellen Allien must have been around 20 years old. I’ve followed her ever since then and I am really impressed by her career and I still listen to her. As well as Jayda G, Eris Drew, Palm Trax and many others.

What is your mission as a DJ?

I always had two simple rules as a DJ. Rule number one: I am always here to entertain and make people dance. Unless I am booked for the ambient show, getting the party going and getting people on the dance floor is my primary purpose. A second rule is: I will never play anything that I would not dance to myself.

That is really straightforward, but these are two rules that I have always lived by – make people dance and don’t play anything you can’t dance to yourself. This gives me an ability to be always satisfied because I am not breaking my own rules and integrity or selling out. Luckily, many records can make me dance, haha!

Another important mission is to educate by spreading the good music, spreading the word. It is also because I have been running my Multiplex label for 25 years. Well, not continuously, but started the label back in 1995.

All in all, my mission is to communicate, educate, inspire and preach the techno and house gospel.

Would you agree that in a perfect scenario DJ is an educator in music?

I think so, yeah, definitely. Because who should play new music? It’s always been DJs doing that. That is why I was the first DJ standing in line at Street Dance, Loud or where ever to buy new records. I wanted to play upfront music, I wanted to push the limits, to surprise people.

Of course, I can play classics but it is not that satisfying because I want to give people an element of surprise, an element of “what the fuck is that?” To entertain is not inevitably to please. I think there is a difference between pleasing and entertaining. It can also be shocking and you need to shake the dance floor and to play something for staying alert.

MORGEN GEIST – PUSHED EP [MULTIPLEX 1997]

This is one of my releases that makes me the most proud. A club classic that stood the test of time. Favorite tune – Push (Mark Broom mix).

CH CONNECTION – PUSH ME / BLUE MOVE [MULTIPLEX, 1995]

One of my own productions. A remix project which was luckily rejected and we then choose to release ourselves. Two slices of acid-house.

Why did you suspend Multiplex Records back in the day?

I launched it with a partner but when we split I kept going on my own and really didn’t have the energy for it. I think that natural causes made it stop, also financial causes, but for the most part personal reasons.

For me releasing records must have a meaning. I don’t want just to release records. We released twenty-five 12 inches and six or seven albums in 5 years. After that I felt like I did not have anything to say anymore and it was natural to finish it in some way.

Then, of course, it was very natural to start it again after a long break. I started feeling the attention for the old music, and that made me happy. I was proud that people contacted me about these old records, and I observed prices rising on Discogs. Some of our old releases got included in different mixes. There was a fax number and address printed on old records and that was the contact information of my old office, so people could not get in contact. For instance, Marcel Dettmann released two tracks from Dan Curtin and Sterac on a mix album. I was like WOW, but nobody asked me for permission. However, I could understand that because they did not know how to get in contact. All in all, it just made me very proud.

I had my old Multiplex stock in a storage in Frederiksberg. The distributor from Germany shipped all my records back when I stopped the label. I kept them in the storage for 20 years. But then I thought maybe somebody will find this interesting. I got in contact with Rush Hour and made a deal to sell the records for ordinary retail prices. I wanted to provide people the opportunity to buy records that were selling for 100 euros on Discogs. It was good fun to say  – OK sharks, what are going to do now?

The records were selling like hot cakes and I thought what to do with the money, maybe I need to release some new music. At that time I was also getting back into the game with DJing and all that. Hence, we started pressing records again.

The first release was old stuff from the back catalog that we did not have any spare copies left. It went well, so we thought maybe it was time to release some fresh sounds. We pressed Wilma – Bodycall with a remix, and it was a nice feeling getting back into the game. The fresh vinyl sound, the production process, finding a remix and all that.

To make it happen, I teamed up with Daniel Kaarill who used to work for Culture Box. He’s the anchor handling the day-to-day business at Multiplex. That’s never been my strong side and perhaps that’s why I closed it. I have a lot of energy, many good ideas, a vision, and I can make things happen. But the day-to-day business is not for me, I am not that good at it. I really need Daniel. He is taking care of the business and organization.

We have released nine records so far. Prior the pandemic our release schedule was two or three records per year. We started pushing a little bit because I thought it was like back in the days, but it is not. It is difficult selling club music these days. There are, of course, collectors picking up the good stuff but not too many DJs anymore. We usually press one record in spring and one in autumn.

There was a feeling for a couple of years that big name DJs will start spinning records again. But you see them with USB sticks and I can comprehend that. They travel frequently, and the clubs don’t have decent set-ups, needles jumping, feed back and so forth. However, USB is not for me. I don’t travel that much, and I like the struggle and coincidence. Haha!

What is the vision of Multiplex nowadays, are you taking new artists under the wing?

We’re trying to find the balance between cultivating the old and significant sound for Multiplex and emerging new talents with the old school approach. For instance, the PH1 release we did. I met Simon in Aarhus at a gig where we both played, and we had a talk afterwards. He expressed a lot of love for the Multiplex sound, so I asked him to send me some music. I loved three tracks of his and asked Titonton Duvante to make a remix. Simon was like “wow, really? I am a big fan of Titonton.”

I like this combination of established artists and new artists that are developing and pushing the sound that I like from the 90s and have the analogue approach to their music. Another project that gives you an idea of what we’re trying to do is the Obey The Night concept which is curated by me.

The idea is to pit two great producers from different places and generations against each other. They would both supply an original track befitting for the club and the dance floor, and then remix each other’s work. For the first release our choice fell on Multiplex veteran Orlando Voorn, who had previously released on the label as Ultra, and Luca Lozano as the younger artist who (just like Voorn) has a varied and interesting back catalog and a novel approach to the music production. That’s our vision and what we’re trying to achieve.

Do you think Multiplex has a responsibility developing emerging artists and spreading the culture?

One thing is for sure – I don’t feel any responsibility for developing the scene in Copenhagen. I do what I want to do. I used to think I had that responsibility. And, of course, I feel responsible for the artist I work with and keeping history alive. Being one of the guys from back in the days, keeping the sound and the records. But I only refer to myself and my needs when I play, organize events or release music. I have been there and took my responsibility. I think other people have to take charge of that now.

During the years I have brought many artists into the game. Rune Kølsch released his first records on Multiplex and now he is one of the biggest international DJs out of Denmark. Bjørn Svin had his first track ever as Bjørn Svin released on Multiplex. Titonton Duvante, Morgan Geist and John Tejada only had a few releases when we started working with them. I am always looking for new talents, but I don’t feel that being a responsibility. I am free! Haha!

STASIS – DISCO 4000 [TIME IS RIGHT, 1993]

This was the first time I heard Stasis and knew immediately we had a very special producer here. One of the UK’s finest and so happy to have had the opportunity to work with him. A shame he is no longer active, he put soul in those machines.

SVEN VAN HEES – EMOTIONAL REHABILITATION, R&S RECORDS, 1992]

R&S Records and Source were huge in 1992. This was massive for me and an underrated classic. Did some label nights for them around Europe at that time. Great parties! My favorite tune is Emotional Rehabilitation (Source Reproduction Mix).

DJ METATRON – U’LL BE THE KING OF THE STARS [TRAUMPRINZ, 2014]

Introduced my wife to Dj Metatron/Traumprinz/ Prince Of Denmark six years ago. She has been a mega-fan ever since and his sound has filled our home the last years. Favorite tune – Oh Ah.

Let’s talk a little bit about vinyl. Where do you buy records and how do you find new music, Steen?

Actually, I realized I wasn’t digging anymore. I am clicking. I am a clicker! Haha! But for real, I am buying most of my records online. Discogs is my sweet spot and I love it, couldn’t live without it! I can spend hours on Discogs. It is just clicking me into new territories, into sounds and records that I did not know about.

Back in the day there were only two shops and many records never made it to Denmark. There was not so much access, no internet and so forth. Hence, I am discovering records from way back that I did not know about. I just like the accessibility of Discogs, it is easy to compare prices and different pressings, reissues or different masters. I don’t necessarily go for the original first copies, I’d rather go for the sound and the price. I am just interested in having music on vinyl that sounds good. I am not that kind of collector picking up specific pressings. I just need a track for myself or to play for the dance floor.

Do you miss going to a record store and losing your mind in the crates sometimes?

I do as some kind of romantic thing, you know. Meeting up with other DJs talking about how it went last weekend but most of that communication is on Facebook now, right? I can miss hanging out with people, but in everyday busy life it is much easier to buy records online. Of course, there is something unique about being in the record store, listening buying records talking about music face to face. I can miss that sometimes.

What makes vinyl your format in the light of all other media?

Let me draw you an example. Let’s say there is a conflict between Koda and Youtube and immediately so much music is unavailable. You see what happens – if the format is changing or your computer can not play this old file anymore or something. I just know that if I bought it on vinyl it is mine forever and nobody can take it away, even if the world is burning! It is just a feeling of having it and feeling it.

I can’t always remember titles or names of my records and with age it has become even more difficult, haha! Especially if I am in a club and it’s dark, the bass is pumping. However, I recognize the covers bent corners the colors. It’s a feeling. I can’t imagine myself standing in front of a screen and trying to find a tune, that would be a disaster!

I played few gigs for friends where they only had a digital setup, and I was getting stressed seeing the titles and not recalling the track. On the contrary, when I see the cover, I just have a feeling. I can remember playing this or that record in Spain in 1996 at Sonar Festival and it was a bang – then I know that “Ok we go for this one!”.

I tried digital stuff but then I thought – do I really want to start all over again, getting the skills back, how do I do a cut back, how do I cue them up and finally how do I work fast on them. I thought – no, I don’t want that. I would rather refine the skills I already have with records instead of starting up with the new format.

Do you think vinyl can be improved somehow? It is a very old format that has not changed for a long time.

Hmm. People may pay little bit more attention to mastering. I have records that make me think –  “Ok guys, why don’t you take care of this, the level is very low and stuff like that.” But I don’t see any need in changing or improving the format. I think the digital was a change some people needed, but records have worked well for so many years and have brought pleasure for so many people. However, for example the new Technics turntables are improved. They sound better and work very well.

What makes a strong record?

It’s inevitably a quality pressing and a good mastering. I personally like records with only one track per side. That’s why I am not buying albums so often.When I have an album, I am unsure what track should I play, there are too many options. I like when people make a choice for me saying “OK my friend, this is the track” – cool I am playing it.

So the strong record is one track per side with a decent groove spacing and a nice high level output. As a DJ I prefer something to mix-in and mix-out with, maybe a good break as well.

What makes a strong record label?

I would say it’s consistency, longevity, passion, diversity and surprise. You know, there are labels with a surprise feeling. Lobster Theremin would be a good example. It ranges from hard techno to drum & bass, house and more electronic vibes. The artwork is telling a story as well. I like that, but I also like the straight-on consistent record labels, where I know what to expect and the whole catalog is a piece of art.

What are your favorite record labels from the Nordic Region?

It is definitely Borft Records from Sweden in respect to my Helltown family. They have the passion and surprise. Of Norwegian fame I’d like to mention Sex Tags Mania. From defunct labels I would mention Svek from Sweden as well. It was a good deep house label. Then I have to mention Sahko Recordings and Keys Of Life from Finland.

I also have to give a shout out to Regelbau, from my native Aarhus. It is a strong Crew. And Axces with Alfredo 92 and Kasper Marott, they really have an infectious passion.

What stylus are you using and what is your preference?

I like Ortofon Qbert and Shure White, but the Taruya 01- M Red are my favorites. That’s the three I go with. The Japanese stylus is really good for playing out, cause it has such a loud output. And I like the message – Real DJs Play Vinyl.

Are you keeping busy during the pandemic?

I have my teacher job at a teenager school in Amager, which is full time. I teach kids starting in 7th grade and up to 9th grade when they finish school. At that point in time I start with new 7th graders and so on. I enjoy it, and it is a nice school. I have two awesome classes. I just connect better with teenagers. Small kids are not for me. I like talking about life, love and music, being ironic and using humor. 7th grade is OK and they are getting there, but the 8th and 9th grade are the best years. I love being a part of these young peoples lives, and it’s really cool. But it’s been stressing, weird and challenging during the pandemic. So yes, I am busy even during the nightclub lock-down.

How do you balance between school and nightclubs?

I have an excellent partner. We switch classes and support each other. My boss is also quite understanding. It is actually never a problem, because I’m used to it. Back in the day I used to play every weekend, and then get up early on Monday morning to be the first customer at Street Dance. I had been standing there before they opened the door. I had to do it, because I wanted fresh records, the one copy records. Being the first one on a Monday morning meant that I got a stack of promos and listened to all the crap, to then suddenly find the hidden gem. That was how I got hold of Plastic Dreams by Jaydee. I got this classic 3 or 4 months before it was released. Actually, there are very few records of this promo version.

My friend submitted it to Discogs a few years ago. It was not even there. And I remember the day I found it. It was in a batch from the Italian distributor. And I was going through horrible records, just hanging in there. Then suddenly I drop the needle and — oh my God, what the fuck is this — you know. It was one week before Christmas, and I had an interview on the DR radio and played it there, people were calling to ask what was that. Afterwards, I had a gig in Royal Art Academy at the Christmas party. And I think I played it three or four times that night. Everyone was going mental. I just knew a classic was born, and it became massive that year!

That was one of the reasons why sometimes week after week I was standing there with no luck and then suddenly there was this one record, that I am still bringing along.

I am used to get up early. However, since I am getting older, I started feeling it on a Monday morning if I played on Friday and Saturday night. So I tried balancing it somehow better and for the last year before the pandemic I decided to play only two weekends per month.

VIA LIBRE & GRUPO AMIGOS – LA GIRA DEL DIABLO [DISCODELIC 2020]

One of my most exotic finds. Mad Costa Rican party tune, of a Brazilian classic. Favorite – La Gira Del Diablo.

THE LOVE SYMPHONY ORCHESTRA – LET ME BE YOUR FANTASY [FLEET, 1978]

Some of the best orchestrated hot and sexy disco from Penthouse for your home floor!! Epiphany of a time and so well mixed. Favorite tune – Let Me Be Your Fantasy.

MAYER HAWTHORNE – HENNY & GINGER ALE [REPUBLIC RECORDS, 2013]

A timeless good time gem.

It is also a hard job to play every weekend, isn’t it?

Yeah, it is. But you know, I had a period when I didn’t DJ at all. I started attending school to become a teacher and then in 2005 I played at Culture Box and that was the last club gig I played. I did not play for 4 years at all. Because I was into studying and it was very new for me. I felt like my brain is being stimulated in a way that it hasn’t been stimulated for a long long time. I was enjoying that and thought “OK I am taking a break.” I devoted all the energy into becoming a teacher, studying psychology and all that kind of stuff. So that was really a positive thing for me.

When was that?

It was in 2005. In fact, I started studying in 2003 and then I was playing besides. But then from 2005 I put all my effort into studying and I thought I would retire, no more Djing. I placed all my records in the basement and started using digital music. It was so easy and comfortable to get everything on digital and trying all kinds of stuff. And it was good for me, because suddenly I started listening to music in another way. I was not listening to tracks and trying to find out how can I mix it in a set or whatever. I was merely enjoying music again, and it felt good. Then a friend who had a club in Kødbyen, asked me if I wanted to play for fun one night. I did, and it was a good fun. I thought — wow, I missed this!

Did you play records then?

Yes yes, I went to the basement and found a box of vinyl. Then later my friend Kenneth from Culture Box called and said – we are opening the basement called Red Box, do you want a monthly residency? I went there and it looked good. It was kind of a small version of my old club Mantra. It had the same feeling, just with the lower ceiling. It had the intimacy that I like very much. I said yes and had the idea that playing once per month I will take two boxes up and place them in the apartment to make it easier.

But then I took one more box, another box up and then it just departed. People started booking me, and it suddenly started growing again. After two or three years it was becoming more and more. I took a year holiday from my job, because I was playing three times per week. I was playing everywhere and it felt like – wow I am back, I am having a renaissance! I was really enjoying it and started doing full time Djing.

But suddenly I thought OK, I’ve been there, I’ve done this, I am not going touring again and I just want to keep it as a passion. So I came back to my job at school. Because I know that keeping it running is a hard work, because you have to go out to parties, meet people, talk to people and so forth. For a long time it was alright, but then I was feeling that I want to stay home a bit more and all that jazz.

Do you think you have a good balance now?

I spoke with my wife about slowing down a little bit. And she said – yeah, that would be cool because I feel that you are getting a little bit stressed. Every time I play a gig I’d spend all day digging into records instead of relaxing and enjoying life a little bit more. It was solely working and Djing, and that got just too much. Sure it was great being part of it all again, that adrenaline, action, fun about sharing the passion and love. But suddenly, it felt like having two jobs. It was way too much and I could not manage it all.

I think I found the appropriate balance now. I had two or three gigs per month before the pandemic. That suits me fine and gives the time to be more prepared and have more energy to play. Back in the day I used to play three nights per week. But then I had all week to find records, chill-out and prepare. Playing two times per week and having a full time job, being a friend, a husband of 55 and trying to be healthy can be difficult to balance. I think I found a good balance and keeping it as my passion. I think people can feel that as well, instead of seeing me as a machine, playing the same records every time.

Dainius Groove

Quality Manager at RPM Records