Lets start with the general sentence: Tell us about your musical roots! How would you describe the sound and style of your own music? What is it inspired by (genres, artists, groups)? Where does Your house music comes from?

There are no specific musical roots. Bits and pices I heard as a teenager aroused my curiousness and I early realized that there’s a lot more music to explore than what the main radio stations have been playing or what most of my friends listened to. I started to search for different music and recognized soon that I am into soul & funk. With the House Sound of Chicago and tracks like “Love can’t turn around” I got in touch with house-music, which quickly became my favourite music style. Since then I always stayed true to this passion. Nevertheless I find a lot of different styles inspiring. This reaches from classic to Jazz, world music, even to Pop. In each genre you can find interesting music and so it’s hard pick one sytle or descirbe it with few words. When it comes to DJ-ing I like all good from deep to soulful to funky house and also a bit of broken beats.

What motivated the move to Mallorca? Did something change in your life while living there? Where is your „home” now?

Actually to move there was a quickly made decision, when I visited a friend on the island. It was my first stay at Mallorca and really enjoyed it there. My friend searched for somebody to rent his house, because he wanted to move somewhere else. I really liked the enviroment and so two month later I was on my way there. The great weather there surely helps „lifting” the mood, but my life did not change extremly. During the week I was working for my label and producing. On the weekends I was on travel to DJ. I had to fly much more, as a lot of gigs still have been in Germany. Two years later I decided to move back to Germany. Now I live in small city near Wuerzburg again. I moved back mainly because it’s much more effective to run a label from here as the infrastructure is much better.

Could you please present us the GOGO family in some sentences?

The „family” mainly consists of the following four artists next to me:

1. RAW ARTISTIC SOUL (Phil Kullmann), who early started playing drums and electric bass. He later switched over to percussion and started producing music in 1997. In 2002 he built up a new studio in Cologne. He also was the first one to release a full album on GOGO Music.
2. Benny Pecoraio: A friend and great talent from my hometown. We got in touch in the club-scene and when I heard his first set I knew that he had a great taste. A bit later I realized that he’s a very talented producer as well.
3. Roberto De Carlo: I met Roberto on a gig in Switzerland and he was very symphathic. We stayed in contact and later I received his first demos, which have been very promising. After some remixes he came up with his first production „Soulful things” which still is a all time favoutite of me. Currently he’s working on several new songs.
4. SUGAR BEAT: Out of the inspiring club-sessions with drummer Steffen Meder developed a production team, together with CrisP. We do a fresh broken beat style.

Until recently (or at least until the start of the 21th century) the quality german house labels were mostly known for a bit more techy sounds, perfect programming with soul. How come, that a german soulful label (GOGO) breaks into the scene reaching so early the heights of its american and other western european fellows? Is it just the matter of choosing the right artists? How did the idea come to create a whole new label after releasing at so many?

The idea to do an own label was a long growing idea, which I had in mind for longer, mainly because of frustrating expieriences I often had when releasing on other labels. For lots of labels only counts what’s hip and brings a quick buck and I was tired to hear what I should change in my productions to make it more “commercial”. My aim was to establish a new label that first of all stands for its quality music. I think what makes GOGO Music stand out from a lot of other (German) labels it the passion and love I put into it. I do not choose tracks because of their commercial potential, but search for well-written and timeless music. I think it’s important to listen to the message of the lyrics as well. A good song has to have a senseful message. Of course it’s important to pick the right artists. It is always a bit of fortune to find them, but my job is to give the one I choose the right advice to perfectionate their productions and help them growing. I don’t tell them what to produce, but I always try to be a helping hand for all questions related with their releases starting from the right vocal featuring to the sound of the production to the right remixer.

Big mistake I couldnt hear the GOGO set at the Winter Music Conference this Year… Rumours that it was one of the most talked about parties…. With the line-up with all my favourite artists: the master Kenny Dixon Jr. (Moodymann) and Theo Parrish, Markus Enochson.. could have been a crazy night… Wish we could organize an event like this in Hungary…
Could you tell me something about that night? What is the relationship like between you and these geniuses? What were the official feedbacks? Was it your first WMC?

It was not my first WMC. I have been there a few times before and also DJ-ed on several events, but it was my first labelparty in Miami. It was a good night indeed. The party surely was a success, except one unpleasant incident, when Glenn Underground grabbed the microphone after the live act of Hanna Hais and said „white people are fucking black music”, because his set was delayed a bit. All promoters of the party have been white (Jerome Derradji of Still Music, Alexandre Escolier of Atal and myself) and we really have been pissed, but luckily his statement did not harm the vibe of the party. Later I heard from different sides that Glenn Undergound is known for „blackouts” like this and I surely will not work with him again. The relationship with the other artists has been a relaxed and mutual respective one. Some of them even appologized for Glenn Undergound even it was not them behaving unprofessional.

What is the situation between u and glenn u now?

We haven’t been in contact since then. His management wrote an email with “appologize” to me and said that they hope it will not affect our relationship. It answered, what I, that it will not affect the relationship between the management and me, but that I will not work with Glenn again.

I see.. I can not imagine that race debates often come up at house parties like these…please say i am right…

What I heard from people in the states is, that the racism grows strongly (since the “Bush-Time” – it is no wonder). It does not stop in the music bizz. Even it has nothing to do with the music itself, you can find there racists like everywhere else. After the WMC there was a big discussion on the deephousenetwork page about the party and racism. It was interesting and frustrating to see, that a lot of people have racistic thoughts.


I don’t care about the “colour”. A lot of white people do great soulful music, but some black don’t think so…
but I don’t want to blame anybody, as long as he does not blame me for doing my thing.

Is it true that Kenny Dixon Jr. is hardly approachable? what kind of person he is?

Of the whole line-up, he was the only one who arrived straight before his set and then stayed in crowd of buddies. I only spoke two sentences with him. It seems that you are right and he’s very hard to approach, even he made a releaxed and sympathic impression on me…can’t tell you more

Cos i heard the he doesnt gives inters for ex…

I think it’s part of his way of promotion. i also heard that he used to spin behind a curtain, as he does not want to people to see him.

Yes you can not decide, is it the way of the art, or the type of person they are, or both

Yes, and they will not let you know only you invite them to play at yourt party. Jerome of Still Music told me that they are much more releaxed in chicago and he had the impression that they had big pressure in Miami, as they played there for the first time and a lot of big names attended the event and watched them…

Interesting as they are big names in some way as well..

Sure. as you said they are heroes (also for me and as well for lots of other DJs). That’s one reason why the party was crowded, but even a big name can feel pressure in a “new” or “competetive” situation. They are only human beings nevertheless.

Soulful scene in Hungary doesnt really exist. Most of the people having connected somewhat with the deep house sound know mostly about Jean F. Cochois (The Timewriter) and Terry Lee Brown Jr. as they were the guests most often of the so called I love deep party series. Are you in connection with them? Do u know each other? If yes do you speak often?

Yes, I know them well and DJ-ed once with Terry Lee. We don’t have regular contact, but we send each other our promos. Some of the stuff is too techy for me. (Maybe techy is not right word, as I don’t want to say that I never like techy stuff…)
It always depends on the individual record. Some “techy” stuff is cool, when the groove is right and the sounds are inetersting.

I discovered that you like the sound of the well-known nujazz label: sonar kollektiv. How much does your playing style soulful oriented and how big part do you leave for the nujazz intentions or other styles?

Yes, I do like a lot of the Sonar Kollektiv releases, but to be honest not all. Lately they had some Hip Hop releases, which I don’t dig too much. Neverthless they have some great artists like Clara Hill, Ame, Isoul8, George Levin and lately Markus Enochson. Especially what Jazzanova does is always innovativ. It seems that their release policy is firstly to put out good music, what I appreciate!

Speaking a bit about your productions. You made many of them through more than a decade but if i know it well you never released a full album. What is the reason behind this? Can we expect one in the near future? If yes what will it be like (or at least could you tell us smth about your next releases)? Are there any newcomers who you want to work with in the future?

You are right, so far I did not release a full album. When I started to produce I always thought it makes more sense to release house tracks on 12”. Also I did not have enough time and not the right platform for a album release, which changed with my own label. I am currently working on my first album, which hopefully will be ready to be released in the first half of 2007. It will contain features by artists I know and work with for long, like Inaya Day or Hanna Hais as well as lots of new connections. For example I recorded one song with Beate S. Lech, who might be more known as Beady Belle. This was a dream come true as she’s in my eyes one of the most gifted jazz vocalists. The song recorded with her will be the first single taken from the album and will be released still this year. I am always open to do new collaborations but there’s currently no specific newcomer I want to mention.

How does your studio looks like? What kind of instruments, tools do you use? Who do you work with nowadays? Do CrisP and Steffen Meder always help your creating your own records?

I sold a lot of equipment, like my analogue (Soundcraft) and digital (Yamaha 02 R) mixer and outboard effects, as I nowadays produce mainly with the computer. I work on PC and use Cubase SX. I have a Fender Rhodes and different percussion, a good microphone and tube-preamps. Lately I did a few remixes alone (for example the Miami Theme or Zaab remix for Raw Artistic Soul) where I programmed and played the instrumentation on my own. Normally I work on most productions with CrisP, who is a great musician. He mainly cares about the instrumentation and I am doing beats, percussions and the production itself. Steffen is only a part of the my second project SUGAR BEAT, where he plays the live drums.

Have you ever thought of producing under new names and trying other styles?

When I started making music I also experimentated with other styles like soul and hip hop, but soon I realized that it’s necessary to feel and live the music, if you want to have a great result. As my time is limited because of the labelwork and DJ-ing anyway, I stopped doing anything else then what really love and that’s house…

Tell us about your residencies! What are the hottest places in the world to play?

I have two residencies both in Wuerzburg/ Germany. Since 1998 I play at the “Airport” on Friday nights. It’s a bigger club and I play more uplifting sets there. Since 2002 I am on Saturdays at “Studio-Lounge” as well. It’s a very small intimate club where I can just play as deep as I want to. Next to these two clubs I am at some spots in a more or less regular way. E.g. do I play every 2 month at the Bigmini in Hamburg. It’s hard to say what the hottest place would be. As long as the audience enjoys the sound every spot can be hot. Of couse a good soundsystem is necessary and I prefer smaller clubs as it’s easier to “communicate” with the crowd.

What is the difference between spinnin alone and playoing together a live act with Sugar Beat? Do you think that with time you will turn mostly towards live acts with live vocals and leave the single djing thing behind you?

Playing live with SUGAR BEAT is great because of the interaction between Steffen on drums and me. Also for the audience it’s good to have more than just the DJ to focus on. At the moment I haven’t planned to do more live act next to the SUGAR BEAT project. Steffen and I just harmonise perfect and it’s always time-consuming to reach this with new partners. I don’t see myself as musician in a live band on stage so far and I surely will never stop the single DJ-ing.

Do you often perform with a vocalis for ex. Inaya Day?

Unfortunatelly no. The clubs don’t want to spend the fee on a vocalist, that Inaya is asking for now. And I don’t want to work with “just any singer”, as I know how much fun it is to have somebody “amazing” like Inaya on the mic. the last time we performed together was one year ago and nothing planned at the moment…we have been speaking about a performance at the WMC 07, but nothing is fixed…
Most clubs here have a tight budget as well. Or prefer to spend it on abig name DJ rather than a live-act who often does only some songs…
Lately I am more in touch with people from abroad. I sometimes have the impression that a lot of Germans don’t understand or respect the gogo sound which is now said very directly…

But others do? in switzerland for ex? Where purple music does great things?

Yes. to both Qs. The Swiss people tell me that they also have a lot of “electro-parties” going on lately, but they still have a good scene for soulful music. The audience is used to vocals, which isn’t the case in too many German clubs. There are only a few. But like I said in the inter I have the impression that it turns to the better a the moment
The thing is: if no (or only a few) DJs plays soulful, the people will not understand it from when hearing it the first time. Of course there are always a few people who are into it, but not the majority

Do u think that deep house got big names? For which the club promoters would fight? And spend all their money of them?

Lately not in Germany, but if you look worldwide: yes. MAW e.g. But I heard that e.g. Quentin Harris or Alvarez gets big fees in Japan and South Afrika as well. Baze is another one.

But as i see it well a deep house artist has to do much more to get the same amount of respect of the majority.

Sure. It’s much much harder to get a radio hit. And with a hit you get the publicity to be able to charge big fees.
There’s only a few deep house djs, who gets good fees, but many many commercial (hard house /Techno / etc) Djs. If I look on germany there’s no deep house DJ with big fees and a lot of others…
When I speak to A&R of Major record labels, they tell me that deep does not sell and it is not interesting for them to push it.

What is the situation in Germany know concerning your sound? What place does it occupy in the world of „underground” (if we can call it like that) compared to the USA or France? Are there any competitor german label that can endanger the position of GOGO? What are the labels to look out for concerning not only Germany?

There’s almost no scene for the “classic house sound” in Germany. It used to be a bit better in the mid-nineties, when house received a little hype. Lately I realize that the big “electro-hype” seems to decreases and the people want to hear vocals, instruments and melodies again. Nevertheless new talents with an own sound are rare to find. Mainly it’s the already established names like Needs or Dixon who still do the best productions. Internationally a lot of fresh producers are doing great productions. The scene in South Afrika seems to be extremly alive.

How do you see the deep house scene in 5-10 years? Where do the new supplies/upcomers come from?:)

Since I am into „deep house” it never made the step to a big audience. I still hope that it will change and that the scene will grow, but I fear that it will mainly stay an undergound thing. Fresh supplies come from each part of the globe nowadays, as there are no big boundaries thanks to the internet technology anymore. I lately received interesting productions from South America or Russia, which haven’t been on the map before too much.

What can we expect of the new Go compilation? As I saw it well you try to define the essence of the GOGO world in it (concentrating on recently released tunes spiced with some hot new tracks). Will you try to spin all the tracks that the cd will contain?

Yes, the CD combines the “best of” of the last one and a half years of GOGO Music, plus new GOGO tracks which are upcoming later this year. To round the compilation off it contains as well two so far unreleased remixes by myself. My sets never contain the same tracks and even I am on tour to promote the compilation I don’t just play the tracks contained on it. Of course I drop one or the other track from the CD. Which ones depends on the venue, the crowd and my mood.

The GO! Tour has just started at this weekend (16th of Sept). How was the first night?

I was in St Gallen (Switzerland) for the first time and it was a great tour-start. The club has been packed and I really had fun to play there.

By the way how do u make a compilation? Is it the result of a thorough and deep thoughtfulness or just an inspiration of the moment?

Half, half. I think about which tracks I would like to include on the CD and just get behind the turntables and mix them. As long as it works and flows I leave it like this. For some reason the first GO! compilation took much longer to mix it. Maybe I really have been inspired this time or just lucky…;-)

While playing live do you prefer to appeal to the emtions, mind or the feet? How does the size of the crowd affects the direction of your set?

Emotions are a important part for me. I think my best sets haven’t come to much from my mind, but after 15 years of DJ-ing it’s not possible to get behind the decks and turning the head of completly. The size of the venue surely affects the selection of tracks, simply as some tracks work better in big rooms and the other way round.

Are you an encyclopeadic type of person? Do you think it is important to distinct substyles like soulful, deep house or deep tech from each other?

Not at all. A lot of tracks are hard to categorize anyway as they jump between the genres. The tracks I like, have to appeal to me for some reason. Because of my specific taste there’s of course a kind of distinction in what ends up in my set.

What do you think of the west coast east coast us deep house sound distinction? do you feel some different sound?

Yes, there is a difference. It used to more different few years ago. Some of the west moved east and the other way round, so it mixed up a bit. But there’s still a difference. But also between NY and Chicago there’s a difference. For me west coast sound is cleaner. Ny more soulful and Chicago more dirty Am I right?

Sure, i can give u a good grade on this
Most memorable gigs or radio shows? Who did you play with?

Hard to say and to mention one. There have been a lot of memorable gigs. Ministry of Sound Radio, this years WMC party or the „Battle of the DJs”, which was held by and broadcasted on German MTV have been highlights. Often the gigs in nearer past leave a bigger impression and the ones long ago fade out of mind, which does not mean that they haven’t been fun.

Have you ever thought of what will you be if not a musician/dj and a label owner?

Maybe I would have worked in my proffession. I studied civil engeneer at university, but I can not imagine to work as engeneer now anymore. I only studied it to gain some time to see if I can make my living out of music…

I found that in one of your recent radio shows you played a track from p60, one of the most talented hungarian producers. What do you know/heard about the hungarian party scene and house producers? What can we expect from you in Budapest at the 24th of November?

I received the P60 a while ago from JoeB of King Street who sends me their promos. When choosing a track to play I do not look on the name, just listen to the sound and I liked what I heard. P60 is a new name for me, but the tracks on his EP are great quality music. Honestly I haven’t heard too much about the scene in your country so far, but it can be that I play tracks from Hungarian producers and don’t know that they are from there. I regularly check www.deephouse.hu, which is a great resource for deep house heads. When coming to your city for the first time you can expect a spontanous, emotional set with a lot of new and some classic house music.

We know that you love red wine. Have you tasted any of the Hungarian ones?:)
(If not we can promise you will)?

Yeah, let’s try some. I know there are fantastic ones.

Thanks very much for the inter!

Really appreciated. looking forward to read it in your language when I will be in Budapest also lookign forward to open a bottle of wine with you…