Soul Clap Dj Kicks Raritan
Posted By admin On 30.12.19Wolf + Lamb vs Soul Clap DJ KicksPhotograph: Will Calcutt
- Wolf + Lamb vs. Soul Clap ReleaseProduct DJ-KiCKS - Wolf + Lamb Label!K7 Records Catalogue Number 341 Release Date 14 March 2011 20 Tracks Artist.
- DJ-Kicks - MCDE Label!K7 Records Catalogue Number 549 Release Date 4 July 2011 23 Tracks Artist Wolf + Lamb vs. Soul Clap ReleaseProduct DJ-KiCKS - Wolf + Lamb Label!K7 Records Catalogue Number 341 Release Date 14 March 2011 20 Tracks Artist Apparat ReleaseProduct DJ-KiCKS - Apparat Label!K7 Records.
- The two-member team have thus far released a number of hit records, including EFUNK: The Album, FACT Mix 324: Soul Clap, as well as DJ-Kicks: Wolf + Lamb vs. They have also worked on collaborative recordings with other exceptionally creative and popular DJs and producers like Art Department.
People have disputed me on this point, but deep house went through a serious downturn in the States around 2007. Electro took off and dubstep was waiting in the wings to become the genres of choice amongst a more youthful club-going public. Soul Clap's Charlie Levine and Eli Goldstein will back me up here. Catching up with them in Detroit over Memorial Day weekend as they wrapped up the tail end of their marathon DJ-KiCKS tour with brothers-in-deep-house-arms Wolf + Lamb, I talked with the Boston duo about what it's like partying in their hometown, the recent success they've been having and how sexy house is seeing a big resurgence.
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Is this your first time here at Movement?
Soul_Clap - DJ_KiCKS_Exclusives_EP2 by Soul Clap: 3 chartings. Stay With Me (Soul Clap Balearic mix) by Sam Smith on Capitol: 2 chartings. Such a Shame (Soul Clap.
Charlie Levine: This is our fourth or fifth year attending the festival, but this is our first year performing. I’m really excited; it’s my favorite weekend of the year.
It’s definitely the perfect way to kick off the festival season. Do you have a lot more things like this planned for the summer?
Eli Goldstein: Well, we’re playing Glastonbury in the U.K., Garden Festival in Croatia, Sonar in Barcelona and Welcome to the Future, outside of Amsterdam.
So the short answer is yes?
CL: Oh, and Burning Man.
And then Burning Man? Right on. I have a couple buddies who are diehard burners. You may have to rethink which is your favorite weekend of the season after that.
CL: It can be our favorite week.
So with this and all your touring, how does it compare to clubbing in Boston?
CL: I don’t think there’s any comparison between what we’re doing and anything in Boston.
So you’re a one-of-a-kind thing up there.
EG: Well, there’s our homie Tanner Ross and we have a lot of friends who are DJs there. There are a lot of really small, intimate after-hours that have built up there over the past 10 years from our group. But just like a lot of cities in the U.S., the clubs close at two so it’s very underground and very small.
CL: It’s very funny to think back to the beginning of when our whirlwind of touring was going on. We’d come back from a weekend somewhere, like Amsterdam or Berlin and try to do a show and it’d be a total bust. We’d come from all this glory and insanity to just the dive bar scene in Boston. It’s just really wild, they’re like parallel universes.
How’d the whole Soul Clap thing evolve?
CL: I think when we forged our relationship with Wolf + Lamb, that’s really when everything took off on a grand scale. But we were working very organically with a label called Air Drop for the first few years. We helped them get off the ground and they release our first records. You know, we were generating a small buzz, but when we joined with Wolf + Lamb, I think that’s when we really discovered our sound and hit that stride. It was very much a kindred spirit connection. They had an agenda and a more historic sound. We were very much aligned with that.
What about you two, how’d the connection start there?
EG: At the parking lot of a rave.
CL: Yeah, we met raving. We’re rave babies. We had a mutual friend who went to my high school. He was like, Eli deejays, Charlie deejays, and we were like, oh shit, I know you from raving. And we just started sharing a record collection. We formed Soul Clap in 2001, but we’ve known each other since ’97.
How did your sound come together?
EG: Just years and years of experimenting.
CL: To survive in Boston you had to play anything that would come your way, be that a wedding or a private event, a hip-hop club or a dancehall night. So we’re doing these other nights professionally, with the dream of doing electronic music the whole time, and finding along the way that by fusing everything together we became very interesting.
What’s cool about it is, I don’t want to say it’s going against the grain…
EG: We’re very much trying to go against the grain.
CL: Like, ok, you’re doing this and you’re popular. I’m going to do the complete fucking opposite of that.
EG: Even beyond that, we try to always be pushing ourselves and experimenting in new ways. Ok, so, it worked with these R&B edits, so now let’s do something completely different.
You guys really aren’t afraid to slow it down.
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CL: We love slowing it down. It’s sexy. When we slow it down people start making out. Now we’re getting people coming up to us being like, I met my girlfriend or I met my boyfriend at a Wolf + Lamb or a Soul Clap show and now we’re in love. We’re like the Dr. Ruth of dance music.
How was putting together the DJ-KiCKS?
EG: It was a really good experience. We all moved down to Miami together last November. We worked on music together, we compiled music together, we mixed the music together. It was amazing getting really tight with those guys and then taking it on the road the last two months. We really feel like a band right now.
Then there’s the other mix you did for Art Department’s label. I would imagine the Soul Clap extended family is expanding really quickly.
EG: Totally, yeah.
Aside from you guys, many of the acts here at Movement—Art Department, Visionquest and these guys—they all seem to be coming from a similar spot.
EG: Well Visionquest is a generation before us in a way. They really pioneered it for us, bringing house music back and bringing the American sound back. But I think our generation—Art Department, Benoit & Sergio and a lot of the other Wolf + Lamb artist like No Regular Play and our boy Tanner Ross—we’re taking it in a more experimental and out there direction, really playing with the tempo even more.
In the elevator coming down, there was a girl who said the first big thing she couldn’t wait to get over here for was you guys. It’s great to hear about this reinvigorated interest.
EG: Was she cute?
She was actually.
EG: Alright, that’s awesome.
Like you said, it’s sexy music right?
CL: If this girl is feeling sexy and she wants to come here to continue that feeling, then we’re successful, successfully sexy.
EG: We’ve put so much work in America now. Seeing the last month of this DJ-KiCKS tour in North America, I feel like the country’s really behind us right now. It’s really amazing, the amount of support we’ve gotten from people. It’s like everybody wanted it to happen. If not us, they wanted somebody like us to come and be like, we love you guys. I’m out there dancing on the fucking dance floor, we’re out there in the party because we want to hang out with everybody. It’s like, let’s do this together.
What else do you guys have in the works?
CL: This tour ends and we don’t even have a week off.
EG: At some point we have an album that’s going to come out. We’ve been working diligently at that, but It’s been difficult. We’ve written almost all of it on the road or in Miami or in transit. We’ve got a lot of remix work, we’re starting to really catch the ear of more major labels. We even had an opportunity to remix the Beastie Boys. They didn’t accept it, but we’re playing the dub mix all the time and it’s getting great reactions.
Sometimes that’s how those things go. Watch, five years from now people will be like, how can we get that?
CL: It’s really funny because the feedback we got was that it’s too classic. But that’s what we do you know.
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