When I think of DJs whose sound I would like to emulate, or I feel that they are playing music in the way I would like to be heard if I had a similar profile, Eli Verveine is a name that immediately springs to mind. From Switzerland and with a global reputation, she is someone whose sound is broadly characterized by depth and groove. When I listen to her sets I am immediately reminded of the classic south London/Croydon approach to shaping techno and house. If it’s deep, warm, danceable and embellished with machine funk and the production isn’t overcrowded, it’s in. These very flexible, accommodating parameters allow a wide variety of music to be incorporated into a typical set, albeit with relatively specific standards to be met, and she has become adept at satisfying these criteria due to her impeccable taste and intuition. I sent her some questions a while back, which I almost forgot about until we entered this period of lockdown, so I pounced while she probably wasn’t as busy as normal, and she was kind enough to get back to me.
How would you describe your DJing philosophy?
I love the fact that music is a universal language, that you can travel almost everywhere in the world and that you can find this magic that connects people on the dance floor.
I see everyone on the dance floor including myself as unified: we are traveling together and it is a pleasure to steer us through the night with my musical vision.
How many great DJs are also great producers? Who are the first names that spring to mind?
Hmmm. That`s a tough one. To be honest - no names come to mind, since there are a lot. That`s why I will leave it unanswered.
Which time do you most prefer to play a set and why?
Every time has its charm and I basically love all of them. Although the time that gives you space for experiments and a kind of musical freedom are the morning hours. That`s why they are especially dear to me.
How aware are you of having any technical skills regarding your DJing? Is this important, or is it all about the music?
When I started DJing I thought technical skills were the most important. It was a time when everybody played vinyl and you had to learn to how beat match. Nowadays I can only laugh at my naive view.
Neither the technical skills alone nor the music make you a good DJ. It`s a combination of many things and skills together. Like how you can read a dance floor, how you combine the records, how much you feel what you are playing. This, combined with technical skills, and you are on your way to becoming a good DJ. Experience might be an important factor too.
Why do you think your ‘Carebear’ mix blew up in the way it did, and how helpful are online mixes to getting your name out there?
I think it was a combination of different factors that came together. After I recorded "Carebear " I burned it on cd and handed it out to friends. It was my first recorded promotional mix ever and I put a lot of thought into it after refusing to record anything for several years.
I had a homepage back then, where the mix and the playlist were posted. Somehow Chris from the mnml ssgs blog stumbled upon it, posted it and also asked me to record a podcast for his blog. Which happened to be my very first recorded podcast, so to say.
In my case, online mixes helped a lot in getting exposure and recognition on a larger scale.
Mixes are definitely important, especially if you don`t have any releases.
Nowadays the Internet is flooded with mixes, so it`s also more difficult to get attention through it.
Nowadays the Internet is flooded with mixes, so it`s also more difficult to get attention through it.
Your sets have been described as “timeless”, (mnml ssgs 2008), and draw “on music from the past 15 or so years”, (RA 2012). How innovative do you think house and techno are right now and do you have a favourite period?
I think nowadays it is more difficult to be innovative in house and techno since - at this point - they are very established genres, nonetheless, what you can do is add your personal touch or flair. My favourite period would probably be the one between the years 1996 - 1999, even though I can always find great & timeless music in every period of dance music.
How many records do you have and how many do you need? How important is it to keep up-to-date with what’s coming out and where do you do your shopping?
After my last move, I got rid of more than half of my collection. I still have a big shelf full of records, around 2000.
I have to say that it was not the easiest task, but at the same time it was also very liberating. Now I have space for new music and the records that I own are all favorites.
I have to say that it was not the easiest task, but at the same time it was also very liberating. Now I have space for new music and the records that I own are all favorites.
In the RA interview which accompanies your podcast, you mention how important it is to have “(great/special) moments” on the dance floor. Could you elaborate on this and how you, as a DJ, can create them?
I think you're misquoting me in that RA interview :)
The special moment mentioned was more of the result of a good crowd, good music and a good sound system. Nonetheless, one of the best things if not the best thing at a gig is when your vision portrayed in a set as a DJ coincides with what the crowd wants: this midpoint between where you want to reach with your journey and what the crowd wants - THAT is the special moment that I strive for.
In the same interview you describe yourself as a nerd. How important is it to be one in your position?
I don`t think this matters at all. Just be yourself.
Which DJs would you go out of your way to hear play?
DVS1, Dan Bell, Marc Schneider...just to name a few
Could you do an all time top five?
Kinda Kickin' - DJ Boom (Phonography)
Starlight - Model 500 (Metroplex)
Dr Bootygrabber - Detroit Grand Poobahs (Detelefunk)
Tick Tock - Chiapet (Yoshi Toshi)
Sandcastle (Mike Huckaby Remix) - Precession (Ferox)
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