Cacophonous Bling: A Chat With Ze Salvador

I first became aware of Ze Salvador when he mixed the fourth installment of Steve O’Sullivan’s peerless Mosaic series. Since then I’ve been a big fan. All of this in spite of never having visited Portugal to catch him in the flesh. This is something I’d like to put right as soon as this virus subsides and we’ve got a vaccine. Until then, we’ve got social distancing and the Internet, which isn’t great for everything, but is unbeatable for finding new music and stumbling across talented DJs. Ze plays music the way I would like to play it myself: deep, druggy, messy and groovy. With that in mind I got in touch with him to chew the fat, and managed to cadge a mix. Thanks for taking the time Ze.

You live in Lisbon, which has recently had a raised profile. How would you describe the music you play, and how does it fit in to the city’s soundtrack?

Since I came to live in Lisbon in 2007, I have lived through the changes the city has gone through. It has become an international hub for lots of interesting people - and that has a huge impact on the diversity of electronic music fans. It is a bohemian city by nature, lots of fun, great culture, art and food, beautiful people, pretty safe and easy to get around. Also, the climate is great and has an incredible light. It is a place that inspires me every day. I mostly play house and techno and the feedback I have had over these years is very positive. I’m very happy with that.

I am currently a resident DJ and programmer at the 5A Club in Lisbon, and have been since it’s opening two years ago.

I play regularly at Lux Frágil, which is one of the best clubs ever and I also play very frequently in other clubs, regular parties and festivals throughout the country.

I host a regular radio show on Collect Radio called Lost Tapes and I also play on the Jardim Sonoro radio show on Vodafone Fm.

What is the most important milestone in your career?

It is difficult to highlight just one moment. But the fact that after 27 years I can still do what I love and have public acceptance is perhaps the most important.

Have you ever produced? If not, why not?

I am mostly a DJ and I am very demanding both in the music selection and with what I want to communicate. This also applies to my way of looking at production. Before living in Lisbon I collaborated with a friend but we only produced tracks and edits to play ourselves. It was just for fun. I still prefer the sessions as a DJ and to search and dig for the “perfect” record.

How important is it to produce a flawless mix?

It's very important. In my view, there are a few factors that define a good mix. Above all, the musical selection. Then the relationship of the tracks to one another, and the evolution and coherence of the narrative. But all of this only makes sense with creativity and some risk. I believe this balance requires time and a lot of experience. It is a delicate balance that I always try to achieve in everything I do. And of course, the audience - I always aim to provide something special.

How many records do you have?A lot of DJs are downsizing their collections. Is this something you have done or would consider doing, and why?

Curiously, that is exactly what I am doing. Two years ago I started to clean up my collection and also bought old records for one reason or another. If I had not sold any records, I would surely have more than 10,000. Right now I have between 3500 and 4000. But I will try to reduce it even more. I think a collection of 2000/2500 records, of the genres I need to work with, is more than enough. Of course, there are some records that I will never sell. Ever!

In a typical set, what is the percentage of new music that you play? ie: just released or yet to be released.

The musical selection is always different depending on the context. I use new, old and some unreleased music. Maybe 70% old, 25% new and 5% unreleased. Playing live is always easier, although after all these years I always feel a bit nervous depending on the place and what is happening. I really enjoy playing all night - to start when the clubs open and feel how the energy evolves from the beginning. This allows me to play various genres throughout the session, which, for me, is very rewarding.

What are the differences between recording a mix and playing live?

Recording is totally different. In the case of recording at home or alone, the lack of a club environment makes room for more thoughtful reflection on what I want to do and that can sometimes be limiting, even more so when you have a lot to play in such a short time. For me it is more interesting to play live - where everything happens naturally. The symbiotic relation that a DJ can create with the audience is unmatched. We feed off each other!

Where do you stand on the vinyl vs digital debate, and why does it even exist?

Each DJ plays with the format they feel more comfortable. I have no problem with digital and I use some unreleased tracks that I get in advance, but I definitely prefer vinyl.

What do you think the repercussions of the Covid-19 crisis will be? How long will it take for things to get back to normal, and will it be necessary to redefine the context for house/techno, etc, in the possible long-term absence of clubs?

Honestly, I don't know when it will be possible to return to normal. Or whatever the “new normal” means. Sadly some clubs and other spaces, depending on the circumstances, may have to close.

There will probably be other types of parties and it may be necessary to adapt to the new reality. Maybe smaller and more intimate parties will come back. I think we could try opening some spaces with all the rules that the governments and health institutions recommend, but without the alarmism and fear that the media is pushing on a daily basis. I really hope that we can party again very soon.

Which Portuguese based labels do you check, and do you have any involvement with any of them?

We have great labels in Portugal. My favourites are Assemble Music, Carpet & Snares, Bloop Recordings, Dream Ticket, Helena, Hayes Collective and Nugs On Board.

In 2014 I started the Carpet & Snares Records store and label with João Maria and Jorge Caiado, who already owned Assemble Music and Groovement, respectively. I collaborated in all Carpet & Snares events and I continued to play and collaborate in some of the Assemble Music parties. Before that I was also resident DJ for the Bloop Recordings parties.

How important are record shops now? Do you think that this has been diminished recently, and what is this scene like in Lisbon and Portugal generally?

Lately, I feel that record stores have played an even more fundamental role in promoting good music. In Portugal there have always been excellent quality stores since the nineties; each with its unique selection and approach to different genres of music: World Music, Discomundo, Vinyl Market, Bimotor, Illegal, Matéria Prima, Flur and more recently Carpet & Snares, Collect Records, Amor Records and Peekaboo Records. It is good to see that people are buying more vinyl.

Who are your favourite DJs and why?

That’s a hard one, simply because DJs pass through different phases but the best are the ones that can always maintain quality and deliver good music. There are some Portuguese DJs that I respect and admire, that, in one way or another, influence me: Rui Vargas, João Maria, André Cascais, Diogo Lacerda , Cruz, Miguel Neto and Tiago Pitta.

There are a few more excellent DJ’s in Portugal but these are the ones I like the most.

In the case of internationals I would name Raresh, Nicolas Lutz, Jane Fitz, Julietta, Sonja Moonear, Zip, Margaret Dygas and lastly Craig Richards who is perhaps the most complete DJ I have ever heard.

Could you describe the mix you have produced to accompany this interview?

For this session I chose, between new and old, records that I like the most at this time. I tried to be as elegant as possible. It’s a mix to be heard at home, in the car, day, night, on the beach or even when reading this interview.

Hope you enjoy it!

What are your current top five releases?