It’s been a long time coming… after exploding onto the modern Disco House scene in 2009, the edit champions, Tiger & Woods are finally making their US debut with a grand arrival in NYC this weekend.
Since breaking out with their Out of Bounds EP on Germany’s Editainment label, the duo has safely kept their identities “shrouded in mystery,” carefully avoiding the onslaught of curious journalists, media demands and prying fans alike. What you don’t know can’t hurt you, right? This playful (albeit slightly teasing) approach to living in the limelight is certainly part of the duo’s intrigue, but it’s really their party-rocking hits that have peaked interest far and wide. Their breakthrough releases, namely the relentless pop-fused Disco floor-bombers Gin Nation and Love in Cambodia set the bar high for the team and carved out the blueprint for their signature – and unmatchable – sound to follow.
Amidst all the hype of late they haven’t let fans down yet. After stepping out of their studio and onto the stage over the past year, Tiger & Woods have impressed audiences with their seamless, funk-fueled and bass-heavy live PA sets and their exclusive mixes for the likes of Resident Advisor and Beats In Space. In addition to gigging festivals from coast to coast, the team also dropped their appropriately titled debut album, On The Green earlier this year on the Berlin-based Running Back outlet. Ahead of their big bash this weekend (courtesy of party power teams Let’s Play House and Global Frequencies), we caught up with this hotly tipped team for a tête-à-tête about musical inspirations, favorite record stores, and well, Larry David.
halcyon: We are very excited here in New York to see you guys play this weekend – you have many fans. Which DJs/live performers do you look up to and admire? And do you have any musical heroes outside of the DJ world? Please explain your choices.
Tiger & Woods: Many people inspire our work – people from the past and the present. In the last ten to fifteen years we’ve been truly touched by people like Theo Parrish, Gerd Janson, Morgan Geist and Darshan Jesrani from Metro Area, and Mad Mike Banks. All those people have made or are making something special and crucial in different musical fields and we can’t help ourselves but admire them. There are also a lot of people “behind the curtains” who are playing important roles for us in terms of support. For example, we are thinking of all the people working in record stores such as Rubadub in Glasgow, Submerge in Detroit, Wah Wah in Barcelona, etc. Outside the musical world, we admire Larry David. He represents the kind of person we wish to be.
h: I understand that you met over fighting over this obscure, rare (“super” rare) record, and a test pressing of it too (I guess preempting your mysterious ways). What record was this, and what was so fantastic about it that was worth fighting over?
T&W: It was so rare that we even forgot the name. In a scenario where this story is totally true, it should have been a very good record.
h: In light of you coming to NY (arguably a capital of Disco), what do you think is “it” about New York Disco and it’s unique dance music history that sets it apart from other Disco cultures around the world?
T&W: We really don’t know. We’ve always had this vision of those skyscrapers and buildings connected to that mixture of Latin and Afro-American influences that contributed to [New York] dance music. And it’s not only Disco that interests us but the breakdance and early Hip-Hop culture that makes New York look special. I’m sorry, but we have a very romantic vision of the city, and it’s probably not very realistic. You see, we’re from somewhere else … far.
h: Speaking of US music scenes, I understand that the Minneapolis sound – particularly Prince’s music – had a big influence on you. In your opinion, how did Prince change dance music? What do you admire him for?
T&W: His “over-creativity” has been a source of inspiration for us since we were kids. The picture of the world he created has always been so fascinating. In addition to Prince’s own productions, we’ve been loving all the earlier productions he made for others, especially for Apollonia 6 and Vanity. His electronic beats contribution to music is what makes [Prince] so relevant for us. Whatever he composed – a ballad or a funk song, for example – he has always been ahead of his days.
h: When you go into the studio to produce something, do you already have an idea of what you want to do or make, or does that creative flow just happen when you get there in the studio?
T&W: Usually when we are in the studio, its more like a constant jam session. The idea comes along while we’re playing instruments or around a loop. It is an obsessive procedure that would freak out anyone in our neighborhood, but it’s a necessary step to achieve that perfect beat we’re always looking for.
h: What are your favorite pieces of gear to use in the studio? Do you use 100% analog equipment to achieve your sound, or do you use software as well?
h: Despite being analog freaks, we strongly believe in the combination of [all] possible sources. We always need a Moog around, but we’re not those guys who talk shit about new technology – they just have to be really good to make us satisfied.
h: Let’s talk about your label, Editainment. I understand that Cleo & Patra and Pop & Eye are not you guys, but other artists who agreed to be anonymous as well. Are you collaborating with anyone else right now? What do you look for in artists that you choose to release on your label?
T&W: We don’t want to disappoint you but Editainment is not our label. Regarding colalborations…at the moment we’re about to produce the vocalist Em who will debut the single for Editainment.
h: Tell me about some of your favorite record stores (or store) to find all the cool music you edit, and what is one of the most interesting record shops you’ve been to?
T&W: Flea Markets are the places to go for old and rare gems. On top of that, Rubadub in Glasgow is one of our favorite spots for newer music, equipment and having good chats about music and football. Obviously we can’t wait to visit The Thing in Greenpoint!
h: I really like your answer in the RA interview, when they asked, “why edit”? And you said that edits are not about “fixing a beat” but rather discovering something new in a song you already know. What kind of edits (or “future boogie” tracks) out there do you really feel capture the essence of this kind art? It can be a new or previously released edit…
T&W: We love to re-arrange and “re-interpretate” a song rather than just re-edit it. Most of the time a re-edit doesn’t match this idea. The way Pop & Eye twisted Brian Ferry and Maze or the way Mark E did it to Janet Jackson [with "R n'B Junkie" on Golf Channel Recordings] is close to what we feel.
h: And lastly, you’ve got your first album out of the way, some individual EPs released earlier this year, and a US tour coming up…what else is on the agenda for 2011?
T&W: After the US, we will tour in Australia, New Zeland, Singapore and Indonesia and then play a few other gigs in Europe. From the production side there are a few remixes coming out on Mute, DFA, Compost and OM Records (it came out few weeks ago actually). And keep your eyes and ears wide open for a special surprise for everyone who supported us so far….
Tiger & Woods will be appearing in NYC on Saturday, September 24 2011 alongside Pillowtalk, Runaway, Slow Hands and soho808. Go here for details.
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