Q+A | DJ Harvey

Every disco generation has their hero, and UK’s DJ Harvey is one of today’s most revered musical icons from Honolulu to Sendai. A veteran of the scene for over twenty years, Harvey has taken the worldwide stage by storm from the get-go. Known for being the first to bring NY’s late hero Larry Levan to the UK, Harvey is considered one of the leading figures at the forefront of the country’s Disco revival movement.

Founder of the Sarcastic Disco parties in Hawaii and label boss of the former Black Cock Records edits imprint (serious collectors drop up to $300 on these babies), Harvey is one of today’s most sought-after producers and DJs. His name alone connotes a certain adventurism, interchangeable with words like eclectic, fearless, obscure and open-minded. Not only do these attributes shine through his music but they are what makes Harvey one of the most favored DJs to see play out. Full of energy and positive spirit, Harvey is known for his infectious vigor behind the decks – go hear him play and you’ll find nothing less than a grinning frenzy of head bobbing and body shaking manning the ones and twos. He is the wild child of today’s Disco movement, a genuinely fun-loving DJ with a true love for the craft, wholly dedicated to sharing his music far and wide through multiple collaborations, both musical and charitable. We could go on and on…

Come this weekend, DJ Harvey will be gracing the main stage at this year’s Movement Festival in Detroit – a huge honor indeed. Days ahead of his performance, we reached out to the man, the myth, and the legend and chatted about his band, spreading love in Japan and the Rwanda Ice Cream Project.

halcyon: Let’s start with talking about your upcoming gig at the Movement Festival in Detroit. In your experience, what makes Movement unique to the other festivals you’ve participated in? And are there any particular artists on the bill this year you are looking forward to hearing? If so, why?

DJ Harvey: I am excited to play Movement Festival. I’m not really a festival person – I don’t accept many festival gigs but this one is different. It’s really all about the music first – no gimmicks, just great DJs and great sound as I understand it. [My] friends have been going for years and these are friends who would rarely venture to anything other than a sweaty dark warehouse. Detroit is a great city, I’ve had great times there. I haven’t seen the confirmed line up but I know its always quality. I love this style of music and can’t wait to have a couple days listening to great music played by pioneers of the scene and new DJs alike. Detroit keeps it real.

h: What have been some of the highlights for you this year so far? And what’s on the agenda for you the rest of 2011, in terms of collaborations, productions and other creative projects?

H: I am currently in Japan, and this is always a highlight. And, especially in light of recent events over here its been nice to spread some love. A collection of all my Locussolus tracks to date comes out on June 13th, with remixes from the likes of Andrew Weatherall, Emporor Machine – to name a few. I’ve been busy remixing too, Todd Terje, Art Dept, Logic System.

h: I didn’t realize you were in Japan. I know from reading about you that you are considered quite a cult figure in Japan and have toured there quite often. This then brings me to my next question, have you been involved in any type of relief group or initiative in response to the recent disaster?

H: Actually my manager was part of an event that raised 20K for Japan a few weeks ago. It seems that a few DJs/events/bands cancelled gigs to Japan recently, so coming here seems to have been the greatest show of support.

h: Japan isn’t just the only place where you are considered a dance music icon. On a global level you are quite a hero in the world of contemporary Disco, praised for “breaking the mold” in terms of DJing and your production style. I’m curious to know how you personally think you’ve influenced today’s Disco movement and contributed to its everlasting legacy?

H: Why thank you. I tend not to read too much of it. I live in a bit of a bubble and am somewhat unaware unless it’s one on one as I DJ. I make the music I’d like to dance or listen to. I think a lot of music shares a common thread, for example “I Feel Love” [by Donna Summer] has to be one of the heaviest tracks of all time and that’s considered Disco – the lines are just very blurry for me.

h: If Larry Levan were alive today, do you think he’d be happy with how New York’s Disco scene has evolved and the music that’s coming out of the city today? What artists or DJs in New York today are you impressed by and think are carrying on the city’s Disco legacy?

H: I think he would be really happy and DJing. Dr Dunks edits have the right amount of NY sleaze for me.

h: Speaking of Disco, some of your Black Cock records are selling for around $300 on eBay! I’m sure that’s flattering, but given that you are a record collector yourself, what is your opinion on people pricing and buying records (in general) at that value? What do you think makes a record worth paying that kind of price?

H: We re-issued them recently to supply demand and I think some got bootlegged so I just hope they’re buying the real originals on that heavyweight vinyl. I love digging for records, and yes I have paid money for things that I know won’t come to me often. I am given a lot of music too, and I know not everything is released on vinyl so in a sense that justifies vinyl being a bit more collectable and worth the money. I’m into vinyl as art, make it more pretty and more expensive I say.

h: Well said! Since we’re on the subject of Black Cock records – I want to pick your mind about Disco edits. I feel like “edits” are almost ubiquitous now and have lost that enthusiasm people had for them back in the day when Larry Levan and David Morales were making edits. What edit would you play to someone who had no idea what an edit is, so that they would understand and appreciate the art and craft of this style? Please explain your choice.

H: There is a great Ron Hardy edit of Free Man (South Shore Commission) Larry played that to me, and I wondered where I could get a copy for myself, but I couldn’t. It was never released. That got me wanting to make my own version, purely because I wanted to be able to play it out.

h: What have been some of the most inspiring or invigorating collaborations you’ve been involved with? I’m really intrigued by how you got involved with the Rwandan Ice Cream project. Can you elaborate on that as well?

H: I hope that project sees the light of day! There was a group of Rwandan women that came to NY and learned how to make ice cream to take that skill and make a new life for themselves in Rwanda. It was a really humbling experience. I’m happy with every collaboration I’ve done. The new ones are always the most exciting for me and wondering who the next one might be.

h: Regarding the label International Feel, how did Mark convince you to be a part of the label? What’s the criterion or deciding factors that convince you to participate in a particular label?

H: I really like people that care about what they do [and pay] attention to detail. Mark cares, and he is really “on it” in terms of scheduling and doing what he promises. It was a double attack from Mark and Heidi. I’m given freedom to do what I want, Heidi navigates between me and the label.

h: Tell us more about your band, Map of Africa – what is “it” about the creative partnership you and Thom Bollock [of Rub n' Tug] share that brought on the idea to start a band? What would you say are your individual contributions to the band’s success?

H: We work really well together – we share a love of similar music and just went for it. We’ve known one another since we were young and even if I don’t see him for a year we can just pick right back up from where we left off. That said, the ‘band’ probably broke up at least ten times while we were recording that album.

h: And lastly, in light of this interview being for a record shop – what is your favorite record store, and why?

H: I can’t wait to get my hands on the stuff you have in there! I will record shop absolutely anywhere. If I can see a yard sale at the side of the road, my bike or car will have to come to a screeching halt.