Dave Dresden captures the moment

After a few years you are back as Gabriel & Dresden. How are you feeling at the moment?
I feel great. Our new album is coming out soon. Josh feels the same way. We had two months to make this album. We had to deal with a lot of pressure, but we made it.

Let's go back to the beginning of your careers. What most of people know is that you two joined forces under the now legendary Gabriel & Dresden moniker in 2001. But what happened before 2001? How did you met each other?
Josh was an innovator. He developed 'Mixman', the first loop-based software. In the beginning the business went great, but after a few years the ride got bumpy. Josh wanted to go back to the music and had enough of the corporate life. At the same time I was a Music Director of 'Grooveradio.com'. I met Pete Tong at the Winter Music Conference of 2001. Pete asked me if I could find music for his radioshow 'The Essential Selection'. I gave Pete a track called 'Wave 3', which was produced by Josh. Pete gave me the opportunity to do a remix for New Order and I asked Josh to work on it with me. That's how we met each other.

When we look at the impressive discography of Gabriel & Dresden, we see a lot of tracks that smashed the global dance scene. If you have to choose one track as your favourite, which one would that be?
I usually say that they're all my children, but if I have to choose one I would say 'Beautifull Things'. There is something Brilliant in that track. The bass, the piano, the vocals. Josh would agree with this. But I have to mention that Josh does things in a different way than I do. If I have to choose Josh's his favourite track, I would say 'As the Rush Comes', because it's the most innovative.

A single that most of the dancefreaks will remember is Motorcycle's 'As The Rush Comes', a collaboration with Jes Brieden. The follow-up was the track 'Imagination' and after that we never heard the name Motorcycle again. Why? What was the reason to quit with such a successful alias?
We made an whole album full of Motorcycle tracks. A part of those tracks are of the album of Jes, and another was on our album. Three Motorcycle tracks have never been released. The reason to quit was mainly the pressure from the record label. The record label pushed us to make a follow up to 'As the Rush Comes' and that track had to be just as succesful. They just wanted 'As the Rush Comes part 2'. Jes wanted such a record, but we didn't. Josh and I wanted to do things our way.

Of course you guys get a lot of questions about the break-up in 2008. If you look at the tracks you've made in the period from 2008-2010 as solo-artists did you experience any artistical/musical difficulties?
We had some difficulties: Industry and the fans. The fans acted angry and upset. In the period from 2008-2010 Josh and I did our own thing. One of Josh his projects was 'Eight', which featured a more experimental sound. In the meantime I was busy with the Dresden & Johnston project. We made good music in that period, but the fans wanted Gabriel & Dresden back. The main reason why we are back together is because of the fans.

In that same period did you play each others tracks?
I played Josh his tracks in my monthly mix. People could listen to this mix on Soundcloud. Josh had a special sound. I wanted to celebrate Gabriel & Dresden, but Josh needed to get far away from Gabriel & Dresden. He wanted to make music with a new dimension. In the end it was good that we did our own thing in that particular period. For the future we have something new and unique that we are planning to do. That will be the evolution of Gabriel & Dresden.

You've both made remixes for a lot of artists. Do you have people on your wishlist who you would like to do remix for?
A lot of people. But if we have to choose one, that would definitely be U2. They have been so consistent for many years. Working with the band in the studio would be great.

If you have the opportunity to give a 'Lifetime Achievement Award' to a dj/producer, who would you give it to?
Paul Oakenfold, not Pete Tong. They were more or less on the same team, but Paul developed most of the concepts around djing. The A&R (Artist & Repetoire), the marketing, the well known pose (the one that Tiësto copies all the time). On the other hand Pete Tong gave the whole country dance music with his Essential Selection. We all owe a debt to Pete Tong. He had the power and gave it to the people!

[dump left id=6605]{alleen voor medewerkers}What is the worst place you've ever played and why? And of course what's the best place you've ever played?
This is a really tough one. Honestly I forget. We had so much good gigs during the years, I really forget the bad gigs. To make an estimate 1 of 5 gigs is good. The last good one we had on Cyprus. There were so many people just to see Gabriel & Dresden. We really had a connection with our fans. I'm very glad that the festival season is over again. I would rather play in a club, then the night is all about you.

Which new talent in the industry do we have to keep an eye on?
Arty. I've got a sixth sense for great music. Arty is going to change dance music as we know it. If he could produce a vocal together with the beats he makes, that would smash the dancefloors all over the world. His music is a bit of housy trance. It's like Swedish House Mafia music with a bigger kick and more energy. If dj's were stock, I would buy a lot of Arty!
Also Skrillex is f***ing sick. I love deadmau5. How he embraces his fans, his liveshow and his music is great. That's a proper EDM (Electronic Dance Music) artist. He should be proud of himself. Last but not least, Afrojack. He has an impressive career. I respect him how he works with guys like Pitbull and Ne-Yo. Pay attention to those guys.

The new project 'Mixed for Feet' how did it came together?
Armada asked us to do a mixcompilation to promote Gabriel & Dresden around the DJ Mag Top 100 poll. We started this project at the end of april. We had to rush because we've only got two months to make it happen. Dealing with a lot of stress, we've edited music, we made music and waited for the right records to come. This ended up in working in various hotelrooms. Josh and I feel that this is the strongest Gabriel & Dresden mixcompilation. So much Gabriel & Dresden on two cd's. Two unique journey's. If you play the two cd's after each other it feels like a Gabriel & Dresden dj set.

How did you select the tracks for the mixcompilation? Is it a 50/50 selection?
We are partners, so we have worked together. I spent most of the time looking for the right music and present it to Josh. Josh locked himself up in the studio to edit various tracks. We both need to like the tracks in their original form or as an edit, otherwise we don't play a track.

If you have to pick one track from the compilation, which one defines the summer of 2011 the best?
I know that I'm suppose to say a Gabriel & Dresden song. I think it's Dada Life's 'White Noise/Red Meat'. It's an amazing production. This tracks says something. That's the thing I want in music. I want to be inspired. I don't want to copy someone.

Do you think 'Mixed for Feet' is the start of a new Gabriel & Dresden era?
'Mixed for Feet' is a part of the Gabriel & Dresden era. 'Bloom' was the start. At the time we wanted to do more than making music and that's what 'Bloom' represented.

When you look at the 'Mixed for Feet' compilation and compare it with your Toolroom Knights compilation. Has your sound changed over the years?
Our compilations perfectly capture what we are as artists. Our Toolroom Knights compilation featured a more housy sound. We did what felt right. And that's the key to make a good compilation. We need to capture the moment. 'Mixed for Feet' is different from our other albums, it has a higher tempo. It represents the music that we play on big festivals. In the end electronic music wants you to get movin'.

Any last word to say for the Partyflock community?
Thank you for this interview. We wanted to say thank you to the people who re-embrased us and the people who re-made us.