DVS1: „We’ve Become So Obsessed with Capturing Moments That We Forget to Experience Them“

I’ll admit it, I’ve never gotten DVS1’s name quite right—I blame my dyslexia for that! My journey with his music began through a Turkish friend, Hassan, who played me a few of his tracks, and I was blown away. Then I discovered that he’s also a favorite of my friends Finch and Ivka, who’ve been following him for ages. When I found out he’s coming to Sydney for the Mode Festival, held in such a unique location and with a compelling backstory about fighting for their rights against the NSW police, I knew I had to dive deeper.

As someone eager to attend this festival not just for the music but for its incredible location and resilience against the odds, I thought, why not interview this legend? The more I got into the conversation, the more I realised how much there is to discover about DVS1, a figure who’s been shaping and influencing the underground scene in ways that make him a true rave legend.

Kouzelná: First, I’d like to thank you for taking the time to speak with us. I’ve been following your journey for some time and am really excited to get into this conversation. Hi, how are you? And where in the world are you currently?

DVS1: Thanks for doing it! I’m currently In Europe and packing my bags to head to your side of the world. It’s been a bit since I’ve been in Australia and I’m looking forward to seeing how things have progressed since my last visit.

I’m excited about your upcoming performance at Mode on Cockatoo Island, such a historic location in Sydney. I’d love to capture and film the event. However, I noticed on your Instagram post the poster saying ‚Enjoy right now, no pictures, no videos, no phones.‘ I really appreciate this movement to bring back engagement and the spirit of raving. Would you consider yourself a minimalist?

I wouldn’t consider that message being about minimalism, it’s more a statement and reminder to be in the moment instead of trying to always capture one. I’ve been around for nearly 30 years– DJing, dancing, and being a part of this culture. I was able to experience this scene through so many different phases and growths. I’ve tried to take the best of these lessons I’ve learned and bring them forward to others experiencing my music. We’ve become so obsessed with capturing moments that we forget to actually experience them. I also know that for complete freedom and anonymity, it’s important to protect people and allow them to totally let go in these spaces. I released the „Enjoy Right Now“ poster and campaign over 9 years ago, and now I’m finally starting to see more artists and venues pick up on it and understand that it actually makes a difference.

You seem to feel strongly about no phones on the dance floor, which we’ve also seen with artists like Michael Bibi and the Afterlife movement in Ibiza. Can you share your thoughts on the use of phones in clubs? Do they detract from the experience, or are they just a part of modern club culture?

The idea of „No Phones On The Dancefloor“ started well before my time. Back in the day, it was just simply not an option as we weren’t carrying cameras in our pockets as we do now. Although modern club culture is addicted to phones and photos and videos, it’s not that hard to change things up again. Obviously, no photo policies are easier to implement in underground spaces than in large massive commercial events in Ibiza.

If you want to know how good it feels to be on a dancefloor with no phones, then it’s best to look at examples like Berghain (Berlin), Bassiani (Tbilisi), Under Club (Buenos Aires) and And club (Johannesburg). They are all venues that understand the need for protecting privacy and living in the moment to achieve the communal approach to listening to and experiencing this music. The examples you gave have only recently decided to attempt this policy. If an artist or promoter posts a video on social media telling people how cool it was that they banned phones from the event they just had…it’s a bit of a false narrative. A decade ago, I created the „Enjoy Right Now“ campaign to remind people of what I considered the basics needed to achieve the “magic” of our music culture.While I appreciate more people taking this philosophy into consideration, I think they also need a bit of a reality check when it comes to why they are doing it. Lead by example. If the event asks for no phones, that means you (the DJ) shouldn’t promote it after the fact with your phone and video.

I must admit, I’ve made a few mistakes writing your name—my dyslexia doesn’t help! What inspired you to choose the name DVS1, and is there a story behind it?

The name comes from a graffiti tag. If you pronounce it fully, it’s the “devious one”. It’s a name I was given as a youth by one of my writer friends. It simply means to deviate from the norm.

You moved to Minneapolis at a young age, the hometown of Prince, who had such a huge influence on music. Did you ever cross paths with him, can you describe his impact on the local scene?

Prince is iconic and one of the very few truly talented musicians of our lifetime. He could play any instrument, sing, dance, and create. Prince was such an inspiration, and I was lucky enough to live in his city and see all of the bits of influence he left behind. I did have a chance to meet him quickly one night when he came to my old club (Foundation) in Minneapolis. I could also attend a few private events at his Paisley Park studios and witness him up close with an intimate crowd. He was on another level as a human and artist.

Looking back at your childhood, what kind of music did you listen to with your parents?

I think listening to radio a lot and making tapes from recording songs as they came on was my first real intro with music on a personal level. I played piano, took a bit of cello at some point, but in general, I think I’m also a product of the time I was growing up. I’m 47 now and being a youth in the 80’s and 90’s exposed me to what I consider a “golden era” of certain genres. I was just lucky enough to be around during a few music revolutions and they have absolutely influenced me to this day.

You’re known for your warehouse parties, how did these events shape your career, and what are some standout memories?

I came into this scene through warehouse and loft events, and they undoubtedly left their imprint on me. We are all sums of our experiences, and therefore, I am the sum of all mine. I learned from and experienced some amazing events in my youth and early adulthood. I’ve also tried to carry those forward into my own events and curation of sound and lighting. I want these experiences to be as life-changing for someone as they were for me potentially. Not only did I learn about the music, but I also met my community and future lifetime friends here. If I can create that experience for a future generation, then I can literally change people’s lives. That’s special.

You’re well-known for your impressive record collection. How many records do you have now? Can you remember your first one, and how did this passion for collecting vinyl begin?

I have somewhere around or over 30,000 records in my collection now. I can’t really remember the first ones, but I do slightly remember getting some of my fathers old records as a starter. Once I got into dance music, the addiction to buying music became a daily or even weekly practice.

In 1996, you founded HUSH, and in 2013, you launched the sub-label Mistress Recordings—by the way, I love the name! HUSH focuses on your love for deep, purist techno, while Mistress explores a wider range of sounds for the dancefloor. What inspired you to create these labels, and how do you decide what music goes on each?

HUSH was simply an extension of my “brand”. I had thrown events for years and when I was ready to release my own music, it was inevitable that we used the name HUSH. With Mistress, I needed a place to release other people’s music and not be limited by style or genre. With Mistress, I am not bound by any obligations or schedules. I collect music I love from all over the world, coming from various producers of all styles and I curate that based on the idea that it should reach a wider audience. I love so many different genres as I grew up on disco, hip hop, soul, funk and more. So my influences do not only live within “techno”.

In a DJ Times interview, you mentioned, ‚I’ve always been a DJ first; production has always come second.‘ Is this still true for you today?

Yes, it’s absolutely true, but of course, over the years, I’ve also had time to explore more of my ideas in production, and over time, I’ll continue to create more. I’m in a special circumstance and privilege that I don’t need to release music to keep my career going; I only need to release music when I have something to say as a producer.

Speaking of DJing, do you have any pre-gig rituals or routines?

Honestly, no. I’m just in a constant state of organizing, digging, and editing.  This always keep me on my feet with ideas and ways to describe how I feel in that moment as I’m about to perform.  Every day is different, and I need to be prepared for any vibe at any time.

There’s something I wanted to ask, but I think it will sound even better coming from James D, one of our local artists who has the highest respect for you and everything you’ve built with Aslice. His question is: “With the recent and unfortunate closure of Aslice, and considering the state of the DJ scene right now, what can talented artists with real passion and skills do to stand out? Do you think big-name artists should take more responsibility in helping the next generation of DJs and producers?

I will give the same advice I’ve always given. Do this because you love it, with no actual expectation. Don’t do this for fame or fortune. Even if you only do this on a local level, building things for yourself and your friends to share experiences. Spend time growing and finding yourself and your sound. You will get something back from these experiences and I have to believe you will end up where you should be. Don’t rush to have fame tomorrow. Instead, keep your day job and stay honest with your art for the time being. 

In 2014, you performed at the Abercrombie Hotel in Sydney, one of the city’s oldest rave venues. How do you feel about returning, and what do you know about the venue you’ll be playing at this time?

It’s been so long since I’ve been back that I honestly have no ability to actually compare then and now. I don’t know so much about the true history of the Australian scene, so I can only go off what I experience when I travel through. I’m excited to be back, and as I mentioned, I’m looking forward to seeing how things have progressed!


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