We are very proud to add German DJ and producer Move D to our monthly Phonica Mix Series. From his left field, experimental beginnings in the late 80s to his techno jams with Magic Mountain High and disco-inflected house sets, he has cemented his reputation as one of the most versatile artists of the scene. Over a career spanning almost 20 years, David Moufang has built up an impressive discography with releases on record labels such as Workshop, Running Back, Smallville and Warp. On top of his busy touring schedule, David managed to lock himself in the studio to make music – check out his latest release with Reagenz here.
We discussed the idea behind this mix, his views on the current state of music and his plans for the future. Mix and full interview below!
Hey David, how are you doing?
I’m fine thanks! I’ve very recently had another son!
Congratulations man! What have you been up to this year so far?
Because of the new baby I’ve only played a few gigs so far this year. But it has been a busy couple of months, nevertheless – we finalized “The Mulholland Free Clinic” album with Jonah Sharp and Juju & Jordash for Away Records, Berlin. Plus the Away 04 split 12″ with “Roll Split” and Reagenz “460 melrose ave.” and there will be another Move D 12″ coming out on Electric Minds.
Last but not least there is a techno documentary movie, which premiered at Berlinale film festival in February and I am one of the protagonists. It is called “Denk ich in deutschland in der nacht” and it is coming to cinemas in May. Also starring Roman Flügel, Ricardo Villalobos, Ata and Sonja Moonear.
Tell us about the mix, how and when was it recorded?
The mix is a live recording from Into The Valley festival in Sweden last summer where I played an afternoon warm up set between to other bigger stages, trying to basically hear myself. It was still fun and the crowd was excellent.
From your beginnings in the late 80s, you surely have seen the electronic music scene evolving in different directions. For the sake of progress, name one thing you would you keep and another you would change within the current landscape.
I appreciate the diversity in what people are producing nowadays, but also there seems to be a bigger diversity on the listener side – it’s cool to explore little niches and to draw from all sorts of music, which I think is a great thing. At the same time music isn’t the same strong identifier of different subcultures as it used to be still in the 80s. In other words, music seems to have lost relevance in people’s personal and social lives.
First with the ‘digital revolution’ and more recently with the rise of streaming, the tendency seems to be towards the dematerialisation of music consumption. At the same time, there are more festivals than ever before. What do you think we can expect in the future?
The internet not only dematerializes music but also demystifies and devaluates music. At least for me, important music needs to be physical. But we are talking about mainstream phenomenas here – in our little cosmos vinyl sales are rising and as you say the festival scene is growing. Hypes and technologies come and go, but the music and the “ritual” of dance will remain. I can’t think of humanity without either of the two.
You have built an impressive discography over the years with a fair share of collaborations. Do you prefer this approach to working solo? Why?
I don’t prefer one over the other. Although I believe the process of making music together is something deeply magical and fulfilling, perhaps the most intimate way of communication apart from having sex. I am glad to have the option to work alone at the same time and work on my private little science and aesthetics without having to justify what I am doing.
What kind of setup are you using these days to make music?
It’s mostly analog hardware, some pre midi stuff, some modular stuff and still the guitar in all shapes and forms. A bit of live drumming, too.
Would we be seeing a Move D live solo performance in the near future? What do you have in the pipeline for 2017?
With the new child and all the other projects like Magic Mountain High, Reagenz, the Mulholland Free Clinic, L’Amour Fou etc, a solo live is less likely for 2017. My big aspiration is doing another conjoint album with Karl Berger.
After more than two decades behind the decks, your taste must have evolved quite a lot. Tell us about some recent finds and what has been influencing your work / inspiring you lately.
Ha, 30 years – I’m DJing “professionally” since 1987!
Of course my taste and knowledge keeps expanding. I go through phases of many different genres and styles – to some I have a strong affinity and find myself coming back to them like jazz, house, and 60s and 70s stuff. Disco in general is still a rather new thing for me to explore more deeply – I was growing up with it but only now I am really starting to learn a bit more about it. I always knew a lot more about funk, oldskool hiphop and even 80s boogie. It’s never too late and there is so much to explore and with the help of Discogs and the video platforms on the internet it is getting so easy to discover more great music – in that respect times have never been better.
Thank you so much David!
