In terms of music, it’s been an uphill battle to regain the momentum that COVID halted. My wife and I had our daughter in 2016, which led me to finally get a “real” job. That meant Whiskey Disco shifted from a full-time focus to part-time. Fortunately, by then, I had already released about 50 Whiskey Disco records, and the label was a well-oiled machine. It required a lot of love and work, but there was so much momentum that it felt easy and fun. I was DJing frequently, meeting new producers, and continuously releasing music—it was a flywheel of creativity that lasted until March 2020.
When the pandemic hit, I lost all inspiration to put out new music. Without the ability to share new records with a dancefloor, the process lost its payoff.
Then in 2023, as I saw more people getting into DJing again, I started to feel the itch to release music. Dustin, aka Pontchartrain, had been a huge help in A&Ring both Whiskey Disco and Lovedancing. He was working on an ambitious project—bringing together Michael The Lion, Natasha Kitty Kat, and Suki Soul to create an original disco track, complete with an extended dancefloor version from Dustin himself.
I kept attempting a remix but couldn’t land on anything that truly felt right. That struggle led to an epiphany: I needed to take a step back and really think about the kind of music I wanted associated with my name. Instead of rushing something out, I focused on refining my creative vision.
The project finally came together in early 2024 with a set of remixes from longtime Whiskey Disco collaborator Bjorn Gauti from Reykjavík, now releasing under the name Tonarunur (previously known as B.G. Baarregaard). When I finally felt that rush of excitement from putting out new music again, it reignited my passion.
Now that the label is back, I’m approaching things more deliberately—taking my time to ensure that every release is packed with music I’d want to play, music I’d want to hear, and most importantly, music I’d want to dance to.
Are you making music at the moment?
Yes, but I’m in a bit of a midlife crisis with it. I’m at a point where I don’t just want to make music for the sake of it—I want to contribute something fresh to the conversation. There’s this idea that every creative niche has a group of people who are actively pushing things forward, adding something new and exciting. Looking back, I think my past work was part of that conversation. But now that I’ve “been there” and “done that,” I don’t want to rehash the same tired edits—I want to push my own boundaries and create something that feels new.
This drive to innovate led me to a DAWless hybrid setup, where I jam live with hardware, experimenting and capturing ideas in real-time before bringing them into Ableton for editing. It’s been a wild process—I’ve gone through tons of gear, testing what works for me and selling off what doesn’t. At one point, I had five analogue filters just to see how they each shaped sound differently. It’s an ongoing evolution, but I think the results are translating into more energetic, raw, and expressive music.
One of the most freeing realizations has been that not every session has to be “productive” in the traditional sense. Some days, it’s just about exploring—seeing what my gear can do in ways I hadn’t thought of before. The patchbay, in particular, has been a revelation. It lets me experiment with different effect chains, find new ways to achieve classic sounds, and push beyond what I previously thought was possible.
I’m never truly satisfied with my music—pretty much a cliché for any producer. But when we talked about The Paper Years and I listened back to the tracklisting, I was genuinely happy with the selections. They sounded much better than I remembered, which was a nice reminder that sometimes, stepping back gives you a fresh perspective on your own work.
Things are pretty nuts in the States at the moment, with the political winds being the opposite of what disco stands. Looking at music, and specifically disco’s past in helping shift the political narrative when it comes to gay rights and inclusivity amongst other things, do you think music can play a similar role in today’s America? How has it been for you?
It’s been tough. It often feels like a huge portion of the country doesn’t share my values of equality and inclusion. It’s disheartening—and at times, terrifying—to witness this level of intolerance gaining traction. But history has shown that hard times often spark the most powerful forms of self-expression. I have to believe that this moment, as dark as it seems, will be the catalyst that pushes people to action. Any attempt to roll back progress will be temporary—the pendulum always swings back when enough people stand up for what’s right.
Interestingly, I’ve noticed something encouraging on the dancefloor. People seem more open to the unknown—more willing to embrace obscure tracks, unexpected grooves, and just be in the moment. There’s less focus on making requests and more appreciation for the experience itself. If this shift is happening across the country, it could mark a golden era where music once again becomes a unifying force.
Disco has always been about inclusivity—welcoming everyone into its open and loving arms. House music was born from the same spirit. While politics are pulling toward division, the dancefloor is embracing togetherness. And I think that’s going to have a lasting impact. As some of these younger dancers grow older, I hope they carry that ethos beyond the club and into the world. Music has always had the power to challenge the status quo, and if we can take the unity we feel in those moments of shared rhythm and joy and spread it beyond the club, we might just see a revolution that pushes back against those trying to stifle anything “different.” We celebrate our differences through dance music—now we need to bring that energy everywhere.
Have you got any favourite remixes from the compilation?
This is a tough one! There’s something special about each track, and every song has its own time and place. I really love what Dicky did with We Need to Reconnect, and Ryan Kick’s slowed-down version of Just Past Midnight is fantastic. The new edit of Flash Atkins’ Size of a Dog has been pitched up slightly, making it much more dancefloor-friendly—same with my remix of Leon Sweet’s Sunny Bigler. And I have to say, I’m pretty pleased with how Je Vais Dancer turned out—it’s disco and pumpin’, a pretty solid combo.
As I was reminiscing and listening to The Paper Years compilation, I was really struck by some of the older tracks I hadn’t heard in years. There’s a distinct vibe across all the songs—both laid-back and persistent, with an undeniable pull that makes you want to move. It reminded me why these records resonated in the first place. It’s hard to pick a single favourite when every track has its own unique energy, but that’s what makes the collection so special.
If the Supreme Being waved their magic wand and you could remix any track, what would it be?
I’m an atheist—so I don’t believe in divine intervention—but I also don’t have the audacity to think I can improve a song that I already consider perfect. That said, there are a few tracks I’d love to do a stems mix of, and at the top of that list is 212 North 12th St. by The Salsoul Orchestra.
It’s the most perfect disco instrumental ever made, and while I wouldn’t change much, I’d love to extend the intro just a bit. The way it builds is pure magic—one of those floor-destroying intros that never fails. I’ve played it countless times, and it’s never let me down. The groove locks in with almost anything, and then the most disco-of-disco string section swoops in and takes over. Vincent Montana Jr. was a genius.
So, it’s either 212 North 12th St. or Erotic City by Prince—two artists who, in very different ways, encapsulate so much of my taste throughout my DJ career.
They loved your remix so much, they’ve granted you a night out, dusk till dawn, any era and any place…where are you going and who are you going to hear
Following the same theme, I’d have to start with Prince on his 1984 Purple Rain tour.
His early albums had a massive impact on me—he was a genius at creating minimal arrangements that still felt huge, raw, and full of energy. Watching him perform in his prime always gives me chills. He was completely in his own world, performing for himself as much as for the audience. His movements were a perfect mix of natural and practiced—like when he’d kick the microphone stand, you just know he had an instinct for exactly what was going to happen, even if he’d never done it before.
Next, I’d go back to see Talking Heads on the Stop Making Sense tour.
The sheer amount of talent on that stage would be overwhelming. Tina Weymouth and Chris Frantz had already worked their magic with Tom Tom Club. David Byrne was fully embracing his wonderfully weird musical vision, and every single song from that era is iconic. That show was more than just a concert—it was a masterclass in energy, rhythm, and performance.
What’s coming up? Is there anything to look out for?
For Whiskey Disco, I just released an EP from YSE Saint Laur’Ant, and next up is an EP featuring an Idjut Boys/Dan Tyler remix. Beyond that, I’ve got a few projects in various stages of A&R, but nothing fully locked in yet.
On the personal production side, I’m working on a few tracks for Lovedancing that lean more into old-school house vibes rather than disco samples. The influences are strong—think classic DJ Harvey sets or Kenny Dope productions. The feedback so far has been really encouraging, and it’s pushed me to focus on doing more with fewer elements. It’s an exciting time to experiment with different grooves, and if you’re making music that makes people move, hit me up—I’m always on the lookout for new sounds that bring the boogie.
Outside of music, my family and I are gearing up for a big move—something to shake things up and immerse ourselves in a fresh environment. I’m not sure how it’ll impact my ability to make music just yet, but I believe it’ll be a positive shift in our lives. I can’t reveal too much yet, as we’re still deep in the planning stages, but exciting things are ahead.
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