Interview: David Berrie
With every new production, David Berrie’s sound continues to evolve in complexity. His newest track, a remix of the Beatles’ “Dear Prudence”, may be his best work yet. On the verge of his second appearance at NYC Dance-Music Mecca Pacha on Xmas Eve, I had a chance to speak with Berrie about the New York City Dance Music Scene, his sound, and the expansion of Dance Music as a genre.
First, Berrie’s newest masterpiece.
1) Dear Prudence (David Berrie Remix)-The Beatles ***Fuego***
This is big-room, prime-time, face-melting amazingness. The original vocal sample works brilliantly casting a dreamy aura over the techy, progressive banger. I know I’ve already stated this, but Berrie’s sound is primed for Ibiza. Somebody book him there asap please.
B10: So David, New York City clubs always seem to be a step behind Miami in terms of the music selection. A couple years ago, In order to get one’s fix of dance music, one would have to go to Pacha, Webster, or Term 5… But with the inception of House music into the mainstream, and the introduction of high-end clubs such as RDV, Provocateur and LaVo into the city social scene, are the open-format, eclectic days of Tenjune and 1-Oak over? And do you think NYC will ever catch up with Miami?
DB: Well first off, I think as long as top 40 exists there will always be open format venues. Second, in terms of the music selection, I don’t think New York is behind Miami; it just has its own niche. New York has just always been known for that dark and heavy drums sound. In terms of the house scene I actually think New York is bigger and more diverse, it’s just not so obvious. Between the mega clubs, bottle service lounges, smaller music venues, loft and warehouses parties, it’s all spread out.
B10: As we speak, you are on the verge of your second headlining act at Pacha. You have made numerous appearances at Palladium, and your original productions are receiving critical acclaim on the blogosphere. Surely it wasn’t always gravy though. Recall your worst gig ever, and tell us exactly what made it so horrendous.
DB: Actually, definitely one of the worst gigs ever was this past year at Palladium. The place was fully packed and I must have been only 20 minutes into my set when someone dropped one of those huge Jeroboams of champagne at a table in front of me. It splashed up in the air, spilled all over my laptop and within 1 minute everything shut off! The club was dead silent and it took a few minutes to get some random music back on. My laptop wouldn’t turn back on, so I was forced to sit that one out. I was so mad – there was so much energy in the room and I was so hyped. It could’ve really been a memorable night. My laptop randomly turned back on a month later.
B10: As a University of Wisconsin student I have witnessed first-hand the evolution of your style from the eclectic party-friendly mix you played at the Mifflin Day Party two years ago, to an entirely Electronic Dance Music set at Dayglow which featured hard electro tracks like Congorock’s “Babylon” and D5’s “Right This Moment”. What, in your mind, has been the strongest factor in the way that House music has ingrained itself in American culture, seemingly overnight?
DB: It’s really impossible to pinpoint one factor that boomed house music in the US. But generally music works in cycles. So couple that with the help of David Guetta, the electro craze, people giving up on hip-hop, kids studying abroad, and a million other factors… people finally came over.
B10: If you could be a supporting act for one artist on tour right now, who would it be and why?
DB: Carl Cox. He is one of my all time favorite deejays and is a huge influence, then and now. His energy is unbelievable.
B10: You’re at Space Miami during Ultra weekend. It’s 6am, the sun is coming up, Pete Tong taps you on the shoulder and tells you he needs to take a leak, and to drop a couple of tracks. Thankfully you have your external in your back pocket. You step into the booth and see 800 of the most hardcore house-heads staring at you. What three songs do you play and why?
Beachball (Joris Voorn remix)-Nalin and Kane
Voorn’s remix of that classic, for me, is the holy grail of sunrise music. A great example on how a track that’s not four to the floor could kill a dance floor.
The “La Mezcla” of 2010 if you will. Soulful, sexy, sampled house at its best.
Carlo Lio is a monster; he has got to be one of my favorite producers this year. His sound is so identifiable. Every track is so simple yet it has so much depth and funk. He’s definitely someone to keep an eye on in the underground circuit.
B10: Thanks for your time!
New Yorkers make sure you come support David at Pacha this coming Friday at his second headlining appearance. It’s going to be quite the spectacle.