The Swiss deep house don rocking our world with his Clarisse Records imprint and much much more
Interview by Rob Chadwick
Mendo is a deep house talent from Switzerland who has this year released a massive remix on Hot Since 82’s label and it got big support from the likes of Pete Tong. Of course, it makes sense that Mendo will be Ibiza often this summer as he is an in demand DJ who has played all over the world. Part of the reason for that is because he released such a massive LP, Avalon, back in 2013, that turned out many floor filling hits and Beatport chart toppers. He also releases on labels like 8Bit, 100% Pure and Circus and is the boss of his own label, Clarisse Records. Here we speak to him about his native scene, his huge success in the underground charts and about how he approaches remixes as he celebrates top new mixes for Deeperffect and Toolroom’s Live 03…
How are you, what’s good, what’s bad recently?
I’m fine… super fine even! What is worrying though is that when things go too well, that’s when the shit starts! But until that happens, I’ll quickly tell you all the good things that have already happened to me this year. I’ve had the opportunity to play several times in Ibiza, starting at Space for Lovin’ Ibiza, at the Hard Rock Hotel for IMS, Sankeys for the opening Reverse parties – even in their first year they are packed every Saturday – and at Blue Marlin for the first showcase there of my Clarisse Records label. I also played for the first time in Cordoba in Argentina and Santa Cruz in Bolivia which were two memorable nights and I also played Sonar in Barcelona with my buddy Daley (Hot Since 82) for his amazing Knee Deep In Sound party with my mates Uner and Andrea Oliva. As well as the superb Deeperfect Party hosted by my great friend Stefano Noferini. All cool.
Is there a real Swiss house scene you grew up with or followed? Were you inspired by Swiss artists when you started out?
When I started 23 years ago the Swiss scene was part of the best house music one had to offer, so I can say I am very proud to have grown up in Switzerland. At the age of 15 I was off every weekend to Lausanne, Montreux, Bern or Zurich to attend the biggest festivals and to visit the best clubs around the country. The German part of Switzerland still dominated electronic music and I remember at the beginning when I was going on holiday in Spain, nobody knew about the music we were listening to. At the time the big Swiss stars were people like Djamin, Mr Mike, Willow and Mandrax.
Would you like to bring through new Swiss talents, or don’t you care where they come from when releasing them on your label?
It doesn’t really matter where artists come from because when an artist is talented and I like what he does, I willingly take them under my wing. I’m a person who likes to give a chance to people who are not necessarily known. When I started, I met a lot of selfish people who didn’t want to share their knowledge. That was until I made a very good friend in Chab, who produced the hit ‘Closer to Me’ – he taught me everything. So I just want to do the same thing that he did for me 15 years ago.
About Clarisse, what’s the aim there? Is format important, how do you gauge the label’s success?
I can tell you that caring for a label is really not easy! You never know in advance whether an artist or EP will work. You always try to produce music that you like, but, sometimes, it’s like poker, one day you win and another day you lose. Fortunately, more often than not our luck has been in. I think it is still important to stay in the trend of the moment if you want to try and chart consistently, but sometimes trends are so awful that it’s better to stay with what you know.
How do you feel when you look back on Avalon? Would you like to do another, did you enjoy that debut? How has your music style or production skill changed since then?
“I’m not sure I want to do another album anytime soon because nowadays, in my humble opinion, the format is not a very effective means. Fact is, there is so much music that comes out every day, people don’t take the time to listen to an entire album. It requires too many man hours for little return, and in the end, after the second week of release, people have already moved on. My music doesn’t really change, she’s always into something housey, sometimes more techno. For ‘Avalon’, I had fun exploring genres that I never usually get to do, and the most important thing was that I was satisfied with the end result.”
It lead to many Beatport hits – did you know it would at the time? Does that add more pressure next time you write?
“Music is an eternal struggle! I always try to make hits but it’s not always straightforward. Sometimes you think you have a hit and it’s a flop, and sometimes you are not so happy with the result and it climbs into the Top 10. Go figure! Yes there is a pressure, and I think it’s on all of us. It’s like a writer facing a blank page when trying to write his bestseller and aiming for a Pulitzer.
How different are remixes from original when you take them on? Do you say yes to all requests or do you only remix things you like?
I would say that an original is more relaxing to do because you don’t have the pressure of having to finish it for a specific date like you do for a remix. But a remix can sometimes be easier to do because it offers you parts that you can use which allow you to be creative more quickly. Currently I say no much more often than yes for remixes, because I have done so many and because it is essential that the original version contains one or more samples that motivates me to do it. I am more willing to remix for my label or close friends if I have time, but often this is not the case.
And what about the kit you use? Are you a hardware of software man? Do you care about this? Do you switch up your tools regularly?
I started producing in 1999 with hardware, but now I only use software. It takes up less space and the costs are much cheaper…I love working with Logic Audio and Ableton Live in Rewire to create my samples, and for sound processing plug-ins I use the ones on my UAD sound card.
You release on many different labels – do you write with certain ones in mind? Do you have different vibes for different labels?
I like to follow the guidelines of a label while keeping my own personal touch, which allows me to release on a larger number of imprints. I also try to remain attentive to the style of the moment, even if sometimes I really struggle with what I’m hearing. To persist in this business, it is important to keep up to date while keeping your own identity.
What else you got coming up/are you looking forward to this summer?
So many good things…lot of gigs in Ibiza with my residencies at Blue Marlin, at the Reverse parties at Sankeys and the Ibiza Global Radio Beat Boat parties…then to Space back to back with my friend Dosem. There’s The Debut at Track Terrace in Budapest; Carpe Diem in Hvar, Croatia; Clarisse Nights at Montreux Jazz Studio 41; Kudos Festival at Mamaia, Romania; Outdoor Stereo Festival at Julianapark, Hoorn, Netherlands and many more. Also I’m going to mix the next Toolroom Live compilation 03 in a few weeks, and my club mix of Porno’s ‘Music Power’ released on the Deeperfect Barcelona Off Week 2015 compilation a few days ago, just entered the TOP100. Who could ask for more?!
