On the Rhodes to everywhere….
Autumn 2011, and Argy, aka Argyris Theofilis stands at the edge of international stardom. He’s grown from leading light of the new underground to one of the world’s hottest properties and this is the album that will quite possibly change everything again. ‘Fundamentals’ is the sound of house music reconfigured and redrawn for the new era, with the attitude and soul of Chicago and Detroit re-routed via Berlin. Dan Prince checks in…
Welcome Argy to DMC. How did you get into dance music as a kid growing up – where did you get your music fix on the island of Rhodes in Greece?
“Actually Rhodes has been a very cosmopolitan island and very much associated with dance music since the early 80s when a lot of other places in Greece were still playing Greek folk music. Apart from having a lot of native Greek talent that used to spin Disco and early House/Techno, there were tonnes of events with international superstar DJs just because there were so many tourists on the island and so the market was there for it. So when I was growing up, 90s dance music was all around me.”
What did your parents think of your choice of career at such an early age?
“I guess they were and are quite happy because they want me to be happy too and independent.”
What was the biggest (apart from the weather!) culture shock you encountered when moving to London from the Mediterranean shores?
“I think people’s relationship to money, how they approach spending it, making it and valuing it.”
You developed your love affair with night time culture as a teenager thanks to some memorable club experiences on the dancefloor in front of some of the US scene’s finest. Who were they and where were you at?
“There were a lot of DJ figures that toured a lot in Greece when I was a teenager and influenced me a lot at the time. From the top of my head: Danny Tenaglia, David Morales, MAW, Dimitri From Paris, Africanism, Joe Claussell, Body & Soul and so on…”
For someone so young, you are a prolific producer who has worked with some massive labels already – what do you do that sets you apart from other producers?
“I think what makes the difference is the fact that I come from a very musically rich background and I am also open to a very diverse lifestyle too. I don’t live the cliche lifestyle that a dance music producer lives and that I think gives me a completely different edge and appeal. We can sit and have dinner together and talk about politics, fashion, architecture, Krautrock or just women. It’s up to you really…”
So a new album out ‘Fundamentals’ – for the readers who haven’t heard it yet, talk us through this long player…what are the highlights for you?
“Well, it’s a very important album for me because it comes at a time when I am very confident and comfortable as a composer. For the first time I am letting myself go all the way with the style that I am best at and have created a long player that is actually released at a time when the dance scene is really ready for such music. We are ready for this kind of revival and I think the people are craving for a modern ‘soulful’ house style that’s also applicable on the dance floor because we have had a lot of more soulful music lately which I think most of it is ‘chill out’ branded as slow house or electronica. So I guess the highlight would be if this album succeeded in combining emotional moments with a club attitude and energy.”
What are the 10 tunes you spinning right now at clubs around the world…?
At the moment I play cuts from producers such as Jerome Sydenham, DJ Assassin, Wink, Jordan Peak, Instant House, Kerri Chandler, Ed Davenport, DJ Sprinkles, Dj Duke, Quell, older Murk and MK, Osunlade, Cajmere, Nicholas and anything thats not ‘thin’ and seems pretentious to my ears. I try to keep it real for myself and the people that come down to check my show as I feel responsible towards them and towards my artistry too.”
In an interview last year, you admitted that you divide your time “between the studio and touring, while living in sleepy Berlin”. Berlin and the word sleepy have never been used in the same sentence before I think (!!), what is the best and worst thing about living there?
“Well, Berlin is the last sort of cosmopolitan city that’s still a little town. People have the wrong impression about Berlin, and thats mainly because the people who have created the hype have never even visited Berlin! People need to idealise things once in a while so it’s Berlin’s time now. Berlin is not a 24/7 city and there is very little to do at night sometimes. People don’t go that crazy all the time, at the end of the day it’s still Germany and the majority of the population is people who work hard in normal 9 to 5 jobs. Not everyone is an artist in Berlin and not everyone is trying to help you become one. The greatest thing about living in Berlin is that ‘time’ counts differently and in a way that makes a lot of artists feel comfortable to become successfully creative with very little pressure from their surrounding.”
Not many people know this, but Argy is really good at…
“Over-intellectualizing dance music and life in general.”
What song can’t you get out of your head at the moment?
“It’s more like a groove these days rather than a song. I just went to a friend’s house in Manchester who collects records since the Hacienda time and listened to a lot of white label bootleg records and remixes from that time. Those melodies and bass sounds are just so effortlessly grabbing and powerful. I am planning to revive that vibe.”
What is the greatest record you have ever played to a dancefloor?
“There are only very few things that can match the original extended version of ‘The Boss’ by Diana Ross after you’ve succeeded to bring the crowd to the point that they are actually ready for it.”
You once said that you HAVE to return to see your family for at least one month every year as “it’s necessary for my being and mental health.” What is it about the music and club industry that twists your head up?
“I just need to make contact once a year with the natural environment I was brought up in. That includes the nature and the people. I call it ‘grounding’.
Who is the coolest person on your mobile phone?
“Taxi service?”
You have been releasing records for over five years now on some cool underground labels – your style now seems more mature. How would you say your production style has changed since you began?
“In the beginning I was just putting sounds together in order to create music. Now I am expressing myself through sound and my choices are much more conscious, which means that now my music is more honest, personal expressive.”
What is your guilty pleasure song?
“The last thing I am going to feel guilty about is who I actually am and what my preferences are.”
A couple of years back your remixed one of the mighty Paradiso compilations, what makes (other than the beachside setting!) this Mykonos superclub so super?
“For me personally, it’s the memories I have from back in the days when I used to go and party there as a teenager.”
This may not be very good for my image, but Argy really likes…
“Julio Iglesias! There i said it.”
What has been your proudest moment musically to date?
“When I half-played Bill Evans’ ‘Peace Piece’ on the piano in front of an audience in my living room.”
So we come back to your place after the club – what Back To Mine tunes do you spin us to chill?
“I am going to put the 1991 LaTour album on the decks and let it run from beginning to end, and pretend we are in a late 80s decadent NY loft party with all the eccentric behaviours you can imagine.”
Good answer. What other producers/up and coming DJs have you noticed this year we shoud be looking out for in 2012?
“June, Quell, Jordan Peak and Nicholas…all future stars!”
What have you already got in the bag for us studio wise for 2012? What’s coming next?
“A lot of different music on many exciting labels including my own very special These Days Records and probably a special compilation with some of my favourite tracks of all time. You are probably going to see me spin a lot as touring has been great fun this year and the feedback from the crowd has been more than flattering. I am thankful that I am able to play the records that I really like and get this kind of reaction from the people. I think its time for originality and eclecticism again.”
