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Clone x Delsin x Rush Hour

Talking about serious music

Clone x Delsin x Rush Hour

19-10-2012 | 14.25

They come from different places, but they share the same love for Chicago and Detroit house music. Tonight in Trouw, the Dutch record labels Clone, Delsin and Rush Hour join forces for the first time. Clone’s Serge Verschuur, Delsin’s Marsel van der Wielen and Rush Hour’s Antal Heitlager talk about buying hard-to-find records and the seriousness of good music – remembering their first and most weird encounters.
 
When Clone’s Serge thinks about Delsin he always thinks about their first record release. ‘Marsel brought it to me in my old shop, above the Urban Unit. I still see it in front of me: for months there was a little pile of that Peel Seamus release. A beautiful record, but back then it didn’t sell-out as quickly as records do now, at least not in my shop. I’m very happy it didn’t kept him from releasing more tunes, ‘cause these days Delsin is stronger than ever.’
 
Rush Hour’s Antal and Christiaan Macdonald where frequent visitor’s of Serge’s record shop too. ‘When they came in, they immediately jumped towards the new Theo Parrish and KDJ releases, in the back of the shop at the right side. Together looking for releases that where already hard to find at that time. If I’m not mistaken they bought every Theo Parrish and KDJ release I had on Music Is… On the first Music Is… by Theo Parrish there’s this sketch in the groove: We’ve Just Begun, it says. Looking back it really symbolized that time. I think it was around 1996. Shortly after they started doing their thing in Amsterdam.’
 
Marsel: ‘I remember buying records from Rush Hour during the pre-internet age, when they ran a mail-order service from their attic, naming themselves Two of Us. At Serge I sometimes ordered them by phone.’
 
Antal doesn’t think there’s much competition between the three record labels. ‘Sometimes we’re on the same channel, but more often we’re not. We work with each other on a weekly basis though. Rush Hour is Delsin’s distributor and Rush Hour and Clone sell each other’s stuff for years now.’
 
Serge: ‘I think we’re all different, finding each other in the fact that we’re all reasonable people, like they say at Warp Records. We all share the same love for music and play records that connect to our personality and home town. Considering that last factor I don’t want to generalize too much. It’s too easy to say Amsterdam is more leaning towards hiphop and jazz, while Rotterdam focuses more on techno with an industrial feel, but at the same time that generalisation is not far from the truth.’
 
It’s not all about being super-serious about music, though. Marsel: ‘We’re serious about music, but that doesn’t mean we don’t like to party. With Clone I experienced some wonderful parties that where more related to serious techno, but there where happy and joyful beach parties too. Oh – and seeing Carl Craig and Theo Parrish at the Zuidas in Amsterdam. It included unlimited beers for 50 guilders. Good times.’
 
Asked for a memorable moment he shared with his friends and colleagues today in Trouw, Antal says: ‘I remember I found myself on a boat during Queens Day in Amsterdam, where they played Virgo Four among others, although I couldn’t find a dj or music installation. At that moment I saw Marsel from Delsin lying on his belly in a space which wasn’t even 50 centimetres high; they managed to get the dj-set in there and Marsel was playing, without feeling claustrophobic at all. That turned out to be a pleasurable evening on the Amsterdam canals.’
 
Talking about tonight’s evening, Antal says it’s a unique opportunity to ‘hear, smell and feel’ that much Dutch electronic musicians during one night. ‘It’s special in The Netherlands, but even more exciting to play in front of an international crowd. It will probably make the atmosphere even better.’
 
Serge: ‘Of course it’s not a common thing to organise one party with three different organisations. We hope it’ll work as a powerful musical introduction in the world of three independent Dutch record labels who survived 15 years of musical development, without adjusting to trends and hypes, everything in one of Europe’s finest night clubs.’

Text by Berend Jan Bockting