Berlin based Korean artist Peggy Gou found her inspiration somewhere between Detroit, London and Berlin sound, but always refuses to be define in genre. On the dancefloor, you would hear simultaneously Chicago house, Detroit techno, as well as african rhythmics, US rap or other classics and rarities in plenty of styles. We asked her a few questions while she’s coming back in France for two dates in October.
I wouldn’t say that Seoul was a big influence on me music-wise. It was always the city where I got an idea of DJing, as my first boyfriend was a DJ, but I would say the city I got influenced by would be London and of course Berlin. It was London where I first started to collect records and started to do production. That’s when I realised I wanted to do this music and moved to Berlin three years ago. So I would say London is the city that got me into this music scene, and Berlin is the city that upgraded me.
Detroit has so many influential artists, you can’t just pick one – you could say Ron Trent for sure. From Berlin, as a DJ Marcel Dettmann is a huge influence, and from the UK I like Ben UFO as a DJ.
Berlin and London’s nightlife scenes are very different and difficult to compare but I would say Berlin’s is a little bit harder and darker than London’s, but London’s is probably more varied – there are nights for every kind of music, where Berlin is mainly focused on house & techno.
I have my studio in my home, next to my bed. The perfect time to compose is when I’m super relaxed. I also really lie making music when it’s raining outside – which in Berlin is often! It has a strangely relaxing effect.
I have several rules when I make music, although this changes sometimes. I always try to get influenced by older music – before I sit down in the studio I try to do the research first, to listen to old tracks that I get influenced by. In the beginning I try to listen and learn how they made certain basslines or chords. But sometimes the rules change: I used to always make the kick first, then I used to start with a chord. But now I don’t have a specific order.
I have 2 Kawai synthesizers, one Yamaha DX21, a Novation midi keyboard and I use KRK RoKit monitors for the speakers. I also now have a Roland Jupiter 6, which I had used before but didn’t own as it was not easy to get them and it definitely is my favourite one.
Yes my Phonica record went really well – they told me they had to repress two times, which I was very happy to hear. And after the release I got much busier on tour too.
I feel very honoured to be called a Selector. To me the word Selector means somebody who is really serious about music. Yes track selection is a key part of a set, although I have learned from my tour experiences not to play for myself – you select the music but it’s about what time you are playing, where you are, who you are playing for.
I get asked this a lot and it’s difficult to answer – I don’t want to define my music in genre. Yes it’s house, but also inside there are lot of techno elements, and also a lot of African rhythmic influences. There are so many different genres, but I don’t want my music to come with a label on it.
Boiler Room at Dekmantel was a very special moment for me – I prepared a lot beforehand, and was very nervous because in my previous Boiler Room experience the event was shut down just ten minutes into my set. So the Boiler Room guys wanted to make it up to me by inviting me to play one of their best shows, which is Dekmantel, so I was very lucky. It was an unforgettable memory. Although you prepare a lot for something like this, the best condition is to just go with the flow, enjoy the vibe and connect with the crowd – I think that’s the most important thing.
Yes the party with Jeremy Underground was pretty cool – I only played Paris a few times but I really like it. Playing at Concrete means a lot to me because it was on always on my top list of places I wanted to play. I do like a lot of French producers, particularly Pepe Braddock, DJ Gregory / Point G and DJ Deep, who I both really respect.