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. 

You started doing music in your based city, Seoul.  Then you moved in London, and finally Berlin. Which city was the real start of your envy to become a professional?

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.

Your style and sound are regularly defined between « Detroit, London and Berlin ». One artist for each town that influenced you in your productions or mixes? What do you think about nightlife in London compared to Berlin?

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.

What is your perfect place / perfect time to compose?

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.

What are the references for your productions? What’s your process when creating music?

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.

Could you tell us a bit more about your set up? Do you have a beloved synth / drum machine?

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.

Did your release on Phonica Records last year increase your differents projects as a producer? What about your bookings?

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.

As Tama Sumo or Mafalda, you’ve become a « selector » dj according to many people. Does this « title » fit to you? And do you consider that the selection is a key of a dj set?

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.

How would you defined your music style? I would say « multi-faceted », is there a style you prefer the most? And one style in particular you would want to experiment?

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.

You played for Boiler Room at Dekmantel this summer, did you enjoyed it? This is a very special moment for a dj, how can you describe your state of mind just before your set and just after? In that veine, what are the best conditions for you to have a great moment?

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.

We saw you playing at Nuit Fauves (in Paris) a few months ago, what do you think about playing in that city? Is there any city where the crowd seems to be particularly reactive to your performances? Any french DJ you’re following?

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.

Merci everyone who danced with me at Concrete last night ❤️ #concreteparis Thx for the video @songesongette

Une publication partagée par Peggy Gould / Peggy Gou (@peggygou_) le

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