First of all, I would like to ask you to tell to our readers how Ism/Midnight Riot were founded and everything started?
Ism was my first label, it was founded in 2009 and was a natural progression, like for so many, from having watched and learned. I had a concept and the feeling but Midnight Riot came from the first experience and was more defined. Midnight Riot is more from the London streets, it was founded in the early 2012, just after the riots here, hence the name and the attitude.
Can you reveal which are the most successful releases so far, sales wise?
Our compilation albums are really successful, probably due to the quality on there.
If you should pinpoint the highlights of the label, from the beginning on, which records would you chose?
Most of them are highlights to be honest, as we put out hearts and souls into everyone one of them.
Can you tell us something about the compilations your label releases and that cover more exotic flavour of disco, such the japanese, brazilian and african ones? How do you get to that kind of repertoire?
Midnight Riot from the off was and still is a global brand so, it’s basically “Where can we go next?”. With all of these ideas, you need to see it in your mind and feel it with your heart. This isn’t something I’ve just fell into but a lifetimes work -the global searching is just an extension of this- like trying to push yourself to see how far you you go.
Can you tell us something about the Amp Fiddler´s album you released this year? How you got to collaborate with that legendary artist for example?
We had the same manager in the early 2000s and I kind of knew that at some point I would do something and then, we hooked up fully after so many years. Like many people I know, they have loads of unreleased ideas, so usually I come in and take them to fruition but, for me and many others, Detroit musicians have that magic and “Motor City Booty” has it and is a bonified classic that I´m so proud of.
Talking about the A&R side of your work, what do you look for when it comes to finding new tracks for your label? Are demos still a good way for new talents to get your attention or do you look around the net or else?
Definitely from so many different places. People who work for me – London is crucial – then the internet and probably being a “go to person” in the industry, which only happens at a certain stage in your career. Again, I think that because of our success and relentlessness, like many other well known labels, we receive a high volume of demos. Personal contacts are also great and usually instant. But like many times, ideas can also fall out of the sky when I close my eyes!
I would like you to tell us your opinion about the state of the disco scene in 2017:
Disco is dance music and sometimes it’s hard to generalise with genres, but yes, every year it´s getting stronger and we’re at the fore front of this scene with our labels. The importance needs to be focused on the artist and the song and whether it has longevity, which is so hard to achive in the digital age.
As a listener, which are the records or the artists that excite you at the moment or that you particularly appreciated during this year?
There are tonnes of underground music but, I’ve always been obsessed with the credible that can also cross over, Like with the forthcoming New Horse Meat Disco single with Amy Douglas and the Sophie Lloyd and Dames Brown upcoming release on Classic.
Can you tell us about the releases you got in the pipeline for the 2018?
The compilation Roller Boogie Volume 3 on Midnight Riot
