Energy 52: Cafe del Mar

NOTES

I met Paul Schmitz-Moormann in 1989. A close friendship developed centred around non-stop music-making. From Paul I learned how to combine high-quality melodic material with rhythm sections in a way that was both transparent and effective and gave the compositions a clear structure. In return, I was a kind of contemporary piano teacher for Paul. In 1990 we spent some time together on Ibiza. We got some really good vibes in a white villa on the beach where we spent the evenings, the “Cafe del Mar”.

November 1992: Paul returns after an especially long summer holiday on Ibiza. At “Cafe del Mar” he had heard a solo piano composition that had made a big impression on him. I know the piece, it is from Wim Mertens, one of my favorite composers. In the coming weeks we dedicate ourselves as though inspired by a greater force to our own kind of masterpiece working minutely on every little detail until it feels right. We do the mainwork in Kaa`s apartment, finally in January, we produce the two originals (“Kid Paul Mix” and “Cosmic Baby’s Impression”) in the studio in cooperation with Jens.

Interview by Peter Adkins, Juni 2012

You first produced put out ‘Café Del Mar’ in 1993 and it quickly became perhaps the most iconic clubbing anthem of all time. How do you think the track sounds today?

A good work of art excells in two criteria: it reflects certain aspects of it`s contemporary time in a profound way as well as having a timeless quality and statement, that is going beyond the zeitgeist of it`s original production.

Take almost each work of Bach/Mozart/Beethoven; or for example „A day in the life“ by The Beatles, „The Model“ by Kraftwerk, „Blue Monday“ by New Order… People will be touched in all times…

Do you still go back and revisit it?

I relate so many beautiful moments with it, so it`s „simply there“ without the need for revisiting it in a tangible way.

It’s been endlessly repressed and remixed over the years. Why do you think it is so special to so many generations?

Besides the criteria, I assumed above, I really don`t know. It is like it is – We all know that sort of question: why is it especially this piece/book/painting and not the other (outstanding) one, which could earn the same attention, enthusiasm and historical relevance?

Have you ever worried that the track has over-shadowed other great things you’ve done in your career?

No, not at all. First of all I`m happy and thankful about, that I was always in the position to do just the things, I really wanted to do. And all things I really want to do, I do with the same passion. Secondly I`m happy and thankful about, that so many of my works are respected in public and inspired many other artists and people in general. From an outside perspektive, „Cafe del Mar“ can be possibly seen as the high point  of my work as electronic musician so far. And you should not forget: it was a teamwork with my friend and colleague Paul Schmitz- Moormann, which makes it even more pleasant. you share the positive as well as the more critical aspects…

Have you heard the Ricardo Villalobo remix from 2011? Were you surprised when this underground house figure wanted to remix such an infamous tracks?

Well, it`s almost a kind of ticket to the Remix-Olymp, at least a big honouring for a DJ/producer getting permission to put his hands on „Cafe del Mar“.  I definately see Ricardo as an exceptional DJ and musician, and so I`m more pleased than surprised!!!

What did you think of the remix, did you like it?

When I like and admire an artistic Identity (as Ricardo`s), I also follow and go for his special way of interpretation. It`s fun and also always instructive to confront it with the personal expectation. His remix is great, no doubt!!!

What do you think of Ricardo Villalobo’s type of minimal house and techno generally?

The idea of „minimal techno“ is exciting: creating significance out of a strongly limited sound material, which can be combined with other tracks in order to get permanently new accoustic features. So most of the time a „minmal track“ itself is more „part“ than „complete composition“ in a classical point of view.  Ricardo`s productions however, make also sense when you hear them as individual pieces. It`s superb pieces of music, sound- and groovewise and in the way they are built up!

When I think about music genres in general, I`m always comming to the same conclusion: important are its outstanding examples, the ones, that really touching me, not the certain genre itself. To me, the majority of examples are unfortunately mediocre, copied, exchangable, market orientated, conform, more or less redundant in the end… it doesn`t matter, which time, culture or style they belong to or comming from.

Therefore true quality in the arts cannot be related to certain genres (and their uncountable subgenres), but only to certain artists, which expressed themselfs through these genres –and, most of the time, also created them. The rest is pure Zeitgeist.

There have been endless remixes of the track over the year. Do you have a favourite?

Outstanding in my view are still the ones of  Nalin & Kane,  Three N One, Michael Woods … .

Is there any part of you that wishes the track would be left to rest? That the original was to remain and not for it to be constantly remixed and re-released?

No! The original will always remain, because it is the original… and there will be always the motivation and inspiration for new people to create a new approach … how wonderful!!!