Interview: Oliver Lang

Being a kid in the early 1990s meant Oliver Lang wasn’t old enough to completely embrace the acid house era. Instead, he’d soak up what he could via radio sessions and browsing the record stores.

Growing up in Manchester helped mould his interests and encourage passions that would soon become a learned-talent. 14 saw him DJing at clubs in his hometown and by the time he’d turned 18 he held claim to a Bora Bora residency in Ibiza. Since taking over the residency, the Mancunian has been busy sharing his time between Ibiza, Manchester, touring and of course his label DOJO.

Jasmine Phull speaks to DJ Oliver Lang as he explains the logistics of a place as illogical as Ibiza and mourns the ever-elusive ‘revenue’, whose ghost now wanders aimlessly through a town called Music. Cue tumble weeds.

Did your hometown of Manchester help shape your love for tech house? What was the music ‘scene’ like when you were growing up?
Manchester completely developed me musically; I was just too young to fully enjoy the acid house era in terms of going out to clubs, but I was able at a very early age (12 or thereabouts) to gain access via radio and record stores to this amazing music. Back then Manchester really was for me the hub of it all with the Hacienda etc, and I could feel the whole thing happening around me both in the music and the fashion.
How do you compare the way it fosters the development of techno music to places like Ibiza?
Ibiza seems to be the place where the coolest musical styles get to strut their stuff. All the types of music come from different places though, for example the trance scene originated in Holland then it came to Ibiza, the Berlin minimal techno sound was huge in Berlin and surrounding areas for years then in 2004ish it came into fruition in Ibiza. I think Ibiza is more of a showcase, but a great place to get in touch with what is cool at any given moment in time from all around the world.

Did you have to experience ‘struggle’ to get to where you are today? Is that an important factor in making a ‘great’ artist?
I think you have to work hard for anything. Apart from a select few, you don’t see many people who have got to where they are without some stresses and strains. It’s part of life; the more you put in, the more you get out. I am lucky that the work side of my job really doesn’t feel like work; when I’m somewhere amazing deep in the heart of an amazing party I pinch myself.

You own label Dojo records. Is it difficult juggling being a producer and dedicating the necessary amount of time to something as demanding as a label?
It is very difficult indeed. I started Dojo pretty much solo with the help of my manager Melissa for some guidance, then as it grew I brought in my label manager Gregg who takes care of more of the day to day running of things. I need this time to spend on the music for Dojo and also not forgetting the 10 or so hours a day I spend in the studio listening to kick drum loops round and round.

Describe your criteria when selecting an artist to release.
It is solely based on the music, I’m not at the stage of releasing albums yet but I guess when I am then image and saleability of an act might come into play. At the moment it is all about the music, my rule is that because the label is closely linked to me I want it to be similar to how I play. My one rule is: it will not go out on the label unless it would be comfortable in one of my sets.

Do you learn from these artists? If so, do you have an example?
I do learn from these artists. Everyone at every level in this scene is in the same boat, it’s a community driven industry where you work with other people and bounce ideas around etc so I have made good friends with some of the artists like Shafe and Dirty Harris and we go in the studio and chat a lot; it’s really good to all have a platform to work from.

Is there something that’s missing in the music industry that was there 10-15 years ago?
It’s sad to say, but revenue from production is missing. I know sooo many amazing producers who simply aren’t performers, who are stuck to producing tracks for other people instead of blossoming on their own because they need this income in order to stay in the music business. This is really sad because 10-15 years ago they would be making a really healthy wage for doing precisely what they love.

Is there something in the music industry now that didn’t used to be there?
An exact opposite side of the coin to what I said before; the freedom and rate at which music is available i.e. £1.50 for an mp3 or wav instead of £8 for a record means it’s really an open field; anyone can do it and there are no excuses. All you need now is a laptop and some imagination.

One track that makes you feels elated?
Guy Gerber -Stoppage Time. It makes me wanna run out the door and go raving every time I hear it.

Which do you prefer: studio or stage time? Why?
I love both in different ways, but anyone who knows me will say stage. I started out DJing and I turn into a different beast up there; I feel at home.

What should the crowd expect from your gigs?
Lot of energy, lots of edits, rolling infectious basslines and a headache the next day.

One great - recently deceased - artist?
Mark Spoon, may he RIP.

Interview by: Jasmine Phull

Oliver Lang plays Neon at Venus in Manchester on February 4th. Tickets for this event are available below.

You can also catch Oliver at Gatecrasher Birmingham on Saturday 5th February. Get tickets through Skiddle here.

Tickets are no longer available for this event