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5 Facts, 5 Tracks: Milk & Sugar

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Since forming in 1997, Mike Kay and Steven Harding aka Milk & Sugar have lived a career most DJs would dream of. They’ve performed globally alongside dance royalty such as Frankie Knuckles and David Morales, remixed on request for the likes of Jamiroquai, Janet Jackson & Ben Pearce, and have continued to supply dance floors with a steady stream of powerful hits, both via their own imprint and revered labels such as Enormous Tunes, Positiva, Ministry of Sound + many more.

Adding to their string of 2020 releases, today sees prolific German house producers, Milk & Sugar deliver their brand-new single and club mix ft Paul Gardner & Peyton, ‘You Can’t Hide From Yourself’ – out via their own Milk & Sugar Recordings.

We asked them to give us 5 Facts about themselves that aren’t already out there and 5 tracks that influenced their career.

5 Facts

1) We started our first house productions in the mid 90ies era. Mike was hanging around with Justin Berkman at Ministry of Sound London. We were very much influenced by US Garage at that time and love people like Tony Humphries, Franky Knuckles, David Morales, Justin Berkman. We became frustrated after a while because all of our newly produced demos got rejected from other German labels, so we decided to found one of our own.

2) Our first international hit, ‘Higher & Higher’, used to be a B-side. We took a big pile of vinyl promos to WMC (Miami Winter Conference) in 1999 as test pressings and handed it out to some DJs we liked. Because it was a white label, the DJ’s didn’t realize it was the B side and played the track they liked most. David Morales more or less was one of the key DJs who broke the record. After his sets, major record labels were attracted and contacted us for deals.

3) “As a contrast to playing in front of thousands of people (pre-Corona) every weekend, I love to go fishing at a quiet lake south of Bavaria, close to the alps”, says Mike.

4) Before founding Milk & Sugar as a house music act the we used to also play Hip-Hop and Techno. Sometimes we get asked to play an old-school techno set. “That would just be too weird for me” says Steve. “I love doing this once in a while, because I have my roots in German techno from the early 90ies and on the other site in the Disco and Soul Area from the 70ies (Phillygroove)”, says Mike.

5) ‘Let The Sun Shine’ was the only record in UK history that made it 3 times to no.1 in the DMC DJ Charts. As the original in 2003, and two more remix editions in 2009 and 2012. For next year we will recieve a remix from Purple Disco Machine which we are very much looking forward to hearing!

5 Tracks

Mike AKA Milk:
Kraze – The Party (1988)

Kraze made me addicted to acid house and I started going out to warehouse parties at the end of the 80ies. This was hot and new for me, it made my appetite for electronic music bigger and influenced me to become a DJ.

Snap – The Power (1989)

Once in a while you hear a record which never leaves your mind. I heard ‘I’ve Got The Power’ for the first time at a 1989/1990 NYE party in a club in my hometown Munich. I know it’s cheesy as hell, but the energy caught me straight away.

The Bucketheads – The Bomb (1995)

‘The Bomb’ basically was a kind of a booster detonation for me to start doing house music. It was 1995, my girlfriend was staying in London at that time and I was hanging out there every weekend and was seeing Justin Berkman from Ministry of Sound a lot. I heard this track at a Warehouse party near Kings Cross and the energy and crowd reaction was unforgettable.

Steve AKA Sugar:
Ultra Nate – Free (1997)

This is such a tune! It got released the same year when we founded Milk & Sugar and we’ve been playing this record ever since. It has a really deep connection with our act and it used to be the best closing track in our DJ Mixes in the early days.

The Shapeshifters – Lola’s Theme (2003)

A great record and a UK #1 back in 2003. We played many gigs and festivals alongside Simon and Max aka. The Shapeshifters, who were on the same booking agency back in the days. We also re-recorded this tune for our classical music crossover project in 2019 with an 80-piece classical Orchestra. 

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