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Back to the Phuture: “This was 20 years or so in the making”

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You’re alluding to the fact that we’re going to see new material soon?

Pierre: Absolutely. There is a whole original album that we’re working on at the moment to be honest. We’re gonna come back with like a rerelease of certain original tracks with maybe some new remixes on it, just to refresh everybody’s memory, so that they can get the songs that they’re looking for from the group if they couldn’t find them, or whatever. And then when that’s out there, we gonna work on the album and come up with some new stuff for 2015. We’re looking for 2015 to be a very big year for Phuture. There’s gonna be some interesting collabs, there’s gonna be some known people getting involved. You wouldn’t believe how many people are chiming in wanting to either get in to remix this track, remix that track. There’s a lot of known artists out there who just love what we do and what we’ve done, and respect us in that way.

So there was obviously a big response to the early shows that you played?

Pierre: Oh yeah definitely. The outcome from it has been all positive. More gigs, a lot of gig requests, collaboration requests, people just trying to get in on the project and have us be involved with what they’re doing. Sometimes when people reach out to you it’s about them trying to connect and add legitimacy and credibility to their career, which I understand that totally and it works both ways because it will introduce us both to audiences that we’re not prominent with, or even respected in, so to speak. I try to do that in terms of working with certain labels that people wouldn’t expect to see me on. I did a track on BNR Records called ‘Acid’, it was pretty massive for BNR. And I went and worked with Steve Aoki on his label and people didn’t expect that. But I just want people to know that music is music, and people shouldn’t be against other forms of music because they think it’s stupid or it’s cheesy. I listen to the production on all this stuff, and it’s amazing production across boundaries of all music. And you gotta respect that, talent is talent.

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That attitude is more in tune with the original spirit of acid house I’d say.

Pierre: Oh definitely. Who thought that was gonna do what it was gonna do? If we’d thought that way, we wouldn’t have done acid house. I mean, listen to it. The thing is, when we were doing that track, we were open, totally open. And we were trying to make something that sounded good and pleasing to our ears. And before we knew it we’d made the track and then we’re like wow, would anybody else actually like this? But we were confident because we knew it was something special and something different. Ron Hardy I don’t think gets enough credit for acid house. I think he should be up there as somebody very important in why acid house is what it is, because he could have turned us away and said, that’s a piece of crap. And we would have been highly influenced by his judgment of the track, and furthermore he played the track four times. What DJ does that? A DJ plays it once, and if you get a second time out of them, and people aren’t gong crazy over the track, he’s never gonna play that track again.

Spanky: That was the whole reason why we did get that confidence, because he did play it four times, and that was our goal at the time.

Pierre: Because we were making a track just to see if Ron Hardy would have it in his record box [laughs]. It wasn’t even like, ‘oh we’re gonna be these producers, we’re gonna be this and we’re gonna be that.’ We were like, ‘do you think Ron Hardy will play this? Nah he aint gonna play that…’ We thought he might play our acid track because we new Ron Hardy took chances. You never knew what you’d find in his record box. You might get Slick Rick, you might get some jazz joint, you might get whatever. He was all over the place. Frankie Knuckles was also popular, but we knew that, ‘ah I don’t think Frankie is gonna play it.’ He didn’t go for that. He played the soulful vocal, disco stuff and that was where he was at. He didn’t play many tracks or things like that. That’s the only reason we didn’t really approach Frankie Knuckles.

Spanky: That was the key thing, Ron Hardy would play underground tracks. And that’s what we was making, underground tracks. We knew that if Ron Hardy played it, then we knew we were on the right track, and that was the whole thing right there.

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