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Claude VonStroke drops a new single on Moon Harbour

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Global house star Claude VonStroke makes a big mark with new single ‘Don’t Make Sense’ on Moon Harbour.

California-based Claude VonStroke has been a titanic figure in the house music underground for almost 20 years. His left-of-centre, bass-heavy take on the genre is utterly unique and has made his Dirtybird label one of the most recognisable in the scene. He has had another big year in 2022 with debut tunes on Sven Väth’s Cocoon, an extensive US tour which saw him play open to close at every party and groundbreaking events in Dirtybird’s virtual club in the Metaverse. Now he makes his debut on Moon Harbour in a typically bold fashion.

The stylish ‘Don’t Make Sense’ is a deep and seductive house cut with booming kick drums. As they roll down low, a hypnotic vocal refrain repeats the track’s title and prickly percussion adds bite. Over the course of more than six minutes, serene and spaced-out synths weave in and out of this cinematic cut to evocative effect.

We spoke to Claude about the release!

What’s the story behind ‘Don’t Make Sense’?

I was in the studio listening to a David Squillance track that I really liked and I thought about trying a new style that maybe people wouldn’t expect to hear from me. So I started messing around with a lot of congos and deep bass kicks and seeing what would come out of it. The sample is my voice as always and sometimes the words are just what fits inside the beat and they dont make any sense, ha!  This was one of those times. 

Why did you decide to release on Moon Harbour? What qualities landed Moon Harbour on your bucket list? 

Yeah so I ran into Matthais Tanzmann a few times back in the day and he was always really nice and cool and back when i was drinking we had some good times. I was also really very influenced by some of the releases on Moon Harbour.  I always respected the sound.  For me, it was an organic sound that still sounded very well mixed and modern. It was like “future organic” which almost everyone tries to do now but was very new at that time when i was starting out and I always liked it. 

What other labels are on your bucket list?

The list is probably not what you would expect. Its just a list of labels that influenced me directly like Ghostly International, Cocoon (which i did this year as well), Kompakt, Ninja Tune, Warp, Turbo, and the now defunct Playhouse was my #1. 

You spent most of the year on the ‘Your Dad Plays Great Music Tour’. Can you discuss the idea behind these intimate open-to-close sets? 

We almost got to a really good place with house music in North America and then it took a left turn.  This is just my opinion but I have never been a guy who wants to goto the club to watch television.  I don’t dance in front of my television at home either. My first parties were in abandoned warehouses in Detroit and i wanted to get back to the feeling of really connecting with the people.  So I set up the decks on the dancefloor and my only production was candles and I played every night open to close. Sometimes that meant 5 hours sometimes 9. I became a way better DJ and I felt like it was the best (and most tiring) tour I’ve ever done by far. 

What was your favorite show you performed in 2022?

I played a lot of quasi illegal spots this year instead of the commercial option and that was really special, but I never answer this because i never really can.  They were all really very good except the one where I had severe stomach pain the whole 5 hour set, and even that one the crowd was into it I was just dying inside. 

What can fans expect in 2023? 

I have a new tour planned and some great VonStroke tunes but Im going to be really diving into my alter ego this year under my real name.  Its a hip-hop/halftime/bass project called Barclay Crenshaw.

Don’t Make Sense is yet another standout tune from the one and only Claude VonStroke. We premiere it on Data Transmission, check it out here and grab it here: moonharbour.lnk.to/MHD191

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Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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