№ 125 - Luca Lozano

Late last season, EDWIN and the Klasse Wrecks crew released the P.C. Collection, inspired by the harmonic comparisons between rudimentary pixelated graphics and various stitch techniques. The predominately knitwear based collection was accompanied by a small run of a Cassette Tapes featuring previously unreleased music created on Amiga computers in the early 1990s, all compiled by KLASSE WRECKS and DJ Kid Who.

Now, Lozano, who runs his multi-disciplinary record label between Hong Kong and the U.K. together with artist, DJ and producer Mr. Ho, created a mix, to accompany the next project together with EDWIN: ‘DEEJAY SERVICE’ - a limited edition drop, offering a satirical and comparative exploration of the more affordable facets of the DJ world.

With a keen and inventive design perspective, ‘DEEJAY SERVICE’ fearlessly delves into the absurd and desperate realms of the music industry, DJ culture, and the fetishization of records. Luca Lozano’s designs tackle the influence of social media ladder climbing, the persona-defining nature of product ownership, and the relentless self-promotion, cleverly juxtaposed against the visual aesthetics of 90s Call-Girl cards and early dance music publications, inviting audiences to rediscover the humility and enjoyment that often get overshadowed in the music world.

To celebrate the recent resurrection of DEEJAY SERVICE, we’re proud to present the next EDWIN Music Channel mix from project creator Luca Lozano.

As a touring DJ and hardworking record collector, Lozano is always on the lookout for obscure and forgotten music. The tracks on this mix have been found under tables in Auckland, hidden in boxes in Milan and under dusty tarpaulins in Somerset. Some were known in their time, and some are enjoying a renaissance of sorts, all are held dear to the DJ and occupy special places within the ever-expanding record collection of Luca Lozano.

Read what Luca Lozano has to say about the Klasse Wrecks label philosophy, early musical enlightenment, his view on the value of music today, and the story behind the DEEJAY SERVICE collection.

Q. Hey Lucas, you run a few labels like your main outlet Klasse Wrecks, as well as subdivisions Planetluke.com or Grafiti Tapes. You also produce music, DJ, and you work as a graphic designer. How did you end up doing all these creative enterprises? 

A. Hard to say! It’s something I’ve been doing for years now, it’s almost as natural as walking or breathing. Looking back, I can see that I could’ve easily taken another route when things got tough over the years, I’m hardheaded and have just pushed on through and I think there’s something to be said for just sticking with something regardless. The various labels are an outlet for my ideas and creativity, a vessel of sorts. I’m in love with music and art and running the labels allows me to marry the two together and realize my wants and wishes.

Q. What is the philosophy behind your main label KLASSEWRECKS?

A. I don’t think there is one really, we never set out with a clear intention but I think over the years it’s become clear that we generally don’t pay any attention to what others are doing. Or at least we try not to, it’s impossible to be inspired and live a completely cut-off life with social media all around but I think what makes our output interesting is we have little regard for what is current, cool and commercial.

The label, our music and releasing it with others is usually inspired by personal jokes, chit chat and silly WhatsApp group messages. We’ve always had fun with what we do, we take it seriously but do not take OURSELVES seriously…. music is there to be enjoyed, and I try not to overthink it.

Q. Can you tell us a bit about some future releases on KLASSE WRECKS?

A. Nope, maybe that’s one philosophy we have….keep it a surprise!

Q. Since 2009 you released alone or in collaborations, several LPs and EPs. How do you get inspired for each new musical adventure? 

A. I listen to a lot of different music, mainly old stuff that’s been and gone. I cherish weird finds and music that I’ve listened to for years. Working with a select few others is great fun and I enjoy the back and forth of working with friends.

Q. Any new productions in the pipeline?

A. Always! (See above)

Q. What is it about electronic and dance music that still appeals to you to this day?

A. I’m not 100% sure, to be honest. One of my earliest memories is sitting down listening to my uncle's record collection. One album he had was ‘Radioactivity’ by Kraftwerk, I think I was around nine and the sounds were so incredible. I don’t think I really knew what I was listening to but I’m sure it stayed with me and inspired my early musical choices. I also enjoy the democratization of electronic instruments and synthesizers, the machines do a lot of the work so it’s possible to make something nice sounding even if you don’t have a good knowledge of music theory. I still can’t tell you what chord is what and what key is where, I’m very ignorant when it comes to being musically trained but I do have a very good ear for what sounds right…. electronic music fits with that way of working.

Q. The relationship between music and other forms of art - painting, video art and graphic design - has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relates to other senses than hearing alone?

A. I get asked this question a lot and I’m not sure how to answer it…. In one way yes, music conjures up imagery and a sense of nostalgia for me. I can link certain tracks to certain awful fashion choices for instance and certain records make me imagine ’style’ in a different way. On the other hand, music is its own universe and if I hadn’t been influenced by 1000s of record sleeves maybe I wouldn’t match the two together. Social media has laser-focused the relationship between music and attention-grabbing artwork, some are amazing, and some are not so good.

Q. Can you tell us the story behind the Deejay Service collection? And how did you produce the idea?

A. The designs are based on Call Girl cards of the early 90s. There’s a rare book that was released by the record label Irdial that archives these designs, I was taken aback at how great they were when I bought the book from Hard Wax in Berlin and immediately decided to make a business card of my own. After looking at them more I saw a lot of parallels between these sex workers and DJs, lots of fetishization, lots of working late at night…specialist equipment etc. I’ve always had a love/hate relationship with DJ culture, I love DJing and think I’m a great DJ, and always will do, but recently I’m not so proud to call myself a DJ. The scene has changed a lot recently and I guess this project is my way of dealing with those changes, aping the desperation and prescribed routes DJs take to make it to the top. It's less and less about the act of DJing and more about the appearance and convincing people you’re doing a GREAT job.

I also enjoy the ’service’ side of being a DJ, you are there to do a job. You are there to use whatever crappy mixer is put in front of you and use the records you have with you to make people enjoy themselves. We’re essentially providing a service and sometimes that side of things gets forgotten as the ego side of things takes over. To reduce the biggest celebrity DJ down to a simple working human being is humbling and important, lest we lose sight of why we started DJing in the first place.

Q. What is your view on the value of music today? In what way does the abundance of music change our perception of it?

A. I come from an age when you could buy a new 12” from HMV for £1.99, I also lived through the Napster/Soulseek age where music lost all monetary value. Now we’re in an age where you can spend 30 Euros on a 12” or find it for free on a blog somewhere. It leads me to a conclusion that music is outside of commerce, outside of money. Each person will decide what they are willing to pay for something they want, I personally wouldn’t spend more than £15 on a record and I still download music for free…. that doesn’t detract from the fact music is amazing and important.

The abundance of music doesn’t affect my perception of the value, but it does cloud my inspiration and creativity. I try to stay away from new music in general, there’s too much to stay up to date with and I find it overwhelming… its easier and safer for me to stay in my comfort zone of old records that most people generally don’t care about.

Q. As a DJ how do you stay up to date with all the new releases for your sets? Do you still make selections before you play?

A. I roughly make a collection of stuff to make sure I’m taking advantage of the new finds of the week but too often I resort to the old favourites…It’s a weakness of mine and I’m trying to change it. I do miss the simplicity of just having a box of records to work with, USB life means too much choice!

Q. Can you tell us the story behind the Deejay Service collection? And how did you produce the idea?

A. The designs are based on Call Girl cards of the early 90s. There’s a rare book that was released by the record label Irdial that archives these designs, I was taken aback at how great they were when I bought the book from Hard Wax in Berlin and immediately decided to make a business card of my own. After looking at them more I saw a lot of parallels between these sex workers and DJs, lots of fetishization, lots of working late at night…specialist equipment etc. I’ve always had a love/hate relationship with DJ culture, I love DJing and think I’m a great DJ, and always will do, but recently I’m not so proud to call myself a DJ. The scene has changed a lot recently and I guess this project is my way of dealing with those changes, aping the desperation and prescribed routes DJs take to make it to the top. It's less and less about the act of DJing and more about the appearance and convincing people you’re doing a GREAT job.

I also enjoy the ’service’ side of being a DJ, you are there to do a job. You are there to use whatever crappy mixer is put in front of you and use the records you have with you to make people enjoy themselves. We’re essentially providing a service and sometimes that side of things gets forgotten as the ego side of things takes over. To reduce the biggest celebrity DJ down to a simple working human being is humbling and important, lest we lose sight of why we started DJing in the first place.

Q. What is your view on the value of music today? In what way does the abundance of music change our perception of it?

A. I come from an age when you could buy a new 12” from HMV for £1.99, I also lived through the Napster/Soulseek age where music lost all monetary value. Now we’re in an age where you can spend 30 Euros on a 12” or find it for free on a blog somewhere. It leads me to a conclusion that music is outside of commerce, outside of money. Each person will decide what they are willing to pay for something they want, I personally wouldn’t spend more than £15 on a record and I still download music for free…. that doesn’t detract from the fact music is amazing and important.

The abundance of music doesn’t affect my perception of the value, but it does cloud my inspiration and creativity. I try to stay away from new music in general, there’s too much to stay up to date with and I find it overwhelming… its easier and safer for me to stay in my comfort zone of old records that most people generally don’t care about.

Q. As a DJ how do you stay up to date with all the new releases for your sets? Do you still make selections before you play?

A. I roughly make a collection of stuff to make sure I’m taking advantage of the new finds of the week but too often I resort to the old favourites…It’s a weakness of mine and I’m trying to change it. I do miss the simplicity of just having a box of records to work with, USB life means too much choice!

Q. What are you listening to these days?

A. A lot of old dance music as usual…recently been digging heavily into early 2000s Electro House, it’s a genre I grew up with and it is lovely to return to it and play some of the old stuff in my sets. I feel like people are ready for a change, we’ve had dreamy/prog/breakbeat/trance for a while now and I’m missing a bit of urgency and fun in music. I think we as human beings could do with a bit of shameless fun. I mainly listen to rap when I’m travelling or driving, I’m a big fan of people like Young Thug and the other new trap guys. The production is always amazing and I’m so happy Rap has broken out of the looping-old-breakbeats prison, I also listen to a lot of Trap Dancehall stuff…people like Bayka, Trvpp and Skeng are awesome.

Q. What are three albums that you'll never get tired of listening to?

A. Good question!

DJ Shadow - Endtroducing

Fugazi - Red Medicine

Yellowman - Mister Yellowman

Q. If you could spend a night partying with any of your icons, who would it be?

A. I’d be at home, cozy with my wife and dog…ready for an early night :-)

TRACKLIST
Nocera - Summertime (Soft Dub)
Farida International - Security (Bitakhon)
Love Corporation - Palatial
Miro - Emotions of Paradise
Organs, Musical Clocks + Boxes - Still (Two Guys with a Purpose Mix)
Blue Note - Jazz
Elevation 4th - Walking (Pagany Sound Mix)
Deja Vu - Why Why Why (Deja Dub)
John Moore - Meltdown (Son of Sam Mix)
Reflex 20 - Acid Groove
Baby Fox - Rain (Interference Dub)
Hysterix - Talk To Me (Sasha’s Full Music Master)
Jam + Spoon - How Stella Got Her Groove Back (Nalin + Kane Mix)
Transformer 2 - Pacific Symphony (DJ Ricci Remix)
Dread Flimstone + The Modern Tone Age Family - From The Ghetto (Dreadzone Mix)
Mia Cara - Casa Beat

FInally, a massive thank you to everyone who made the pilgrimage to 33|45 in Barcelona last week to witness Deejay Service first hand and to everyone involved in the whole process, from start to finish...

The exhibition at 33|45 will remain in place until July, so if you're planning a trip to the capital of Catalonia, please stop by and take a look.

Credits:
Digital Photography: Alba Ruperez
Show Production: Alex Newton
Model/Narrator: Chica Acosta
Videography: Landry Avalon
Concept/Design: Luca Lozano
Producer: Mark Dix
DJ/Model/Narrator/Analog Photography: Nehuen McAllister
DJ: Oh Florence!
Publicist: Vicki Budassi