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Being an active DJ since the early 90’s, you have seen plenty of styles come and go. How has your taste in music evolved over that time?
It has evolved in the sense that i would dig deeper into certain musical genres throughout the years. For instance when i was growing up i was exposed to bits of Italo Disco music, but mainly the hits. Years later i would delve deeper into the genre and check out more obscure releases. Same type of thing with Detroit Techno, Electro, Disco, etc. The arrival of the internet era also played a big part in this.

The Netherlands has been a haven for dance music lovers practically since its inception. How has the scene there changed over time?
In my opinion things became a bit more regulated and restricted through the years. For instance back in the 90s we could put a big soundsystem in a park and have a crowd of 1000 people come over and enjoy themselves and the cops would just let it go on. Nowadays i think we’d already be busted while setting up the speakers. Also things have gotten a little more formularic over the years, but i guess that is only logical.

You’ve been a staple in the Dutch and particularly the Rotterdam dance music scene for quite some time. In your opinion, what sets the city apart from other cities in terms of music?
The industrial nature of the city. Rotterdam was the biggest port in the world for quite some time and the city has loads of industry all around. I think this resulted in a harder sound overall, for instance the Gabber genre originated over here.

Who are some other DJ’s from the Netherlands that impress you time and time again?
Oh wow, tough question. Too many to mention, but from the top of my head: I/F, Intergalactic Gary, David Vunk, Tako, Loud-E, Pametex, Serge, Slick Chick, Billy Ray De La Hay. The list goes on and on really.

You have an extensive catalogue of music that you have released over the years, what are some of your favorite releases that you have put out?

I am quite happy with all of them, but a few highlights are:

The first ones, on Keynote and Moustache Records respectively. Because everything is so new and overwhelming with a first vinyl release, plus it was a dream come through to have my music released on wax.

The one i did with my girl at the time for Bordello A Parigi, because you get a different, nice, chemistry if you’re working together with your lover in the studio.

Also the ones on Clone and Dekmantel, because they introduced my work to a broader audience.

And definately the one i did with the Craigie Knowes guys, where all the proceeds went to help poor and traumatised children, via Warchild.

Much of your music includes a sense of raw emotion that can often be associated with analogue equipment and live-recordings. What pieces of equipment do you see as the most vital to your work?
It always changes a bit, on the one hand I still love to use the equipment that’s been with me for a long time, over 25 years, like the TR-808 and the Korg MS-10. On the other hand i can get a ton of joy and mileage out of exciting modern gear, like the Analog Rytm and the Micromonsta for instance. Also my Digisound 80 modular system has been pretty vital since the day i got it, plus it’s another dream come true (owning a big modular system like that).

You’re obviously a dedicated record collector. What are a few of your favorite record stores and what is it that you look for in a record when browsing?
Yes I am. Some of my favourite recordstores are Clone, Demon Fuzz, 2e Hans, De Plaatboef, Red Light Records. I prefer digging through unorganised sales bins where basically anything can happen, like whatever the universe has in store for you on that given day. Usually i can’t listen in these spots, so it becomes a bit like gambling. A couple of things i look for are: nice artwork, who produced it or played on it, which label, which country, year of release, does it look obscure or not, etc. There are a lot of factors at play in deciding if i will buy or not.

Once acquired a record can have different functions, the main one being if i can bang it out in the club. Another one is if it would work well for chilling and listening at home. Or i can dislike the record, but keep it if it has a dope sample or inspiring artwork, or if i can extract an edit off of it. And finally i might re-sell a record if i’m having a rough month or something.

What does Mark Du Mosch have in the pipeline over the coming months? Any secrets you can let us in on?
I’ve got a couple of releases in the pipeline that i’m pretty excited about, but cannot talk about atm. Stay tuned! :)

Finally, fill us in on the approach taken for the mix you’ve prepared for us!
Well, i had a few different stacks of records selected for this mix, but in the end i went with something that was simply very familiar to me. Because where i live there is a lot of talk lately about “the new normal” and loads of things are changing rapidly because of virus and there’s a lot of doom and gloom all around. So i wanted to go back to the nice and cozy memories from my youth. About half of the tracks in the mix are things that my family, mainly my older bro, would listen to at home when i was a child. The other half of the mix are tracks from the same era that i didn’t know before and that i’ve been digging up recently from the Euro bins i mentioned earlier. Heck, i just remembered that the first record i ever bought as an 8 year old kid is in there. You can probably recognize it because of all the surface noise haha.”

Also can I say a thank you to you guys for the interest in my work and good luck with everything!

Brody R.