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New Remix for the Brand New Heavies

July 23, 2024

Exciting News: New Remixes for The Brand New Heavies

I am thrilled to announce that I have just completed new remixes for the legendary band, The Brand New Heavies! This exhilarating project will be part of a highly anticipated album reissue, which London Records will release later this year.

About The Brand New Heavies

The Brand New Heavies pioneered the acid jazz movement, seamlessly blending funk, jazz, and soul into their unique sound. With a storied history and numerous chart-topping hits, they have left an indelible mark on the music scene.

The Remix Project

I poured my heart and soul into these remixes. My goal was to honor the original essence of their music while infusing it with fresh, contemporary elements. Therefore, I believe these tracks will resonate with both longtime fans and new listeners alike. Furthermore, each remix highlights the band’s signature style while adding a new dimension to their classic sound.

Album Reissue Details

This album reissue demonstrates the enduring appeal of The Brand New Heavies. I meticulously crafted each remix to bring out the best in their music, making it fresh and exciting for a new generation of listeners. Consequently, you can look forward to the official release announcement from London Records soon. Stay tuned for further details!

Release Date

We are thrilled to announce that the release date is set for September 27th! Pre-orders are now available, and the music label is offering signed copies by band members Simon Bartholomew and Andrew Levy for all formats, exclusively on the Brand New Heavies store. Plus, there’s an opportunity to win access to their Royal Albert Hall show!

Look out for further announcements and details about the release. I can’t wait for you to experience these remixes and the magic of The Brand New Heavies in a whole new way. Additionally, keep an eye on this space for more news, as we will be sharing updates and exclusive previews.

Thank you for your continued support and enthusiasm. Get ready to groove to the reimagined sounds of The Brand New Heavies. This is a musical journey you won’t want to miss!

Acknowledgements

I am incredibly grateful to London Records for their trust in this project. I also want to thank The Brand New Heavies for validating my remixes and allowing me to reinterpret their iconic sound. Special thanks to my manager, Tom Parker, and my partner in crime, Martin Cernocky, for delivering fantastic guitar parts and supporting my vision so efficiently.

Interview on Roselaurens.fr

June 11, 2024

Interview Spotlight: Reworking ‘Danse Moi’ for Rose Laurens

I am excited to share that I recently had the honor of being interviewed by the official website of Rose Laurens. The focus of the interview was my rework of her iconic track, ‘Danse Moi,’ which has been very well received by fans.

Revisiting ‘Danse Moi’ was a deeply fulfilling experience. Rose Laurens left an indelible mark on the music world with her unique voice and powerful performances, and reimagining her work was both a challenge and a privilege. The goal was to pay homage to the original while introducing a fresh perspective that would resonate with contemporary audiences.

During the interview, I had the opportunity to delve into the creative process behind the rework, sharing insights on how I approached this beloved song. We discussed everything from the initial inspiration to the intricate details that went into modernizing the sound while preserving its timeless essence.

The response from fans has been overwhelmingly positive. It’s incredibly rewarding to see how much they appreciate this new take on a classic. Their support and enthusiasm have been a driving force throughout this project, and I am grateful for the love and feedback.

For those interested in learning more about the rework and my creative journey, I highly recommend reading the full interview. It offers an in-depth look at the process and the passion that went into this project. You can find the interview on Rose Laurens’ official website.

Thank you to everyone who has supported this rework of ‘Danse Moi.’ Your positive reception means the world to me, and I am excited to continue creating music that honors the legacy of artists like Rose Laurens while bringing something new to the table.

Stay tuned for more updates, and don’t forget to check out the full interview for a deeper dive into the making of this project.

Jukebox Judgement | NEWDAWN.FM

April 4, 2024

Exciting Announcement : Joining the Jury of Dawn Parry’s ‘Jukebox Judgment’ on NEWDAWN.FM

 

I am delighted to announce that as of April 4th, 2024, I have joined the jury of Dawn Parry‘s popular show, ‘Jukebox Judgment,’ airing on NEWDAWN.FM. This has been an incredible opportunity to collaborate with some of the music industry’s top producers and share our expertise with emerging talents.

‘Jukebox Judgment‘ is a unique platform where we get to evaluate and support up-and-coming bands and artists. I am honored to sit alongside recurrent hosts and legendary producers such as Steve Lillywhite (U2), Barry Upton (Brotherhood of Man), as well as rotating top-notch producers like Craig Leon, Harry Kakoulli, Mike Bennett, Danny Gillespie, and Steve James.

Each brings a wealth of experience and a distinct perspective, making our panel diverse and insightful.

One of the highlights of the show is the monthly special in cooperation with the Axean Festival, where we feature a series of Country Specials. Over the past few months, we have had the privilege of auditioning fantastic bands and artists from Indochina, the Philippines, Vietnam, and Cambodia. The talent and passion these artists bring to the table have been truly inspiring, and it’s been a joy to help them refine their craft and reach new audiences.

‘Jukebox Judgment‘ airs weekly at 7 am UK time, and each episode is packed with exciting performances, expert feedback, and valuable insights for both the artists and the audience. Being part of this show has been a thrilling experience, and I am eager to continue discovering and nurturing new talent.

I invite all music lovers and aspiring artists to tune in and join us on this musical journey. Your support and enthusiasm mean a lot to us and to the artists who pour their hearts into their performances.

Unforgettable Encounters With Tina Turner

June 12, 2023

UNFORGETTABLE ENCOUNTERS WITH TINA TURNER: LESSONS IN RESILIENCE, DREAMS, AND DETERMINATION

Just before I stepped away from my role as an analyst programmer, I felt an urge to understand what the music industry was about. In the process, and quite unexpectedly, I found myself on « Sacrée Soirée », the biggest TV show in France at the time, the producers of the show had granted me unrestricted access, noticing my respect for the artists. My approach was different—I never sought autographs or pictures like a typical fan might. They appreciated this distinction and placed their trust in me, an experience I will forever be grateful for.

DISCOVERING THE MUSIC INDUSTRY AND SACRÉE SOIRÉE

The artists rehearsed on Tuesdays and the live show aired on Wednesdays. The set-up was long and tedious, and it was during these periods that I began spending time with Tina Turner.

There were times when I had to laugh at myself, caught in the surreal realization, “Wow, you’re having a conversation with Tina Turner!” It was an extraordinary sensation.

SPENDING TIME WITH TINA TURNER: A LESSON IN POSITIVITY

Tina was full of energy, almost like she was glowing. She shared some really good advice that I’ll never forget. It felt like a quick lesson about staying positive and growing as a person. I told her that I was unsure about leaving my job to try something different, and what she said reminded me a lot of what my mom told me. Tina said, “If you want to do it, do it. It ain’t going to be easy, but if it’s in your heart, it’ll haunt you if you don’t. Be serious, fight for it, and do things right…”

Her kindness was truly touching. Tina didn’t have to pay me any attention, i was nobody, yet she did.She chose to share her wisdom with me. It was a testament to her ability to distinguish between her personal self and her public persona, a concept that many often overlook. As a result, people out there can become so fixated on an artist’s image that they tend to forget there’s a real person behind the fame.

TINA TURNER: THE TRANSFORMATION FROM SUPERSTAR TO HUMAN

What amazed me the most was her transformation when showtime came, it was breathtaking. In a heartbeat, she became TINA, the superstar, the icon. And yet, when the lights dimmed and the applause faded, she could switch to the same woman I had spoken to minutes ago, seamlessly and effortlessly. Genuine, warm, and human.Her energy and charisma were captivating. I recall those moments as if they happened just yesterday.

One of my most cherished memories is a silent moment just before she was about to go on stage. she was about to be announced on stage. The room was dimly lit, almost dark, yet it felt like she radiated a natural halo of light. At that naive moment, I believed that this was what set stars apart from the rest. Her powerful words and that instant are still stuck in my mind. Every time I think about her, that’s exactly the picture that pops back into my head.

Tina became more than just a celebrity in my eyes; she was a guide, a symbol of unwavering strength and determination. Every story, every anecdote, was a lesson in resilience, tenacity, and the audacity to follow one’s dreams despite the odds.

LESSONS LEARNED AND STEPPING INTO THE UNKNOWN

Those encounters with Tina Turner, the wisdom she imparted, and the surreal experience of it all have left an indelible mark on my life. The lessons I learned have encouraged me to step into the unknown with courage and determination.

Looking back, leaving my job as an analyst programmer seemed like a leap into uncertainty. But this leap led me on an unforgettable journey, filled with learning, growth, and unforgettable moments. It was a stark reminder that sometimes, life’s greatest adventures lie just beyond the comfort zone.

THANK YOU TINA…

 

 

PWL Days

July 10, 2017

First Production at PWL London

I remember that back then, I was in charge of looking out for new talents for the French Market because PWL had a deal with Polydor to release French singing Artists with the successful PWL sound. After sending a couple of demos to Pete, he decided to go on a girl called “Nath” with the track “coeur cassé” (Broken Heart)…

Day 1

It was such an excitement to finally meet the whole team but that was before seeing the big PWL Logo… I suddenly figured out that I was REALLY getting into that building and work with the most sought-after teams of the Planet… Of course, that was a stupid idea to think of because it just helped me get f*** nervous, heh!

After a warm welcome, Pete asked me if I needed anything special for the session, but to be honest, I was just answering yes & no randomly, ah! It was some routine for them but just too much for me in such a short time.

The most stunning was the atmosphere inside the building, everything was in motion, you could see Mike Stock going to the bunker whistling some tunes, engineers discussing a track, the very cool and entertaining bodyguards, the phone ringing every 20 sec, there was also a building in front of the studio with David Howells’ office and a technical room where they were fixing some stuff in-house and make duplications… etc. and all these people would come in, to sum it: pure madness.

And then Pete introduced me to Leslie Sharma; we had a briefing on the planning.

If we felt like it, we could start to work on Friday night. Saturday morning, Mae McKenna would come to record some backing vocals. Monday morning at 5 AM, Dave Ford would come to mix the track.

Back then… Les Sharma really made the difference on my first PWL experience. He was extremely gentle and treated people with respect and obviously wanted this collaboration to be successful. I don’t know how he did it, but after a few minutes, I was myself again and almost forgot the things I’ve just been through.

On our way to the borough studio, the thing that made me smile was these multiplatinum awards standing on the floor because all the walls were full (what a pleasant problem).

Finally, the Borough studio!

One of the most enjoyable studios due to its natural daylight, so many hits were done there… and one of the reasons why I was standing there that day, started in this room.

As we had no idea on how things would turn out, we decided to get the work started immediately.

As far as I remember, Les had to do a tape transfer and needed to make a tracklist in the PWL format. But first, we had to make sure all stuff like song structures, etc. were right; then we decided which elements would be replaced to get that PWL sound.

For the Audio tracks that we decided to keep, Les had to feed things such as vocals, etc. into the Publison Infernal Machine and triggered them with a Linn 9000.

Later on, Gary Miller (another awesome guy) helped us find some sounds and sort out a couple of other things… The Building was then almost empty and the atmosphere was very chill… A lot of work was getting done in a very relaxed way.

Day 2

On the second day, we had to record Mae McKenna (her background vocals could be heard on countless hit records), she has such a beautiful voice that you’d ask her to redo some bits just to hear her sing, even though you got a killer line straight from the first take, heh! I had to coach her to make sure it sounded alright in French but she was just amazing and so fast.

On Saturday afternoon, we added a couple of overdubs and stopped the session around 7 AM to enjoy London’s Nightlife.

Wrapping Up

Sunday, we had not much to do, and for some odd reasons, we decided to split each sound and samples, we ended up with 45 tracks (living it large)… I was really laughing when Les had to announce this to Dave, who was yelling on the phone, “what? 45 tracks?” lol (when you know the mixing process at PWL as explained by Les, you understand why he freaked out, he had like 10 hours to mix 45 tracks, do a 7” and cut a 12” ah!) and Phil Harding had a mix planned right after him.

Mix Time

I think that Dave was a bit worried and arrived in the middle of the night to have an overview of the track, he felt better when he found out that we’d split the samples for convenience and that it wasn’t a busy 45 Tracks to Mix, he even found time to do some drums overdubs with the Linn in the Bunker Studio and changed some Pad Sounds using a MKS 80 or 70, can’t remember.

With the help of Les and Gary, we already had some hot sounds on tape, so the mix progressed very fast… 3–4 hours later, the mix was almost done and Dave asked me to come and check if I was happy with the result. It sounded great. So, he moved on and did a 12”.

As I didn’t want to miss a single minute of that unique moment, I slept like 5–6 hours in 3 days, hah. And naturally felt asleep in the bunker when Dave was cutting the 12”. Then he had to play the track very loud, and of course, that woke me up.

We then took a copy and played it to Pete and he loved it!! Mission accomplished.

Another week started at PWL and they were back in full action again, with people working and running everywhere.

When I was there, I felt that everyone was working hard for their money, but one thing for sure is that it was 100% passionate people that were really in it for the music; you could feel it at any instant… and that was for me, the core of their success. That’s something you can’t mimic, or buy… you have it, or you don’t.

If the place was “magical?” Hell yeah, especially at that time. I went back there a couple of times when I was in London to say hello to Les, Gary, and Pete… but every time I entered that street, it was still very special. Needless to mention about the studios…

Billboard Interview – Ruff & Jam

July 10, 2011

RUFF LOVE: With its innovative and catchy remix of Kylie Minogue’s “Love at first sight” (Capitol) riding high on the Billboard dance charts, Belgian production unit Ruff & Jam has made a big step onto the international scene.

Ruff & Jam is a duo of sound engineers and producers ( Luke Mourinet and Jean-Marie Moens ) that operates from its project studio near Namur Ruff & Jam was established 18 months ago and since then the duo has delivered remixes for such artists as Sophie Ellis Bextor, Frou Frou …

“Stephen Bass, who is our UK Rep, was given Kylie’s a cappella version of “Love’s at first sight” by Parlophone” Mourinet Explains.

“They must have liked how we worked the track because they decided to release our version as the U.S. Single.”

Ruff & Jam’s next project is the soundtrack to the Mental Pigs cartoons, which will air as a TV Series in 2003.

The remix of “Love at first sight” has become a highly sought after track in Belgium, where it is not commercially available.

Marc Maes

Edited by Nigel Williamson

 

Poppunt Magazine Interview

October 22, 2010

Ruff & Jam – Remixers with a Grammy Nomination

Ruff & Jam, also known as Jean-Marie Moens and Luke Mourinet, is a Belgian producer/remixer duo. They gained worldwide fame thanks to their Grammy nomination for the remix of Kylie Minogue’s “Love At First Sight.” After that, work started pouring in: they remixed tracks for The Killers, Robbie Williams, Bob Marley, Marianne Faithful, Sugababes, Amy Winehouse, Frou Frou, Scissor Sisters, Placebo, Mary J. Blige, Tiga, and more. Enough said?

At Play & Produce, they are giving a workshop with tips and tricks to upgrade your remix skills!

What was your first musical project?

R&J: “When we started Ruff & Jam, we locked ourselves in the studio for a month to work on an album. To add extra pressure, we had already booked a mastering day before we had even recorded a single track. So we had exactly 30 days to write, record, produce, and mix our album… It was a crazy idea, but we did it.”

How did you come to have such an extensive remix repertoire?

R&J: “We were originally songwriters and accidentally ended up in the remix scene. One day, a friend connected us with a manager in the UK. He asked us to create a remix for Sophie Ellis-Bextor’s ‘Murder On The Dancefloor.’ It was all or nothing right from the start. Our remix was accepted, and many others followed. But we truly believed in our abilities when we were nominated for a Grammy…”

How do you start on a remix?

R&J: “We approach a remix as if the artist is right there in the studio with us. We try to get to know them and see what musically suits them best. We often check more than just the submitted tracks: live shows, remixes, albums, reviews… This helps us understand the artist’s audience better. In the next stage, we work separately and then compare our ideas. We then develop the best elements from both projects together. We are musicians, not politicians: we need to feel things, not prove we are right. If an idea is good, then it is good. Period!”

 

Hitquarters Interview – Luke Mourinet

May 10, 2005

Interview with LUKE MOURINET of RUFF & JAM, producer/remixers for Kylie Minogue, The Killers, Scissor Sisters, Sugababes – May 31, 2005. “I really wanted to do music, but I didn’t have a clue about playing music, producing music, or the music business”,

… says Luke Mourinet, who didn’t play a single note before he was 20. Today, he is Jam in the successful producer/remixer duo Ruff & Jam, based in Brussels. They scored a No.1 on the Billboard Dance Chart with Kylie Minogue’s “Love At First Sight”, and have also remixed The Killers, Scissor Sisters and Sugababes (all Top 10 UK).

 

They have produced countless Top 10s in France and Belgium, including releases in their own name. You can read about their success story, the latest trends in dance music, why Belgium has become a centre for commercial dance music, and why Ruff & Jam applauds the record companies for giving fair deals.

What’s your musical background?

My parents were both musicians, my father was a great saxophone player and my mother a singer. They toured with their jazz band in Europe and the States. So there was always music and musicians around me.

I never played music as a teenager, I was into computer programming. I got my first computer when I was 14 and I sat in my room for hours, everyday, doing programming – software for school and my own games. I was so absorbed by it, I became almost anti-social. But I absolutely loved listening to music then, mainly hip hop, but also funk, like Earth Wind and Fire, Kool & The Gang, Chic.

I bought all their records. At 18, I had to do my military service, for one year. After that, I started working for a computer company doing software programming, and while I was still doing the computer work I became a DJ, at the weekends.

I had a friend who was a DJ and working in the clubs in Paris. He kept asking me to come along and play some tracks during his sets. It worked and I started to buy a wide variety of records because you had to play a wide variety at those mainstream clubs.

I discovered new styles and got more and more into it. Then I took a trip to London and went to the clubs there – I heard a completely new sound and I thought: that’s what I wanna do! The productions of Stock, Aitken & Waterman really impressed me; the Rick Astley record called “My Arms Keep Missing You”, for example.

That track had this really cool bass line, and I began to study their stuff. So back at the office, I was asking myself: I really want to do music; I haven’t got a clue about playing music, producing music, or the music business – so how can I get there?

What was the answer?

I contacted some people in the media and asked whether I could assist at the recording of TV or radio shows. Since I didn’t know them I just called in and explained that I wanted to learn about the music business, and they were friendly and gave me the opportunity.

Every week I was behind the scenes of a well-known music show on French TF1 called Sacré Soiree, and I met a lot of artists and made many other contacts.

At the same time I bought a keyboard and a drum machine and started to play around with ideas, my first songs. Then I looked for a singer and asked around among my friends. I hired a studio at a week-end price and recorded my first demos.

I had written the music and the words and done the backing track. My idea was to combine this new British sound with French lyrics. I was trying to create that Stock, Aitken & Waterman sound for a French audience.

How long did it take before you had a positive response?

Actually, not very long; 6 to 8 months. One day on the TV show they had a singer called Sonia, who was signed to Stock, Aitken & Waterman. I had her record with me, which I had gotten as an import, and I asked her to sign it and she said: How come you got this record, it’s not out in France?

I explained my situation and she said: Hey, if you want, I can put you in touch with the guy who is representing Stock, Aitken & Waterman in France, and I said: of course I want!

His name was Roland Kluger, he’s a publisher, and when I met him, he liked my idea of combining the British sound with French lyrics for the French market. As a publisher he was also interested in building a catalogue.

He said, “you should meet Pete Waterman and see what he thinks, because he wants to get into the French market”. Perfect timing! I was so excited – but at the same time I was scared, because I was such a beginner.

I flew to London and Pete asked me to start looking for talented French artists to produce.

How did you look for new talent?

I’d met other aspiring artists at the TV show; they were trying to promote themselves, so I got their tapes and listened. A few of them, 4 or 5, were very good. I suggested to Roland that we make some demos we could send to Pete. So we tried a couple of productions and then focused on a girl called Nath, concentrating on doing one song with her.

Did you write and produce it?

Yes, I wrote the music and lyrics, and I was programming the track on the equipment in my bedroom. Then Roland paid for a bigger studio where I could refine it and record Nath´s vocals. Then we went to London to the PWL (Pete Waterman Limited) studios to mix and polish the track.

That was my first big recording session, it was fantastic. There were all these producers, mixers, backing vocalists; the whole team got involved. One year ago I was carrying cables and now I was in the studio of the people I admired most, doing a production! Crazy and scary, but a great experience.

What happened with Nath?

We produced the track and PWL wanted to release it, but at Polydor, the label in charge of PWL, lots of people got fired and the new people weren’t really interested in the project, so it kind of ended before it started, but for me it was still a great experience.

Did you have a contract? And how did you get paid?

At first everything was just based on trust; I didn’t get paid but all my expenses were covered, like flying to London. Later, when more and more was happening, Roland Kluger and I made a contract.

But you still quit your job?

Yes, the music business seemed so much more exciting than what I was doing. I was still living with my parents and making money as a DJ at the week-ends. I was so happy I was finally doing music that I was more than willing to make financial sacrifices. And I was always ready to do things for free because I still had so much to learn in the music business.

When did you start making money with the music?

With my first remix, for a singer called Indra who was very popular in France at the time. Roland Kluger had started to put me in touch with lots of people, and I started networking in the music business in Paris.

I met Jean-Patrick Lalouche, who was a producer and remixer. We got together in the studio and started producing dance tracks. He already had a name, and when he was asked to do the club remix for Indra, he asked me whether I wanted to work on it with him. Other remix jobs followed, and from then on we got more and more work.

What is the process of making a remix like?

When we get asked – usually by a record company – to do a remix, we listen to the track and check out the artist to see if we like it. Then we start to get ideas about how our remix should sound, because it really depends on the track and the artist, and what suits them best.

A remix is usually done to promote a single in the clubs, and to expose the artist to a wider audience. So the sound has to be suitable for clubs, which is different from what the radio needs.

The record company sends us all the tracks of the single, vocals, bass, keyboards etc. We load it into our system and then we listen to every element to see what we should keep and where we should find something else. Maybe we have to rearrange the song so it works better in the clubs, such as adjusting the speed. Most club tracks are around 130 bpm (beats per minute).

We don’t really like to go faster because then it sounds too much like boom boom music. Often we just take the vocals and build everything else from scratch.

Having been a DJ has been a great background to become a remixer. It plays a crucial role in understanding how dance music works, and how to get the structure of a track right.

I always take my remixes straight to the club – you’ve finished your production, you’re really excited about it, and you want see if it’s working, how people react to it, and how the mix sounds. Most of the time I go back to the studio and make some changes, or fix something in the mix.

Why did you move from Paris to Belgium?

Roland Kluger´s publishing company – RKA – was based in Belgium and he asked me to go there to meet with some labels. When I saw Brussels, I simply fell in love with it. This was the early 90’s.

My main sources of income were still DJ-ing and doing remixes, I would go back to Paris to work with Jean-Patrique, and the rest of my time I spent doing tracks with new Belgian artists, trying them out in the clubs and developing my writing and producing skills.

How did you team up with Ruff?

I met Jean Marie Moens (Ruff) in 1993. It’s a weird story. I was stopped on a street in Brussels by a strange girl. She said, “I have to tell you something important. Someone will ask you to do something unusual, and you will have to say ‘yes’”.

I didn’t know what to make of it, but sure enough, the next evening in a club, some guy walked up to me and asked me if I wanted to be a model in his fashion show. I remembered the girl and agreed, and at the fashion show I met Jean Marie, who was also there as a model, and we started talking about music.

I invited him to the studio and we started writing some songs together. He was a singer in a rock band, wrote songs and had lots of ideas. We had very different backgrounds – me hip hop, funk, and, at the time, mainly dance, and Jean Marie mainly rock. And that made an interesting combination. So we were just trying different ideas…

Your first big success was with a band called Bla Bla Posse. How did you become successful?

The mother of one of the band members in Bla Bla Posse approached me with a tape. She worked at a big café called Falstaff, where I would always have my lunch. Jean Marie and I listened and we loved it; it was crazy, a mix of hip hop and pop.

They were kids, the youngest of them 13! In November 1993 they came to our studio and recorded a demo, which became the first single, and took some pictures. In December 1993 we signed with Sony France.

Why Sony France?

I knew one guy at Sony from when I was living in France, so I had sent him the material and they got really excited. From then everything moved very fast. They released the single in France, there was TV, radio, press, and we went to Midem in Cannes.

While all this was happening, we co-wrote the material for the album with the band – we did the music and they did the lyrics in French. It was a big success and the first accomplishment of the collaboration between Jean Marie and me.

Other French and Belgian acts followed, BBP, Whizz kids, Fairplay and K2. That’s how we started to actually make money, because the record company paid us for the production and we also got some publishing money. So we formed a company to have a proper structure. We then mainly concentrated on finding new acts, producing, and writing.

When did you get back into remixing?

That was in 2001. We thought we were ready to move to the next level, doing more international stuff. Stephen Bass had started to represent us in the UK and he was looking to find us some interesting remix jobs – and he came back with the offer to remix Kylie Minogue for Parlophone! The song was called “Love At First Sight”.

We did several approaches: one for radio, one for the clubs – and for the club one we found a really cool twist to the song. They were very happy with what we’d done and they did the vinyl for the clubs. One month later we got a call, saying that they chose our remix for release in America. We were shouting out loud!

We had to adjust the track a bit to match the video. Then it went to number 1 on the Billboard Dance Charts and in February 2003 Kylie got a Grammy nomination for it.

Recently we did a remix for The Killers. That was real challenge, and an exciting project to remix because they’re a rock band. And now they are using it on vinyl as the only remix that is available for the song, “Smile Like You Mean It”.

How do you get paid for a remix?

It depends on how the track gets used. Most of the time it’s a flat fee, if it’s for the clubs. If it’s also for radio or for use on the video, etc., then we go for a percentage of sales as well. Also, when we do a remix and it’s almost a new production, then we have to discuss how we get a cut. But usually the record companies are very fair when it comes to that. Parlophone for example gave us a fair deal.

The pay varies, but as a ball-park figure I would say 5000 Euros (6000 USD) per remix.

Do you do the business dealings yourself or is someone doing it for you?

We’ve had a management company now for three years – Badass Management. In the beginning we did it ourselves, but now we want to concentrate on the music and let somebody else do the business. And also help us to make the right decision when it comes to deals.

What does your studio contain?

We work on PC with Nuendo, software by Steinberg; it’s like a Protools for PC. You really have to find the software that works best for you. We don’t use laptops; we work on very powerful stand-alone stations. For a while we were buying more and more gear and now it has gone the opposite way – everything is on the main computer; instead of hardware we use plug-ins.

We wanted to create a solution that enables us to work in different places. So all we have to do is take the computer and we have everything we need. No more hardware, no more cabling. The system now is really fast and stable.

We are both computer freaks, and my experience in computers has really helped me. We buy our stuff here in Brussels and we also have some deals with distributors, and partnerships with companies, like Sony Oxford Plug-ins, Steinberg, etc.

How much do you use live instruments?

As much as possible! And the internet gives us the possibility to work with artists all over the word. We can swap wave files really fast thanks to the high-speed connections.

The musician doesn’t have to come to our studio. We’ve created our own network for file-swapping, which is also useful when we do remixes – the record company can listen immediately in the best quality.

What is the most important trend in dance music right now?

You can hear a lot of different styles mixed together to make something new – rock mixed with house mixed with pop. The world of dance is changing slightly into something with more instruments and singing, and less electronics.

The audience is getting bored of just beats and sounds. And also, they want to see the artists, go to a concert; that’s why there are much more live events in dance music nowadays, whereas before nobody really cared who was behind the record.

How come Belgium is such a Mecca for dance music?

People here are cool, open to all sorts of influences and ready to share the enthusiasm of producing something. It’s a small country but with a real cultural mix – and Belgium is a dancing nation, a nation of clubbers.

What are you plans and dreams for the future?

We are now working on our own album and we really want to take our time to write, develop ideas and polish it. Jean Marie is singing some tracks and will also be doing his solo project.

A dream is maybe to have our own label and develop artists for that, for the French and the international market. So we are absolutely interested in getting demos from new artists. But you know, we are just very glad that we can live off our music and do what we are doing!

Interviewed by Monica Rydel

Plastiks Magazine Interview

July 10, 2004


What do Kylie Minogue, Sugababes and Alter Ego festival have in common ??

Ruff & Jam is a duo of Producers, Composers & Remixers (Luke Mourinet & Jean Marie Moens), they met in Brussels in the mid 90’s (Belgium), Luke started in the early 90s as a DJ Producer, Remixer, constantly moving between Paris, Brussels and PWL Studios (London). On an event in Brussels he met Jean-Marie who was writing songs and singing in bands. They decided to join their forces to start a production team; the learning curve of their work/passion went through various areas of the music production (Soundtracks, House Records & Pop Acts).

Around 2001, after some average success here and there, bored of moving to other people’s studios they felt somehow ready to move on and decided to create their own production unit, Ruff & Jam Recordings (Their Company) was born.

Some UK & American labels heard of the potential of those “unknown” Belgian Producers and in the case of Kylie Minogue, Everything went beyond all expectations, Their Remix of “Love At First Sight” became Kylie’s Official Radio & Video mix for the USA, Kylie got her first nomination ever for the Grammy Award in the Best Dance Recording Category, Remix scored #1 in Billboard Dance Charts, Kylie’s Fan base was raving about R & J’s Lounge Mix as well and it ended as an exclusive remix on her worldwide DVD Video release. Ruff & Jam made then a big step onto the international scene.

Other Artists looking for credible remixers for their forthcoming releases were pleased by the Ruff & Jam Sound, Guy Sigsworth(Madonna & Bjork Writer & Producer) & Imogen Heap aka FROU FROU gave 2 tracks to be remixed by the duo, so did Polyphonic Spree, Scissors Sisters, Sophie Ellis Bextor; …to name but a few.

The latest to date is Sugababes (Ruff & Jam’s Remix is actually Tipped in the Hottest Traxx Category in the German Charts.

Working with such an array of various & talented artists was perfect for the Duo because Art is not an exact science; they prefer challenges over Formulaic Approaches to make music.

Their influences are Yello, Moby, Quincy Jones, Fatboy Slim, Daft Punk, Brian Transeau (BT), William Orbit, U2, Eurythmics, Pet Shop Boys, Frou Frou, Massive Attack & Radiohead.

Their Music is a mix of Electronic, Pop, Urban & Dance Music. A Ruff & Jam track is often made accessible to translate a vibe to a wider audience, but behind an apparent simplicity some techniques involved to achieve those results are sometimes complex, mixing old school and new school techniques.

The duo takes nothing for granted, their new challenge is now their debut album, after some talks with their Homeland Major Companies, they decided to sign with the successful Sony/Recovered Label, it was important for the duo to be supported in their music and given a great range of freedom in their creativity.

The first opus from Ruff & Jam is an album with the self-explanatory title ‘Out of Control’, with a first single ‘Another day (Can’t Let Go)”’ to be released on Sony/Recovered Records.

The track is written by the duo and was sung by the very talented British singer Nina Babet. The single features the album version and a special ruff & Jam remix ( Frozen Mix), which features on the vinyl as well.

Another day(Can’t let go) is out on Recovered and is distributed by Sony Music. Ruff & Jam will reveal 5 tracks from their album, with a full live band including musicians & guest singers. Ruff & jam will end their performance with a 30 minute deejay set.

(Cf.Plastiks Magazine N° 68, Page 60)

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