RS: To get this sound, what gear do you use?
SF: My ears most importantly. We live in an age where many ways lead to Rome when it comes to making a cool sounding record. I use my Titanium laptop with protools, and some outboard gear that I've become attached to over the years.
RS: How did Danny Tenaglia find your early track "Watersong"? What was your reaction when you heard he was going to use it on his mixed CD?
SF: I gave him a copy one night when he still did Twilo. Of course I was very honored that he put that song on there.
RS: Did this lead to more interest in your production?
SF: Certainly, although I didn't want to release too much because I was still developing my basic production skills.
RS: Speaking of big name DJs, what was Roger Sanchez's first reaction to "Learning to Fly"?
SF: He called me the morning after I gave him the CD. I guess he liked it. :-) We met the same day and talked about him signing me to his label, which later actually happened.
RS: How did the Kylie project happen?
SF: Roger Sanchez did a remix for her previous single "In Your Eyes" and he recommended me. (thanks Rog!)
RS: What inspired you to add your own vocals?
SF: I wanted the track to start out dark, and everytime her vocals came in it didn't work with the music. I figured if I started out with the same lyrics but in a dark voice, it might create a bridge between the two moods that the track has. I tried it and it worked. But not to worry, this will not become a Scumfrog trademark.
RS: Do you think that having a bunch of hype about a particular mix either hurts or helps it in regard to sales .. ie Kylie?
SF: I have no idea, if I knew I'd be running my own label right now.
RS: Have you heard from any of the artists you have remixed? What has been their response?
SF: I never had a bad response from an artist. I guess if they don't like it they just don't share that with you. I would actually like to hear some negative feedback just to make things more interesting. Most of the time artists don't even hear the remixes unless they are really involved in choosing remixers. George Michael wrote me a thank you, I haven't heard Kylie's response to my beastly influence in her club career. You think she cares?
RS: Once you finish a remix - do you have any control over the way its presented or marketed?
SF: The more in demand you are, the more demands you can make. I try to be careful with ridiculous demands whilst hammering on the few things in a contract that are really important to me. Like the right to have a 90 second sample of my remixes on my own website. If I sense that the marketing of a project is bound to go wrong, I rather not take the job.
RS: How has your remix work affected your DJ bookings?
SF: Booking agencies here and in Europe slowly start to wake up to the notion that The Scumfrog is actually not only a producer, but also a decent DJ.
RS:Do you see yourself as a DJ, producer, artist, remixer - or a combination of all? Why?
SF: I see myself as an artist. That is probably my biggest flaw.
RS: You are credited as an artist on "Loving the Alien" - what was the inspiration for housing up the classic David Bowie track?
SF: I always wanted to do it. In the weeks after September 11 the entire music/nightlife industry was on hold. I figured I could either sit at home and be depressed, or do something that I never had time for. It was a great experience to do that track. I was in a very nice place when the song first came out back in 1984, so doing this remix brought me back there.
RS: Coining a phrase from the 84 - let's jump back to the future - Where do you think dance music is going in terms of beats--vocal trance, progressive house, disco filter?
SF: Even if I thought I knew, I would not dare to make such a prediction.
