Dutch Gold

Delsin is a label synonymous with quality. ISM got head honcho Marsel van der Wielen to have a quick chat about a label that is now an institution. Dutch Gold, baby.

You started Delsin Records over a decade ago when the internet was not as prevalent and vinyl distributors were still going strong, how has the dramatic change in the landscape of the ‘scene’ affected the label’s ethos?

“Sounds strange, but almost none at all.
There have been changes in music policy putting out through Delsin,
but those were hardly driven by those changes in the music business.
The music business has always kinda been insecure business,
with labels and distributors going out of business often.
Forms change, but the music itself doesn’t. ”

I’m guessing that this isn’t your day job, how difficult is it to balance the two – a career and running/recording for a record label?

“I work independent on several internet projects,
which is a pretty ideal combination.”

How do you maintain your enthusiasm for the music after such a long period of time?

“They call it passion, so probably it’s in my genes. But no idea,
maintenance ain’t needed. The music keeps moving, I keep moving,
it goes automatically. 🙂 ”

Do you ever feel like calling it a day? Could you see yourself steering the Delsin ship into even murkier waters ten years from now?

“At the end of 2004 I was almost at that point.
But I had a too strong feeling, this wasn’t yet the end.
I took kinda half year off, and returned with new ideas
and concepts, and since then things all go ok.
It would be great, great fun, still doing music in 2050.”

Labels like Clone, Eevolute, 100% Pure, artists like Stefan Robbers, Orlando Voorn, Sterac – Holland is well-known for its techno history. How influential were they in Delsin‘s evolution? Where do you think Delsin fits into the pantheon of Dutch techno heroes?

“I think those were influential, as they showed me in my younger years,
it is a very DIY-business. And if they could do it, why couldn’t I.”

The label has been described as the ‘flagbearer’ for Detroit techno’s ‘heritage’, does that tag sit comfortably with you? What would you say to anyone accusing you of just releasing Detroit ‘knock-offs’?

“It’s pretty obvious Detroit Techno is a big love, and the thing is,
Detroit Techno is one of electronic music genres which have the
best ingredients. So for me it’s kinda hard to release music without
a touch of Detroit, which is my words is a touch of soul and funk.
As Dan Sicko’s liner notes on Planet Delsin describe it fine,
the aim with Delsin has always been to move on.”

You are often referenced as a detroit techno label, yet only two Detroit artists, Keith Tucker (Optic Nerve) and Strand have recorded for the label, the rest of the roster is European, why is that?

“Ha, no idea. Since the beginning Delsin has been a very international
label. It’s music which counts. Not the city of country where
people are from, actually Delsin has benefit from the Internet from the beginning.
Apart from two from Detroit, there ain’t that much Dutch
either. Music has been from Germany, UK, USA, Swiss,
France, Isreal, Sweden – I don’t care about those borders,
but in the end it would be fun to have released music from
every country in the world…. :-D. ”

Any plans for further Detroit hook-ups in the future – I can easily envisage a Patrice Scott release or a Carl Craig remix on Delsin. Any chance that this will happen?

“Yeah, why not. Sounds as a good idea, but the Detroit thing ain’t a goal on itself.”

A proven track record does not seem necessary as you have taken a chance on many new artists, Redshape, D5, Quince, Chymera . . . . . but more established producers also get a look in, like Sterac, Vince Watson and Djinxx, whose work could be considered more accesible to a bigger market. Do commercial concerns dictate who you sign for the label, or is it just based on the music you love?

“Both. By doing the Planet Delsin tour in 2005, I found a new challenge.
Before I always had the easy thinking that the gap between Delsin and
the dancefloor would be too big. But with nowadays people, it ain’t,
and it’s anice challenge to see if some things can be archieved in that area.
With releasing ‘more known’ artists as i.e. Sterac or Rolando,
I hope the whole label and thus all other artists, also reaches a bigger
audience. But the music itself won’t be adapted or changed.”

The softer, more introspective music that the label was known for in its early days, has that avenue been fully explored, is the demand just not there – or is it that you are not getting the right kind of music from the right kind of artists?

“A combination of both, it also partly reflects my own envolvement.
In the beginning Delsin was a very intuitive, maybe more artistic thing.
But after almost 50 releases, it was time to have Delsin being on it’s own,
That’s also the reason why it’s more focussed on house and techno,
and more dancefloor. It has a fundemental different function now.”

Early releases on Delsin, including those by yourself, were a lot more diversified. One 12 inch would have four tracks of varying styles – each one completely different. But over the last few years the label has become more dancefloor orientated, is your sublabel Ann Aimee meant to fill the gap for the more esoteric side of Delsin?

“Yes, that’s totally correct. Actually it’s a second shift for Ann Aimee.
First was with the CiM, Alex Cortex, releases – moving all more
electronica styled things on its own label. And now I indeed restarted the
Ann Aimee label, as I kinda miss the old Delsin, apart from that
I love the new Delsin, big time.”

When Defocus was in existence, I used to think of that label in the same sphere as Delsin, delivering warm electronic music. Which labels, in Europe, do you see as brothers-in-arms?

“Ah a lot luckily! Styrax, Innervisions, Present, Ostgut Ton, Mojuba/Artless,
Scion Versions, Deeply Rooted House, Frantic Flowers, too name a few.
And also hardcore institutions like Rush Hour, Hardwax, Clone, and so on.”