“Dance music doesn’t care where you live. It doesn’t care who your friends are. It doesn’t care how much money you make. It doesn’t care if you’re 74 or if you are 24 because… 74 is the new 24!”. A slogan serving as the introduction to ’74 Is The New 24′, the first off shot from Giorgio‘s awaited forthcoming album. Announced yesterday, the latter is due to hit the streets next Spring, featuring a cohort of Pop stars such as Kylie Minogue, Britney Spears and others.
Nothing though predestined Moroder to return after such a long hiatus, away from recording activities after the release of his ‘Innovisions’ album which failed to reach the charts back in 1985. His memorable collab with French pair Daft Punk on their 2013 released ‘Random Access Memories’ album would get him back to the attention of the crowd, and under the spotlight as a remixer. Be it for Donna Summer with a revamp of the classic ‘Love To Love You Baby’, Lady Gaga and Tony Bennett (‘I Can’t Give You Anything But Love’) or Coldplay (‘Midnight’). And eventually as a DJ, as notoriously remembered for his set alongside François K at NYC Output’s Deep Space last May.
Alongside the album announcement came the new video for ’74 Is The New 24′, which premiered exclusively on The Creators Project last Monday. “We wanted to achieve that Giorgio Moroder ‘retro-future’ feel”, explained director Jai Lewis who is also collaborating with Moroder on a 2015 DJ tour. “His attention to detail is especially sharp and the sheer amount of time dedicated to this production will surely reflect this. I don’t know how this man has the energy to tour, work on an new album, be a family man, and last of all, musical pioneer.”
“I think it’s a good thing”, said Giorgio about the revolution in digital workstations in an interview on The Creators Project website. “There’s so many more people with, hopefully, more talent, who can make a great song with one mic, one laptop. The Moog required a lot of tuning, it would go out of tune quite often, so a lot of time was spent stopping, tuning, starting again. And then we had to hire a studio, hire musicians, but of course, all the technology doesn’t really mean anything without talent.”
“It was all improvisation, experimentation”, he then explained about the way he worked back in the day. “With a song like ‘I Feel Love’, I started with a bass line, you know, C, G, D, C, A, etc. and then we added sounds on top of that, the snare, kick, hi-hat, and then, it was in the mix, the delay was what changed the sound and so the bass went from ‘da da da da’ to (faster) ‘da da da da da da’ (laughs) and that was a big change.”
“I’m not much of a singer”, he continued, leading us back to an interview we had back in 2002. “So I think a singer is terrifically important… On 60-70% of Electronic Dance Music, it’s a female voice, and so having a great singer, and great musicians, those are essential…”
Cover pic: Giorgio Moroder at Pitchfork Music Festival 2014