Welcome David Moufang! - Gearspace.com
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Welcome David Moufang!
Old 10th February 2017
Reptil's Avatar
2 Reviews written
🎧 15 years
Thumbs up Welcome David Moufang!

We're very happy to present our newest Q&A guest - David Moufang - best known as 'Move D.'

The single thing that influenced him the most, he said in an interview, was going to the movie "2001: A Space Odyssey". He was "space crazy" as a kid, building fantasy spaceships, imagining space travel in the cockpit. So maybe not much has changed?

David grew up in a musical family. Both his grandmothers were classical concert pianists and as a kid he loved sitting underneath and hearing the sounds around him. He grew up in the city of Heidelberg, which as a US militairy base, also had a jazz club. His father was a jazz trumpetist playing there. It's no surprise then that he started playing drums and later guitar. He played the guitar in a band called "Rivers and Trains" up till the nineties.
Welcome David Moufang!-david.jpg
David was drawn to the acid house parties, where he liked the scene, but the music, which was mostly UK rave hits, didn't really appeal to him. His big "aha" moment came as a friend called D-Man took him to a club called "Milk!" in an industrial suburb of the city of Mannheim where Detroit techno was played. Welcome David Moufang!-milk-1240x710.jpg
He had started DJ-ing in a commercial club in 1988 and he disliked the door policy. The acid house parties were the opposite, instead of paying customers, everyone was allowed. The empathy struck him as something really new and good.
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He started producing electronic music with his partner Jonas Grossmann as "Deep Space Network" which resulted in the successful ambient albums "Earth to Infinity" (1992) and "Big Rooms" (1993) which were varied and often took new roads.

Later that year the Source Records compilation "Homeworks" (1993) was released. Here David showed his particular style, jazzy techno in a laid back atmosphere, with slow rhythms, without tension. On that album he collaborated with his buddy D-Man. Together with Jonas he ran the label Source Records from 1992 to 2005 as a two man enterprise to release their music. The focus was not on making money. In 2004 the distributor IFE went bankrupt, and a lot of money disappeared, Jonas then stepped out.

In 1994 "Reagenz" was releaseed, a collaboration with Jonah Sharp (SpaceTime Coninuuum), on which a blend of experimental electronic music, and jazz vibes.

They actually had met before a performance of Autreche in San Francisco. By chance they met 13 years later again in Tokyo, also at an Autechre show, and made a few albums and singles together.

In the early nineties David started releasing tracks under the moniker "Move D" which his still uses. Here's an overview of the released tracks

With the Album "Kunststoff" (artificial fabric) David went on the house music trajectory. Clearly influenced by examples such as Larry Heard, or Altern-8, David tried to fill a gap between the harder techno music and the ambient soundscapes.

Here's two beautiful albums, collaborations with the late, great Pete Namlook

Another collaboration was with Jamie Hodge and Kai Kroker as "Studio Pankow", it resulted in the "linienbusse" album (2005):

Meanwhile, David was DJ-ing. At first he was booked for playing ambient sets (which was the norm on festivals in the nieneties, there was a seperate ambient stage). Not satisfied with this, David moved towards his own house music productions more, to play as a house DJ himself instead.
He still enjoys DJ-ing, perhaps he's kept it interesting for so long because of his attitude towards it:
"Move D. has been playing improvised live sets with Magic Mountain High. I question if this ability to do sets of his own music that he’s not become bored by was the inspiration. “That’s a whole different game. Essentially if you’re DJing you’re serving the people to make them have a good time and you can’t really do it with too much of a dogma. You really have to feel the moment and the place. I would go to all sorts of places if I had the records with me and I feel that it’s appropriate to: I’d play some techno or bass or whatever. I’m really flexible like this. Because live sets of your own music only last an hour or something, I don’t think you should try to please the crowd too much. Instead you should be true to yourself and your music.”
(source: Interview Mancunion 2014)
He dislikes the separation between audience and DJ, and would rather be on the same level instead of on a stage, high up.

He's also collaborated with outfits like Juju & Jordash who take the studio production onstage.

Here's some more tracks that really couldn't be left out.

Here's some information about David's ideas about production:

For a long time David's philosophy was not to use instrumental samples - but he's changed and is now using them.

Q: Speaking of computers, aren't the endless possibillities nowadays not confusing?
A: It's a curse really: When I started off, with electronic music, it was around 1990, and it was the Roland machines 909, 606 and a mixer and an Atari computer probably in Europe. So you were really limited to the gear you had, which was kinda nice: If you wanted something else you had to get rid of another element to get that machine so you can use it. And there was a natural limitation to what you are doing. And also the sounds of a lot of synthesizers they weren't even programmable or even storable. So you had the sound but if you waited for a day, it may have wandered somewhere else, without even touching it. So you had to get stuff down on a tape inmediately. Otherwise it would be gone, it's not easy or even possible to reproduce. Which adds a certain value to whatever you are doing. It may be wrong, parts of it, but you think aaaah how did I get this sound? I will never get it again.
Whereas today you can store it on your computer and you can work on it forever and you can add and add.
Ja and there are no limits and I don't think it's very helpful, in order to finish something. When is a track finished that is always a difficult question, but it is even more difficult when there is no limit to what you can do.

Q: So, when is a track finished for you?
A: [laughing] Maybe when the deadline is up? Or when someone else tells me it's finished. It's really hard to tell. It can't even say how long it takes. Sometimes it goes really quickly and often those quick things, those quick shots are the better ones. So it may take only two hours to do a full track. But usually you get the feeling "only two hours, that can't be it, there has got to be some sweat and work involved. But sometimes that's ruining it, sometimes it's best the way it was done first, and when you try to define it, you water it down. It gets really boring and shallow. (source: Interview Red Bull Academy Barcelona 2008)
Here is a link to the whole interview (+ transcript)

And to top it off, here's 2 nice DJ sets:


Welcome David, great that you're here!
Let's have some fun!
Attached Thumbnails
Welcome David Moufang!-move_d_vinyl.jpg   Welcome David Moufang!-milk-1240x710.jpg   Welcome David Moufang!-david.jpg  
Old 27th February 2017
Reptil's Avatar
2 Reviews written
🎧 15 years
Attached Thumbnails
Welcome David Moufang!-16388005_1629226050718764_8197457637347297773_n.jpg   Welcome David Moufang!-16403224_1629226480718721_3287181936216939950_o.jpg   Welcome David Moufang!-16463522_1629226080718761_6640228385327961340_o.jpg   Welcome David Moufang!-16508606_1630490683925634_2666096579763363697_n.jpg   Welcome David Moufang!-16681925_1635393726768663_8801288803180789050_n.jpg  

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