CS: How does the Super Club elevate itself from the usual model of a nightclub?
HS: It is really interesting. I feel like the demands on current day venues are so different. If you want to stay viable, it's difficult to focus on only one function. Super Club is so joyous to us to create because there’s a total focus on the function of it being a club space, which sounds simple, but you have to offer so much more. We were discussing earlier today how you need to have fancy food and drinks. We used to have bands at Goodgod as well as the club and, in a way, all that stuff gets compromised because there’s not a full focus on one thing.
JS: That’s why with Super Club we’ve tried to give people longer sets, which is coming back into the clubbing world now. In MySpace days, promoters would book ten DJs to play half hour sets so that they’d invite all their MySpace friends. I think it’s really nice to be able to settle into the experience and enjoy one person taking you on a journey. And instead of just doing it in your headphones when you’re commuting on the train, the power of that is different when you’ve got hundreds of people around you all doing the same thing and feeding off that energy - and that is something so special when it’s increased over hours and hours. You go through more together and that’s probably what creates some of the more memorable nights of dance music.
HS: It’s a vast history of us as humans doing that too. It’s nothing new. It’s cathartic if you allow yourself to focus.
CS: Do you think there’s been some maturity to the Goodgod project?
JS: We’re still entirely immature, but we’re working on something that’s probably a more direct expression of our own tastes. Whereas when we were running the club, we were the venue which housed a lot of people who were passionate about their own tastes and we shared 90% of them.
HS: There was a lot of facilitating and that was a beautiful thing, but what we do at the Opera House definitely puts us into the driver’s seat and we’re the artists dictating how it should all go.
JS: With Super Club, we actually get to work on designing and resolving every part of the experience inside the room. When you’re on the dance floor, the sound system is how we want it, the lighting is custom tricks that we’ve had fun designing, the interior architecture is how we want it to be, and the music is played by DJs we love. It’s very indulgent to be able to put that all together and whether it’s more mature or not I don’t know.
CS: Has the identity of Goodgod grown up with you guys?
JS: For sure it has. I wonder if maybe the Soft Future Piano Bar is even a more acute side of that. We’ve been listening to a lot of chill out music and enjoying the idea of the old chill out room at the rave. When you go out it doesn’t have to be about enjoying music at one certain energy level, and that was the music that we naturally veered to after getting out of running a weekly club.
HS: I’d say we stopped listening to music altogether for a while. It was just noise.
JS: The stuff we started listening to again was more ambient. Hana’s got a great collection of Japanese pop and synth stuff - all different dynamics that are not banging in any way - just different types of music that perhaps Soft Future Piano Bar touches on.