It has been a relatively relaxed 2009 for de la Plante, who, after the apogee that was 2008's peachy debut As High As The Sky, has put out a solitary single to date this year—the ridiculously infectious For The Lost on Prins Thomas' Internasjonal imprint. The Mole is in fact working on an album project, but don't expect to see his name up in lights upon its arrival. "I joined Cobblestone Jazz but only in the studio," he reveals. "They're old friends and we've been playing together for years so we're just finishing up the second album which should be done at some point next month."
I get most of the things from the label as whites. I think the one which people really slept on recently, and has really been a winner in my bag, is Dinky. Every time I play the last single from her people come check and trainspot me every time.
Do you tend to play many of these types of edits?
I do now and then. I see them the same way I see country music: if it's good, it's good, if not screw it—the same as any music really.
He's a Scottish guy named Graeme Clark. He did a podcast for us a couple of months back.
The records he's putting out right now are stellar. I'm loving all these remixes and things he's doing. He's got a real touch. I can't remember the original right now, but this is Stevie (Wonder). He did a bunch of additional production to it with the drums and synths. It's super catchy and when Stevie kicks in after five minutes it's just happy days. I'm not sure what Stevie would think though...
So this is him too, right? I'm giving him (The Revenge) a lot of love here. This is a beautiful song again. It does sound exactly like him, I was wondering if it was just another name. It's got that same super heavy intro where it locks into this solid groove and just sticks to it.
The original was a track by Hi-Gloss called "You'll Never Know"—are you familiar with it?
No, but I do love this stuff when I have no clue what it is. Again this is a really slow tune. He's got a sense of locking a groove and sticking to it; it's very mature actually.
Is this the kind of tempo you would always play at?
It really depends. In Italy, no way. On a big floor, no, but if the vibe is right like at Robert Jonson—that's a perfect place to do this kind of thing—or at Prins Thomas' night in Oslo, you can do almost anything. I'd get lynched if I tried to play something like this in Italy though.
Do you ever consider trying to break out of the straight four-four patterns with your own productions?
It happens to me sometimes that I'll start a song without it, but so often it just pops back in again… Jesus, do all my records have that? I should think about that...
Do you tend to drop many of the original Chicago house records?
Yeah, sure. I'm not afraid of that. Why not? I play a lot of old stuff with new stuff. I'm a bit of a schizophrenic that way. I'll play disco with the current minimal hits—I don't mind.