Dance music moves famously quickly. It means that sounds, scenes and selectors can all come and go in a matter of months. Essential to the survival of the genre. It means only the truest artists remain relevant. Greek-born, London based Argy has built a long and varied career making and playing quality tech and deep house, as well as having collaborated with legends such as Kerri Chandler or Manuel Göttsching.
As a part of the celebrations around the 20th year of Poker Flat, the label has been revisiting some classics from the back catalogue and asking top-flight producers to reinterpret some of the key moments. As such we decided it was time to sit with Argy and discuss his life behind the headphones.
At the tail end of your teenage years, you decided to up and leave your hometown. What were the reasons behind this? Were they more based on your career? And how difficult did you find it?
There was no other way because electronic music back in 2003 in Greece was not very developed. I moved to London to study Music technology and experience the nightlife and get to know like-minded people. West London was a great home for me and I remember walking up and down Berwick Street in Soho searching for records.
At what point did you decide to make the decision to go from being the audience to the exhibitor? Was there a certain moment that inspired you to take that step?
I was always uncomfortable being part of the audience and even nowadays I struggle with it. I haven’t figured what it is but I always want to be the one expressing and having people on the other end reacting to it in whatever way.
What has been the most challenging experience in your career to date?
Maybe the first wave of career slowdown. Music careers are W shaped, there are lots of ups and downs…The first time I experienced a bit of a career uncertainty was a little nerve-racking and then you get used to it because you know there is a way to come back up!
You’ve released tracks on many acclaimed labels Defected, BPitch, ViVa, Bedrock and Moscow to name just a few, while also exploring many different genres. What advice would you give to aspiring producers looking to get their tracks signed?
If you are established, labels know you, so it’s easier to sign music. If you are unknown, then follow your favourite label and study it well. Get obsessed with it and try to understand how its label manager or DJ behind it does A & R. Once you get the formula right, then add something unexpected, something that will make your track stand out.
You’ve toured all over the world, is there one specific party that stands out to you as the most memorable and why?
Maybe the first time I ever played at Panorama Bar at the age of 19! I was very very stressed about the show and when I was done I was really relieved I survived musically! Maybe people were kind to me because it was just a kid behind the decks…Everything looked so massive and different to what I was used to in Greece or Britain.
Your residency in Mykonos is one of the most talked-about series of parties on the island, how do you see the scene growing there? And do you see it has the potential to grow and compete with other popular European destinations?
Mykonos is doing well but I don’t think it has to compete with any other location because it’s doing something completely different. It has the potential to further develop its music scene but the season is very small and the island is never going to be like Ibiza and of course, it doesn’t have to. The party we did at MONI club and the whole family behind it, definitely has the right intention and knowledge to promote quality music on the island. MONI is one of the best venues in the world.
Finally, if you could produce a track with any artist who would it be and why?
I think Ryuji Sakamoto. Not just because he is a living legend but because he is an absolute character. I would really like to spend a day with him, talk about life and produce a track. He has a very calm aura and I find him a very classy gentleman.