DJ LIFE caught up with the Berlin-based DJ/producer Oliver Dollar, known for over a decade of deep, soulful house tracks.
In his decade-plus of making music, Berlin-based DJ/producer Oliver Dollar has become known around the world for his deep, soulful house tracks. And with top-charting hits like 2011’s “Doin’ Ya Thang” and 2014’s “Pushing On” (with Jimi Jules), he’s certainly earned some OG status in the genre.
But, if you hear him talk about his biggest musical successes, he’ll tell you that they were mere accidents along the way. And when it comes to playing gigs, he’d much prefer the tight, intimate, sweaty nightclub to a festival, even one with a big payday. For him, it’s still all about the underground.
As he was preparing for the release of Contemporary, a trilogy of house EPs on the Rekids label, Oliver Dollar (aka 42-year-old Oliver Siebert) sat down with DJ LIFE to discuss the studio, his career and his view on the modern dance-music scene.
DJ LIFE: Who are your biggest influences?
Siebert: So many talented musicians out there, it’s insane. There’s people like Moodyman — there’s just so many. In general, the ’90s house movement is what all started it for me – that’s my main inspiration, I would say. There’s a bit of techno and disco, too, but the ’90s house movement really shaped my sound.
DJ LIFE: You’re considered to be an OG house artist – you’ve been around a while. How do you feel about the different movements in house music right now?
Siebert: It’s kind of a weird moment for house music – but it’s also exciting. Now, the kids want this 180-BPM techno and I had all this kind of shit, like in the ’90s. But everyone thinks they’re inventing the wheel, like it’s something brand new – they never had it because they weren’t even born. I think the only constant is change, but that doesn’t mean I have to like everything. I’m very chill.
DJ LIFE: What are you using in the studio?
Siebert: My laptop and Ableton. It’s kind of simple. It’s easy to use, like a super-simple interface and it’s easy to work with samples. I’m creating my own samples. But if I’m using sample packs, then it’s from friends and I know they’re gonna be badass.
DJ LIFE: What’s your process for creating music?
Siebert: Usually, I start with a beat – usually on the sample – and then start from there to record that into the DAW.
DJ LIFE: What’s your goals at this point in your career?
Siebert: That’s a good question. I guess my goal would be to use less samples and to get more musicians in the studio. I mean, that’s also bullshit because I love sampling — so my goal is to just push for quality and just do different stuff than everybody else is doing. It’s not reinventing the wheel here. But it’s like pushing the envelope for quality.
DJ LIFE: You’re still making physical records. Why do you keep on making vinyl and why do you believe it’s important to keep making vinyl?
Siebert: It’s kind of a timestamp. With digital promos, you hear them today and it’s forgotten tomorrow. But with a real record, you look at the physical product – it smells, it looks cool. Maybe it’s not as great quality-wise as a CD format or digital, but even if it’s 300 vinyl copies, you have something for the fans. I’m a vinyl collector myself. It’s nice to hold something in your hands, an end-product. I have an upcoming project that’s going to be a five- or six-vinyl set.
DJ LIFE: Let’s talk streaming. At first, you didn’t stream your music, and then you did. How do you feel about streaming now?
Siebert: I mean, we all know what needs to happen with streaming. We should do a movement like Hollywood did with the strike… you know, against all these big platforms, who are literally acting like a mafia and all the shareholders make a dime, but not the artist, actually. And I think the old system is so unfair, like it’s literally a punch in the face to the artists, and they should definitely change it.
DJ LIFE: How do you feel about the current underground scene?
Siebert: This scene was always the underground. I was just lucky in my career that I had like these two crossover records. They make me known worldwide. I guess there’s always been an underground movement, and that’s also great. I just got lucky that I’m in between both worlds. That I’m kind of accepted in the unknown. I think my heart is still going for the more quality stuff instead of crossover hits. You can’t force that and, also, that was never my goal to make a platinum record.
DJ LIFE: What’s your take on social media, and the marketing machine used by artists?
Siebert: To be honest with you, I wish I was better with social media because, these days, you can make your career just being good at social media while sucking at music. And that’s what you see everywhere at the moment. It’s a slap in the face, but that’s how it goes these days. For me, the music was always important, more important than anything else. Now it’s like if your record goes viral, cool, we sign you, and… what’s that about? Nobody is taking risks anymore, and it’s a really frustrating game. I believe that at some point it will come to an end – if you are talented, show it in your music, not on your Instagram.
DJ LIFE: What advice do you have for other DJs and producers who are trying to make it?
Siebert: Find your own sound. Find your niche, something you’re really good at, and just believe in it. Be calm, constantly on it, and not just trying it for half a year because that will never pay off. It took me 10 years to find out what’s really important to me.
DJ LIFE: How did success find you?
Siebert: When I finally made it, that was my giving-up record, actually. It was never planned as a record and was planned as a bootleg for me and my friends. Then a friend of mine played it out in San Francisco, and literally the next day, my phone was ringing like crazy. And that’s how “Doin’ Ya Thang” became a thing, and I guess the rest is history. I was about to throw it all down and give up. Sometimes you never know what’s poppin’ and what’s not. So, I think what’s really important is what other people told me back in the day, something I couldn’t understand at that time… they said, “Find your sound.” Of course, in the beginning, you would copy things that you really like, but at some point you will come up with something you deeply believe in.
DJ LIFE: You have some releases in the works – can you elaborate on them?
Siebert: I’m doing this album project with Rekids, that’s Radio Slave’s label, and it’s basically like a lot of collaborations. I’m doing it with all my homies and I got ADMN involved as well and a lot of musicians here from Detroit and European artists… basically, all the people I’m looking up to and being friends with, and it’s going to be called Contemporary. It’s three volumes – the first three on vinyl will be extended versions of the tracks. Then, there’s going to be a mixed version, vinyl number four, with interludes and shorter versions. And then there’s going to be remix vinyls, as well. Aside from that, I got a new single coming up with Spot Lite Records. In the pipeline, “Doin’ Ya Thang” is going to get rereleased with Defected. They licensed that for 10 years. I’m going to rerelease “Granulated Soul,” one of my oldies as well, early next year.
DJ LIFE: I’ve noticed you spend a lot of time in Detroit – it’s like your second home next to Berlin. Why?
Siebert: For me, it’s a very creative city. It’s not a beautiful city like Berlin is, but Detroit has a lot of great creativity. It’s crazy how many singers are around Detroit who don’t even know they are singers or super-talented musicians and they’re not even aware of it. Also, there’s the rich musical history in Detroit, from Motown to everything else.
DJ LIFE: You are very selective about what gigs you play. How do you decide on your shows?
Siebert: You should play the places you really want to play. That’s not happening all the time; sometimes you have to take a risk. That could be the dopest show ever, but it’s also could be the shittiest show ever – you never know. But, in general, you shouldn’t play everything. Also, check who else is on that lineup – the lineup is important to me. The best-paid shows are usually the worst. When I play the cheaper shows, it’s the best time of your life.
DJ LIFE: What about festivals?
Siebert: I was never the biggest festival guy, to be honest with you. I like intimate crowds, 200-300 people, where you actually feel the vibe of the room, instead of standing in front of 5,000-10,000 people where you’re literally 50 meters away from the crowd and you can’t hear anyone yelling anymore or losing their shirt. I’m the guy who’s lost without intimate venues.
