It was a case of Miami ‘nice’ late last year when local boys Oscar ‘G’ Gaetan and Ralph Falcon hit clubland with brassy house-techno hybrid groove Amame. The record was released under Gaetan and Falcon’s long-preserved Intruder alias but it was clear to the world that Murk had returned; Murk being the pair’s better known tag.
“We don’t see ourselves as returning to the fold” G qualified in one interview just before Christmas. “We might have been working on solo projects over the past few years but we’ve always been around; and, I mean, Ralph and I continue to DJ together… that’s not really changed.”
Of course, both G and Falcon accepted Amame was a big deal for house devotees; that, in the fan’s mind, solo projects and tag-team DJing were one thing and fresh collaborative studio releases quite another. Murk’s bittersweet 4-4 sound resonates with (and has likely inspired) the skewed, contemporary grooves of on-trend collectives such as Visionquest and Wolf + Lamb too, so heightened interest in new tracks was only to be expected.
Childhood, music-infatuated friends, G and Falcon were destined to work together. As young teens both knew their way around a drum kit, G also taking piano lessons and, at the age of 12, DJing local house parties and school dances.
Eighties Miami was rocked hard by the advent of hip-hop – the break-dancing, the edgy graffiti and, most importantly, the beats. It was an energetic cultural shift that would carry Gaetan excitedly behind the turntables and, in turn, drum machines and other studio paraphernalia. Falcon was hot-on-his-heels, a DJ himself by the age of 16 and budding co-producer.
Miami, however, wasn’t just hip-hop spit; the early influence of house and techno – everyone from Kraftwerk to Ten City and Blaze - was also being felt, not to mention to impact of dark, electronic-minded mainstreamers Depeche Mode and New Order. Miami’s radical, chaotic playlist would be the true making of Murk.
Gaetan and Falcon launched their iconic name (and label) in 1991 with the ambition of subverting house music’s basic tendencies towards sleek, saccharine, soul-driven flow. They wanted to warp and twist, which they subsequently demonstrated via a string of moody, snappish dancefloor licks not just as Murk but monikers including Liberty City, Funky Green Dogs and Intruder.
Early, vintage releases Some Lovin’ (as Liberty City) and Together (Interceptor) secured pivotal interest from club titans Junior Vasquez and Danny Tenaglia, and therefore generated sufficient momentum to push follow-ups Been A Long Time (The Fog), Reach For Me and Fired Up! (Funky Green Dogs), U Got Me (Intruder) and Bugged Out (Murk) far and universally wide. The boys’ Funky Green Dogs alias, evolving into a song-based trio including singer Tamara Wallace, provided major label backing, two albums (1999’s Star and 2001’s Super California) and international crossover success.
Murk were caught up in a whirlwind of hype. Europe, in particular, latched on to their unique style, Murk records storming local charts and major continental nightspots welcoming the duo with open arms. Throughout the 1990s, they would play clubland’s biggest venues, including London’s Ministry Of Sound, Singapore’s Zouk Club and Montreal’s Club Montreal. With rare exception, Murk would DJ overseas every weekend for nearly 10 consecutive years.
Remix work also started to land thick and fast. Murk’s association with Vasquez and his legendary residency at New York’s Sound Factory gave several of their ‘revamps’ (not to mention their original releases) welcome profile whilst also ensuring new commissions. Vasquez would stretch out Murk remixes of Deborah Harry (I Can See Clearly) and Karen Pollack (You Can’t Touch Me) for over 20 minutes at a time, whilst his regular rotation of Liberty City prompted work with Madonna. The queen of pop had heard Some Lovin’ at the Factory one particular evening, it is claimed, before enthusiastically enquiring with Vasquez about its origins and then asking Murk to remix her new single, Fever; which they did….
Further high-profile, drum-heavy remixes appeared for Adeva, Todd Terry, Jaydee, Moloko and even The Spice Girls. And G and Falcon continued to remix and produce together in the Noughties. Brand new tracks Believe and Time, taken from Murk’s eponymous 2003 studio album on Tommy Boy, garnered praise, and yet more remixes emerged involving Morcheeba, Royksopp, Depeche Mode, Cher and Britney Spears.
Nevertheless, the Noughties were to see greater focus on solo projects. In recent years, both Gaetan and Falcon have successfully pursued separate careers through celebrated Big Apple imprint Nervous. The former has released stompin’ underground singles Back To You, Your Love and F The VIP, as well as albums and compilations including Innov8 and Live From NYC; the latter, a double mix CD Hollywood To Hialeah and studio cuts I Need Someone, Break You and Whateva.
Going solo has, in the boys’ eyes, helped extend Murk’s longevity. “We are deeply influenced by one another’s solo projects, so a connection between us is always there… has always been there” Gaetan commented recently. “The strength of those projects too – we are more than capable of running our own releases from start to finish – is such that we have been able to keep moving forwards and developing ourselves. When we feel like working together again, it’s a fluid process, and we have lots of new ideas to test ourselves with.”
Amame demonstrates this outlook perfectly. Falcon had been working on the track with local singer Jei early last year but wasn’t entirely sold on their progress. Gaetan offered to drop by, subsequently adding new arrangements and a final mixdown in his own studio – what was solo had now freely become collaboration.
Murk’s essential DNA has just been bottled for Defected’s latest House Masters release, a DJ-friendly collection of full-length discographic highlights. With its clear focus on those few house names with genuine career miles and global stature, House Masters tells you everything you need to know about the lofty position Murk still maintains in electronic dance.
Seth Troxler, Kerri Chandler and Ricardo Villalobos were all over Amame – produced to commemorate House Masters – upon the first seeding of its promo last summer. Hot Natured’s in demand Jamie Jones, meanwhile, incorporated a ‘Murked’ Karen Pollack on his recent rave review Fabric 59 compilation, and Maceo Plex has been hammering Liberty City in a large number of his sets around the world. The boys definitely still have it.
And they look set to further dazzle in 2012. Gaetan and Falcon are currently completing several new ‘Murk’ projects for release in the coming months. They are also finalising plans for the re-release of their entire back catalogue on vinyl – backed by new remixes from friends and favourite artists; first up is Intruder’s 1992 outing U Got Me, remixed by Radio Slave – and a number of swish 20th anniversary parties, including shindigs during the Miami Conference… naturally.
Gaetan, unveiling his own new solo album this year, believes that Murk’s remarkable story can run and run: “When we started out as DJs, man we were putting everything together ourselves. We’d set up the equipment, the speakers, sort out the guests, cart boxes of records around everywhere; we’d be exhausted before we’d even teed up the first tune. But we were prepared to work, because we loved the music, and that mentality has held us in good stead ever since.
“We deeply appreciate our lives. It’s amazing to have gotten this far but we don’t ever get complacent. The quality of your music… of your songs… is what really counts towards a long career. People have a lot more to judge us on yet: I think we both have more to give.”
Words: Ben Lovett
