Wolf + Lamb

The pair goes deep on a new album.

Zev Eisenberg and Gadi Mizrahi haven’t thrown out the rulebook of clubland success—they toss parties, they deejay, they make tracks and they run a label—but they’ve definitely used those precepts to fit their own goals. Together known as Wolf + Lamb, the duo has spent the past several years tossing wonderful, semisecret get-togethers, attended largely by friends, and friends of friends, in their home and studio space, known as the Marcy Hotel; those parties stand apart from the usual, both for their easygoing, utrafriendly vibe and their tendency to last well into the next day. They also run Wolf & Lamb Music, which boasts a series of brilliant tracks from some of today’s most influential house and techno artists, including Seth Troxler, Nicolas Jaar, Lee Curtis and Soul Clap. (Hunt down the latter’s beautiful R&B edits on the Wolf + Lamb Black Label imprint—they’re dreamy.) But most importantly, Eisenberg and Mizrahi have been among the leaders in dragging the world they originally inhabited—that of minimal techno—into the warmer, sensual realm of deep house and disco. Now the pair have released their debut LP, Love Somebody, a collection of subtly emotional and moving tracks that are a fitting snapshot of the still-evolving world of Wolf + Lamb. TONY recently caught up with Eisenberg and Mizrahi at their headquarters in the heart of South Williamsburg.

Through the Marcy Hotel, your music, the label and overall vibe, it seems as though you operate on a kind of separate plane from the rest of the clubbing world.
Zev Eisenberg:
You’re completely right about that. There are many facets to it, but for the most part—and Gadi and I have had many discussions about this—we are completely rooted in this fantasy world we have between us. It doesn’t really correlate with what’s going on around us, or even maybe with what’s going on with us, but I guess we’re communicating that to other people.

Where does that fantasy come from?
Gadi Mizrahi:
The label output, the artists we pick, and especially the mood that we’re trying to convey, is deeply rooted in what Gadi and I are feeling, both separately and with each other. The lows and the highs of our interpersonal relationship are reflected in our output. But the main thing is, we’ve always imagined that our parties should be the way we think they should be, and that our music should sound like the way we think it should sound like.

And what is that sound?
Our sound just stems from Gadi and I saying to each other, “You know, maybe people are moving a little too fast at this fuckin’ party. Maybe we need to start slowing things down!” And then Gadi is talking to Nico [Nicolas Jaar] and mentions that, and then all of a sudden Nico comes up with a song that’s really slow. And it’s a great song, and we need other songs to play with that, so we start making music like that. And now we have five bomb tracks that are all really slow, like almost a cross between Sade mixed with deep house. And that’s our fantasy world.
Mizrahi: It’s like 115 bpm, very slow and groovy.

Do you ever find yourself in a deejaying situation where you have to bang it out? And would you still do so?
There are few shittier feelings than coming to a show where people are going, “Harder, harder, faster, faster!” It feels really awful.
Eisenberg: Our agent is on top of that shit, so we don’t find ourselves in that situation very often. And when we do, we definitely don’t do so.

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