Don’t call it an edit! They’ve been here for years. Not that you’d know it from the recent resurgence of the new takes on old classics known as disco edits. While some people prefer their edits to consist of little more than simple, tasteful lengthening of a track, others—like Tiger & Woods—completely change the DNA of their source material, only keeping a few recognizable bits and bobs intact.
Not much is known about the duo aside from their music, which is just the way they like it. The two rarely grant interviews, don’t offer up biographical details, and hide behind the noms de edit “Larry Tiger” and “David Woods.” (The duo’s second release, the Caddy Shag EP, dropped the week before the tabloid-worthy sex scandals of the golfer they sort of share a name with came to light; one of the EP’s songs was titled “Deflowered,” which surely resulted in a few pervy Googlers being turned on to the duo’s music during the ensuing media frenzy.) They’re just now wrapping up a U.S. mini-tour. This interview was only granted after signing holographic confidentiality agreements in triplicate. But once the forms were headed back to the clubhouse, the boys opened up during a very dignified breakfast chat.
So after two years you’ve finally cracked the oyster that is America. Did you find that the “American Pleasure Delay Principle” worked people into a frenzy?
Larry Tiger: We didn’t do it on purpose!
David Woods: I think the waiting time helped a bit. The tension blew up. I’ve played New York before and I’ve never seen anything like it. The [Let’s Play House] guys did a really great job on the party too.
Where did the name come from? Why not Kevin & James? Or Woody & Allen?
DW: The name started as a joke, more or less—”let’s just release a couple of tracks for ourselves,” just like London in 1990 going to Unity or Fat Cat Records. You didn’t know shit about what you were buying. You were just picturing stuff, imagining, guessing. Now it’s as if people are walking with these Google glasses that tell them everything immediately, and we didn’t want that. It’s not about the mystery. When you say “mystery,” people always misunderstand. Come on, what the fuck, it’s dance music! Come to the party. Dance to it. Who cares?
How do you approach making an edit versus an original track?
LT: Well, we’ll make an original of whatever we want and then edit that.
DW: We treated [singer] Em as a sample too. We chop her up. She basically never sang exactly what she did on the record.
How does the T&W project differ from other projects that you’ve been involved with or your own solo work?
LT: This project is totally different.
DW: But there’s hints everywhere. There are tracks I’ve done with Alexander O’Neal samples, which, if you put it on a timeline, you could see that there is a link somehow.
LT: I’m a big fan of funk and boogie stuff and a collector so it was a dream to do something like this.
You refer to your of music as “future boogie,” which I like. So what would you refer to as “present boogie”?
DW: “Future boogie” only came up because we were under pressure from a journalist in Spain. You know, sometimes you just get someone who is less aware of what you do, and we had to help her understand somehow, but we couldn’t get too into details or she would have gotten lost.
LT: So future boogie was born.
DW: We always wonder why we got so… lost in this particular period of “83 to “86 Minneapolis kinda thing because its not really available in many records.
LT: We love that track of Justin Timberlake and Ciara. That’s boogie.
DW: Justin Timberlake is the equivalent of an upgraded, modern kind of boogie in a way. [Deadly serious:] I mean, how can you say that “Rock My Body” is not a great track??
I didn’t. I won’t.
After a quick Google search, I realized how closely linked sex and golf are. Terms like “Double Eagle,” “Bump and Run,” “Cavity Back,” and “Out-to-in-Blow”…
[laughter, then total silence]
DW: Wait, that’s really golf?
LT: We’ve always had this picture of golf being linked with sex. “Gin Nation” was because we pictured this golf club with gin—
DW: Everyone having fun with gin. You know, with nice ladies and stuff. Initially we had this idea of lots of ladies parting on the golf course. It makes sense but it was also kinda cheesy and depressing. [laughs]
A track like “Gin Nation” is amazing because it actually feels “circular” to me. You can feel it swirling around you. And If you can feel the actual notes of the music in some sort of motion, then you copy that motion with your body. It’s the science of boogie.
DW: You’re driving them into this loop and then after five or six minutes they are finally released.
LT: Exactly like us coming to the States! [laughter]
Wow. You do the exact same thing in your music that you’ve done in your career. That’s beautiful. The Pleasure Delay Principle at work. Well, enjoy the rest of your game, Larry & David! Wait a minute… did I just crack another code?
LT: Maybe you did…