A predecessor and successor of the highly acclaimed and popular Pardon Moi duo act of his own making, Thomas Freudenthal keeps producing memorable dance-floor hits seamlessly blending ultramodern electronics with the classic New Wave vibe. It is the kind of output that sounds both luxurious and decadent, warm and refreshing, somewhat dark while also intensely glowing, retrospective and a step ahead of its time. His style is simultaneously so familiar and so strange. In his own definition, it's a retro futuristic dance music that thrives on nostalgia while never triggering fatigue making the audience feel past their prime. On the contrary, it holds qualities which extract the listeners from the frame of temporal references and catapult them beyond their space-time continuum altogether. Noble Savage wants to know more about the person behind the form so full of paradoxes.

Noble Savage: To avoid being too typical and boring, how about we, Thomas, do the following to kick it off by way of introduction for those who need it. You pick some objects around your place – a few small things of spiritual, intellectual, or/and sentimental value to you. You arrange them on the floor and take a good picture. Then you briefly explain the significance of each. Just as devils dwell in details, small things in one's possession speak volumes about the person. Here, for instance, Hazy Pockets' empties his pockets.

Thomas Freudenthal: These are the first things that came into my sight:

1) My red Roland SH101, a clone of the classic analog monophonic synthesizer from the 80s. Though it was a commercial failure when first manufactured in 1982, the synth was later rediscovered and given a whole new life to become a staple of electronic music in the 1990s. Today it is used by my favorite acts, including Dombrance.

2) Durability is part of what makes music great. My purple Urbanears headphones. I love them. I have them in various colors, too. Their cables are amazing and they are very durable.

3) My favorite brutally tough item. A cast iron pan. I love to cook. I use it a lot especially for stir-frying mixing stuff up.

4) Sugarless chocolate nut butter which represents my ketogenic lifestyle (at least on weekdays, haha). Keto is my thing: it keeps one in shape.

5) A vocoder which I used to produce Power to the People, my Pardon Moi project's biggest hit. It features the classic Beasties Boys' Intergalactic sound of the nineties. A child from the 90's with the sound of the 80's and retro mind reincarnated from the future.

Noble Savage: Shall we proceed through free association, the stream of consciousness of sorts? No buffet of staple questions. No questions to direct your answers. Just hints. Here are some words which I feel may stick to you personally and relate to your creative processes. You are free to entertain them in any way you please. And we call it The Alphabet of Thomas Freudenthal.

D for Discotheque: Disco is good. A good disco with a good sound system is better. A good disco with a good sound system and a good backstage spells ultimate goodness!

G for Goosebumps: I get a lot of goosebumps in the studio when I feel like Yes. That's it. That's the way to go!

M for Moroder: That is, Georgio Moroder. His bass lines are hypnotic. He is a timeless master.

O for Offbeat: I thrive on offbeat bases! I use that technique a great deal to get that pumping sound of alternating kick and bass. Off beat hi-hats – not so much.

U for Utopia: Something in the way our world is organized needs to change. I often entertain thoughts on different models of society. Libertarianism, Ubuntu Contributionism, Anarcho Capitalism...

A for Analogue: I have been looking into analogue music production a lot lately – primarily thanks to Behringer (Uli Behringer, a Swiss engineer, founder of Behringer, an audio equipment company to his name). I'd love to make a fresh concept for a live performance using analogue hardware soon.

S for Spotlight: I always prefer and ask spotlights on DJ booths down as I think in the club environment it is all about the crowd, not a DJ. When it's a band on stage – I played in a number of bands in the past – the situation is different.

I for Ingredients: Musicians are often compared to cooks. It's true in many ways. It's all about mixing up the right ingredients in the right proportions.

F for Festival: My next major festival is Bazique, a 3 day reverie of music, art and absurdism in South Africa. The highlight last year was definitely Melt. Also to mention Yaga Gathering, a transformational fest in Lithuania. I literally fell in love with Lithuania.

C for Collaboration: I love collabs. My last project was a collaboration under the alias of Pardon Moi and my favorite tracks at the moment are original collaborative works and remixes. I also often cooperate with various crews organizing and hosting parties around the world.

N for New: I'm brainstorming a new project. I want to make it a live performance using some analogue hardware. Maybe even spoken word.

Noble Savage: WeeOoo... Hold your horse, cowboy, and pull over! As it goes during the unwarranted body search & seizure procedure, the classic case, how about you empty your pockets first.

Joel Isaac Black: 1) The world is in motion. Nothing stays the same. I always carry an adapter – just in case I also change; 2) You never judge a man by his shoes. Rather by his belt buckle; 3) Dream Boogie, an epic portrait of one person, singer Sam Cooke, the father of soul music, striving to achieve his vision despite all obstacles during the turbulent and hopeful 1950s and 1960s in America. I dig the sound of that. In fact, you will soon have some of it, too; 4) I was searching and have found the missing link between the American southern folk blues traditions and the DDR socialist workers' repertoire of songs. And it's this particular book. Righteous blues behind that wall; 5) Keep your lights on in the dark!

Noble Savage: All this implicates you alright. Now, who the hell is Hazy Pockets?

Joel Isaac Black: Hazy Pockets is a drummer. As a time-served and accomplished soul drummer, you get to know your way around the pocket. The pocket is the push and pull of the beat that despite a regular tempo, takes you somewhere forward and massages you into ecstasy. Now ecstasy could be a pneumatic steam-hammer pounding mechanically, but it could also be saucy strut, or a lazy sashay… Knowing how to put those moves together is where it gets complicated. It gets real Hazy.

Feeling is king, and the job of a DJ selector is to get his majesty's word out. This job takes a special language. You want to really know what the song is about and that is a hard-earned skill. Where it is all coming from, and to whom it is addressed – the context matters! I have to break it to you, but everything counts in ridiculous amounts. The unspoken qualities of music are deafening in the buzz of the nightclub. Disco-histrionics, rock 'n' roll pout, acid house throb all harmonizing in the same room… Where it gets real Hazy.

Technique and ambition can carry a dance floor only so far. After that, it's the learned intuition that comes from decades of molding audiences and listeners into the place that you want them to be. When the energy is there, when the dance floor is with you, it's a tightrope walk, and every wobble or every graceful step forward is felt by all, and duly responded to. No one wants to see you plunge into the abyss, and it is certainly not fun on the way down for the performer. Do what you need to do, but lord knows… Stay in that Pocket!

Noble Savage: Sounds to me like "oh my god we work so hard we gonna have a good time tonight" gibberish. Lo, what's all that goddamn steam billowing up from your pants? Gotcha! You and your horse are both under arrest!