Jazz, metal and ultimately dubstep—Borgore can create it all, plus emcee up a filthy storm, put his face on ladies pasties and accomplish darn near anything else the unabashed Israeli DJ/producer feels like doing. Vegas Seven had an uncensored (and frequently amusing) conversation with the bass-music badass born Asaf Borger before his next Las Vegas gig at Marquee Nightclub’s BoomBox on Sept. 24.
Going back a bit, how did the whole “Borgore ruined dubstep” thing start?
A bunch of people started doing what we know as dubstep today: Datsik, Flux Pavilion and myself. My tracks and my music were super-aggressive and different for a lot of the traditional dubstep heads. They just started saying that I ruined dubstep. So I said, “Fuck it. Yeah, I ruined dubstep.”
What kind of set do you think you’ll be able to play at Marquee?
I fucking love Marquee. I played a pool party there a few months ago with Cedric Gervais, and I played full-on dubstep, full-on super-radical shit. I think it was good. I didn’t get any food thrown at me, I didn’t get any “boo” calls, and I’m playing there again, so I guess that you can get away with playing whatever the fuck you want! There’s tons of places in Vegas that are aiming right now for this market, but Marquee is leading the movement by trying new stuff, and I really respect them. And they’re succeeding because what they started is showing its fruits all over Vegas.
Why do strippers seem to love dubstep so much, and how has that affected your career?
Dubstep is the music of 18-year-olds. It’s what’s relevant right now. So a chick finishes high school and is listening to dubstep, then becomes a stripper—what she’s gonna dance to is the music she likes. It used to be hip-hop years ago. Now 18-year-old strippers want to listen to dubstep. In my life, I have two strippers/pole dancers [who sometimes perform onstage with me] that are pretty amazing with the things they do. I don’t know, I just like girls on poles I guess. There’s nothing special about me with strippers, no crazy affection for strippers. I’ve actually been to a strip club only once in my whole life.
How did your jazz background evolve into metal and, ultimately, bass-driven beats?
Jazz music is insanely complicated—and metal is complicated as well—so there’s always an affection for those two genres. A lot of people come from metal into jazz or go from jazz into metal; it’s a very natural move I think. I just started producing because I just love every sort of music. By being a producer, I can wake up today and make metal, wake up tomorrow and make house, pop, whatever it is.
Have you gotten any flack now that Miley Cyrus recently revealed via Twitter that she’s the female singer on your track “Decisions”?
Some people said shit about it. I think the majority of people love the idea. It was a sick concept of putting out a tune that is 100 percent dubstep. It’s me, and feedback was great before Miley said anything. The second she revealed it people realized, “Oh, wait. So names of artists don’t really matter, it’s the music itself.” It doesn’t matter who sings the song if the song is good, and I think I showed that to the world. She’s super-hot, and a good singer, so I’m very happy with this collaboration. I’m not scared of doing things like this in the future.
When you MC, your accent lends a uniqueness to the track. Have you ever gotten any feedback on that, or for your eyebrow-raising rhymes?
There were some people saying that my subjects are horrible, and I always tell them that my crowd is a young crowd, but it’s a [mature] young crowd. They actually understand what I’m singing about, and they understand that I’m laughing. Rihanna or Lady Gaga, when they’re singing it’s not horrible text, but very explicit subliminally, and 12-year-old chicks are listening to it, then they get pregnant when they’re 16! I’m not dissing Lady Gaga or Rihanna because I love both of them; I’m just dissing people who criticize my lyrics because if they want to criticize something, they should start somewhere completely different. A far as people criticizing my rapping, if you look at the bottom line, my most successful tunes are the ones that I’m actually singing on top of them. I think that this is the biggest proof that my rapping is not so bad [laughs].
You give away a fair amount of your music for free. Is there any hope to make money off tracks anymore?
Some stuff goes out for free, but at the end of the day if someone wants to get my music for free, you can always just download it from wherever. I’m not mad at people that are pirating shit. I actually buy a lot of music because I’m lazy. I cannot spend hours looking for it, getting all these viruses and shit. Fuck that, I’ll just pay 99 cents and get the tune the way that the artists wanted me to get the tune: The right quality with no crazy shit in the middle or whatever.
Is there anything else cool worth checking out from the Israeli scene besides yourself, Infected Mushroom or Astrix?
I didn’t know you guys knew about Astrix! If you go to the trance scene, there’s also Skazi. There’s Guy Gerber, he’s pretty big in techno. To be honest, I’m really disconnected from the Israeli scene.
Your new EP includes a pretty … interesting song sample.
I have an EP coming out the end of September, and then I sampled “Smell Your Dick” so “Smell Your Dick” is on it. They made fun of it on Tosh.0, but it’s really from 2004 and I’ve been trying to remix it for like three or four years and I had a hard time, but I finally made it!
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