Few newcomers to the scene have had the impact of Marko Milicevic, aka Gramophonedzie (facebook, myspace, twitter, soundcloud, label). Though he's been DJing for more than 15 years in his native Serbia, Gramophonedzie came from seemingly nowhere with last year's hit record "Why Don't You". Originally signed to Guesthouse Records, "Why Don't You" (based on the Peggy Lee swing standard "Why Don't You Do Right") was such a colossal smash that it sparked a bidding war among major labels - the official YouTube video alone is now closing on five million views.

Gramophonedzie November2010 mix by gramophonedzie

Every month I'm hearing more great music from Southeast Europe - it wasn't that long ago that the only things I heard were really cheesy commercial joints. To what do we owe this explosion of great House Music? Was it always there under the radar?

There's been always quality music in the Southeast region, if we're talking about electronic music, but it was very difficult for one producer to breakthrough to the world scene, and most of them were first of all trying to create a high profile in their own cities or countries. My story was different, 'cause my music was mostly underground - especially because it's a Jackin' House style.

Do you think you played a role in this?

After I signed with a major label things have changed. I had a huge underground record, but they've made it commercial. Hopefully more producers from my country and region will have the same path.

If I had even the smallest role in this Southeast explosion, I would be very proud.

"Why Don't You" was such a huge record. I know it's hard to analyze your own music, but what do you think was the "magic" behind this track?

First of all, it's the voice of a great singer, the legendary Peggy Lee. Her style and the way she shows emotions through her singing is a very rare thing, nowadays especially. The other thing is that I've managed to bond this jazz standard with a new modern sound.

When I played it for first time in the club, people went nuts. This combination of music is not that new to the audience, but "old" tracks were never wrapped in a Jackin' House style like this, so I'm glad that the Jackin' House scene is finally becoming more popular now.

I think it also marked a return to the trend of an underground hit being licensed by a major label - that was common in the '90s but it's been awhile! How did "Why Don't You" get picked up by Virgin?

Well, the track first became successful in Miami, Detroit and then also in Ibiza. After that, naturally, major labels became very interested in it, and I had so many requests from majors that I didn't know which one to choose. At the end, Virgin was the final and the best decision. That's how it got picked up by a big label. I think there were times when only cheesy tracks were being picked by big labels. This track was underground but commercial enough to make its own path.

Swing House was really trendy once upon a time, and it seems like you brought it back and spawned a legion of imitators! Were you into some of the early Swing House records - or did "Why Don't You" come from your interest in jazz?

I was very into Swing House and Jazzy House, especially the work of James Curd, Dan X and Tommy Largo. But I never approached my productions that way before. Actually, it just happened that my girlfriend was very fond of it. She is the one responsible for me sampling the original.

What made you throw your hat into the ring and start pushing your productions after DJing for so long?

Well, after more than 10 years on my local scene, there was nothing more that I could do that I hadn't already done. So it was kind of a logical progression. I had to start making my own music because I realized it's the only way to start playing outside my country and region and getting noticed more across Europe and worldwide. Also, I really enjoy creating my own productions - I would probably do it, even if I weren't a DJ.

Sometimes its hard when I get a slot to play after someone who just finished his set with a new Shakira remix, but that's the challenge for me - to get those people in the audience into my own story and my trip and to take them somewhere they've never been.

"Pacific State" by 808 State is 21 years old, but was made brand new by your remixes. When you work with a classic tune like this, do you feel like you're stepping on "sacred ground"?

It is a great responsibility. I try to find something new and to wrap it into my sound. I approach it like its not a classic at all - like a brand new track someone gave me to remix. Sometimes it works, sometimes not. I tried to remix some other classic tracks but I couldn't find a way to do it properly, the way those tracks deserve, so I pulled out. It's tricky.

Are you mostly looking toward releasing your own stuff or breaking records from other artists on your DiskoZoo label?

DiskoZoo started as a small label for talented producers from our region. After awhile it became a very international label, and it happened that producers from my country got connected and started to cooperate with foreign producers on many projects. We were also organizing DiskoZoo tours, and we were bringing with us lots of DJs who signed with the label.

Somehow DiskoZoo is evolving into a brand and it's growing every day. People who are involved in this became a crew - the DiskoZoo crew. Most of them are really good friends now and that all happened through the label spontaneously, it was never planned. The only rule that we have in the label is that we will never release any track which we are not going to play in the clubs personally. Most of the tracks in my sets are DiskoZoo tracks now. It's not 'cause I just wanna promote the label, it's because I honestly love those tracks.

Soul De Marin - Phat Elephant EP by DiskoZoo Records

One of the things that I really enjoy about your music is that you're playing gigantic festivals, and I don't think you've compromised your sound at all. Have you felt pressure at these type of events to play a more commercial style like progressive or electro?

I'm very glad that you noticed my sets in this way, thank you! I'm trying to play for the crowd no matter if it is a festival or a small club - the sets are different obviously, but the style always remains. That is what any DJ would normally say about his sets, but there is also another philosophy about this. Even if I try to change my sets to be more electro or commercial, it just wouldn't be me or something that I personally enjoy. And the crowd would certainly notice this.

Sometimes, I think I played more commercial stuff than usual, but after I finish I realize that what I think is "commercial stuff" is a very different thing from the point of view of the promoter or some other people. Sometimes its hard when I get a slot to play after someone who just finished his set with a new Shakira remix, but that's the challenge for me - to get those people in the audience into my own story and my trip and to take them somewhere they've never been.

For me that's the essence of my philosophy of DJing. Sometimes I manage to get them back from that vibe, sometimes not. But when I make them dance to my beat, I know they will never forget me.

You can find out more at the home for all things Gramophonedzie at gramophonedzie.com. Many thanks to Marko and Tamara!