Claude VonStroke Finds Freedom on 'Wrong Number': "Love it or Hate it, I Am My Own Thing" [Q&A]

Several years ago, Claude VonStroke was more likely to be found atop a festival bill than behind the decks of a 300-capacity room. These days, the latter is a stop on an intentionally intimate international tour supporting Wrong Number — the first VonStroke album of the post-Dirtybird era after the label’s sale to EMPIRE in October 2022.  

It’s moodier, more minimal, and miraculously, "even more me” than anything that came before it, the multi-hyphenate tells Beatportal of the 10-song set spanning house, minimal/deep tech, tech house, downtempo, UK garage/bassline, and trance. There’s a difference between being jaded and no longer feeling compelled to chase the accolades a creative direction can bring. Wrong Number — a project conceptually centered on the idea of phoning the wrong number but still getting to the right place — finds VonStroke of the latter mentality.

“I’m not trying to be #1 or headline mega-festivals anymore…I’ve done it all,” he says. “I got everything I ever wanted, so I’m just doing what I want without really worrying about politics or being accepted by the ‘in crowd.’”

This ethos culminates in an LP crafted for the late-night long haul that eschews trends and the potential lift conferred by big features for family-sourced vocals. Nearly all of the vocals across Wrong Number come directly from the VonStroke household, courtesy of the producer, his wife Aundy, and their children, Jasper and Ella.

In a Q&A with Beatportal, VonStroke discusses creating Wrong Number entirely on his own terms, how making bass music as Barclay Crenshaw helped shape the album, and reflects on the sale of Dirtybird for the first time.

Read the interview below, and catch Wrong Number live at one of three free, open-air parties across Chicago (June 14), Los Angeles (July 12), and Denver (July 18) this summer. Dial 229-544-2436 for a free RSVP link.

Wrong Number is your first album as Claude VonStroke since 2020’s Freaks & Beaks. How is your perspective different this time around?

Freaks & Beaks was my most intense production album, lots of weird sounds and tricks and producer concepts for the clubs. This time, I went back to my bedroom vibes, making music for me and not the DJs. It's weird the way the world works because it's streaming incredibly well for the public and doing really bad on the DJ sites – almost like the people can feel that's how I made it. This is also the first album I didn't have to try to fit into any kind of expectation of my old record label, so I was a little bit more free.

The LP feels noticeably moodier and more minimal than your previous four albums under the moniker. Does this shift reflect anything about your inner headspace these days?

Yeah, I’m not trying to be #1 or headline mega-festivals anymore. I’ll play some big shows here and there for people I trust and like working with. But these days, it's more about good experiences and less about banking as many dates as possible. I’ve done it all. I got everything I ever wanted, so I’m just doing what I want without really worrying about politics or being accepted by the “in crowd.” 

Over the long haul, I realized that I am unique. I don't play records that anybody else plays. Love it or hate it, I am my own thing.

Did you always intend to involve Jasper, Ella, and Aundy in the album, or did those collaborations just naturally emerge as you made it?

My whole family sings. It’s a great resource around the house. I have been doing this same thing since 2005, when my wife sang vocal snippets on "Who’s Afraid of Detroit?" It’s just that now my kids are older and can really contribute in a meaningful way. So I use them!  They are amazing. 

The album’s title is rooted in the idea that taking the wrong path can lead you to the right place. Do you associate that sentiment specifically with your life after selling Dirtybird, or do you feel it’s been there all along?

Wrong Number is even more me than the last time around. Last time, it was more of a group of people all trying to have fun. Even the name Dirtybird is fun. 

This time around, I’m talking about feeling like a misfit and not always making the right choices, messing up, and being a moron. These are all things I resonate with on a very personal level, much more than the more funny collective vibe of the old brand. This time, I’m addressing the feeling that nobody really knows what to do with me, even on a lineup – where do I go? Am I artsy, funny, or cool kids, or bassy? Who knows? It’s all a mess, just like life.

Stepping away from Dirtybird gave you a lot more time to focus on yourself and your next chapter, musically. Did it impact your creativity or relationship to making music in any ways you didn’t anticipate?

I literally did bass music for almost two years under my real name. Originally coming from hip-hop and jungle, it was something I always wanted to try. It was a whole new way of mixing, producing, and everything, so I pushed myself pretty far on that. I got to see a whole different side of the fans and shows. It was really cool. So when I came back to house, I realized I didn't have to be so precious as I might have been before.

After such a major transition, was there ever a point where you questioned whether leaving Dirtybird was the right move?

No never. I was no longer able to guide the ship the way I wanted it to go, so it was better to leave it than to be unhappy as the captain. For example, we had the option for “Losing It" by FISHER, which ended up being the biggest track ever. He and his managers just chose to ignore the option and put it out themselves, completely ignoring our signed deal. 

We could have sued them, but I realized I only wanted the track because it was big, not because I liked it. I would never actually DJ that track, so I chose to leave it alone. It was right around then I knew the label was headed in the wrong direction (for me, not for the fans – they loved it). Luckily, my wife and I had worked very hard for many, many years and had a brand name everyone wanted, so we sold it. 

You’ve taken Wrong Number on the road through a series of intimate shows across Japan, Europe, and North America. What does the response to both the album and the smaller-scale tour format tell you about where dance music culture is right now?

Great, mostly everyone has been out to have fun without their phone. This tour has been very much like the old days. I played in Leeds on a Thursday night, and everyone was just smiling and grooving, and I felt like it was all the way back in 2005 – we are all in it for the camaraderie and the tunes.

You joked on Instagram that there are still “a couple of bucket list clubs” that don’t answer the phone. Which clubs are still on your bucket list?

Robert Johnson, Grelle Forelle, and to do both aliases in Fabric across Friday and Saturday night.

Wrong Number is out now via VonStroke's own Wrong Number Records. 

Get it on Beatport.