Wednesday, December 01, 2004

on decks december 2004

Here's what I have received this month on CD. Get me a copy of yours and we will have a listen and post a thought or three up here. Eventually, we may even create some sort of rating system or something. Until then, this is what's on the street this month!

The HiddenAgenda - Touchez vos orteils, chienne
filteredPhunk@Musician.org

DownTempo Chilly. Kinda kewl on a late night with fire.
Bobby Duracel - N-Pyst
BobbyDuracel.net

Wow! PsyTrance. You shocked the hell out of me. I luv it!
Jon NuSkool - The Deep Blue
Syde-Sho.com
This got stuck in my hand again and now... it's stuck in my car's CD deck again.

Kid Icarus - Unified Citizen Project
KidIcarus.com

Haven't had a chance to listen to this yet, but I'll post a comment here when I do. Heard parts of it at a friends house and it sounded pretty good.

xplicit december 2004 charts

intro & photo by todd ~ It's been more than a couple of years since we've had the opportunity to hear Xplicit play here in Kansas City, but he's coming back, with a vengeance and a taste for Booty House and he'll be dishin it up for us on December 11. Here's just a little taste of some of the tracks you might hear. Believe me, there's a lot more where that came from. These are just his Cream of the Booty Crop.

Dance Mania #241 Playground Productionz "Orgy"
A sick track that makes everyone on the dance floor blush.

Assault Rifle Dj Assault "Detroit Summer"
Hot mix that has a lot of familiar samples, but the bass will definitely remind you that this is definitely a booty track.

Dance Mania #270 Jammin Gerald "Factory Forever"
Has a Prince sample that makes the ladies weak in the knees.

Dance Mania #249 Jamming Gerald "If you see em point them out"
All around booty classic

Dance Mania XTC #205 "Dj Funk"
A true booty anthem record.

Dj Godfather "Work That"
This song usually moves all house heads who are unfamiliar with the "rawness" of booty house.

CNTMN8TD Urban "Bust a nut"
This record is phat because it's a true mix of hardcore beat's with booty flavor added on top of it.

Dj Chip "Aww shit"
One of my favorite tracks because I love to watch people on the dance floor sing along, than half-way thru the mix, they realize they don't know the words. What can I say, I love having fun with the crowd!

Dance Mania #258 "Pump on the floor"
One of the few tracks that I still tend to loose it behind the decks. That's why I strongly prefer Shure needles (they don't skip on me when I accidentally bump the tables).

Assault Rifle Dj Assault "Ass-N-Titties"
Everyone who know's me know's that this is the track that pushed me to spin primarily booty house. Dj Assault is one of my icons!

crampton december 2004 house

Brent Crampton has a passion for house music. In fact, you could say he is a disciple of house music, as he says, "Some people pray with words... I pray with music." His style is driven towards jazz, funk and soul - the elements from which serious house music abounds. He can work it with jackin' sounds or take it deep when the crowd lets him. Most importantly, his music has a message. He began his love affair with house music in the fall of 2000 and after the successful launch of his career with the 'Deep Coffee House Tour' which brought house music to coffee shops all over Omaha, Crampton has gained residencies at the top clubs in Nebraska - Bricktop and 415. From his weekly at Bricktop entitled 'Rhythm - Spiritual Music For The People' where true house heads come out to work their bodies on the dance floor, to his art and music fusion show - 'ColorSound' - Brent Crampton has been pushing the boundaries of house music in the midwest. He has performed in Chicago, Kansas City, St. Louis, Iowa, New Mexico, and South Dakota, along side names like Skylab 2000, Venom and H-Foundation. "The music is relaxing yet invigorating, diverse but not disjointed - something many strive for, but few pull off." - The Omaha Weekly Reader

Wagon Cookin' - Every Day Life rmx - Lovemonk
Instrumental, soulful, jazzy and bossa nova come to mind when I think of this beautifully composed master piece. Make sure to check out their new full length album at their web site.

Johnny Fiasco - Soundz feat. dj Heather - uni.form
Anything that Mr. Fiasco does is smooth as butter. I chose this EP because it mixes so well out of the "Pista" remix of Every Day Life.

Julius Papp - Fall For You - Neodisco
Sometimes a room full of people just need a straight drum track to set an atmosphere, and this cut has plenty of them.

Miles Davis - Kind of Blue - Sony
A bit old, but undeniably a classic of post-bop jazz. While mixing this with a beat is nearly impossible, most of the tracks on here go rather well with house music when you drop the low and highs out.

Blaze - My Beat feat. Palmer Brown- Slip n Slide
Anything with intelligent spoken word courtesy of Palmer Brown is an automatic winner. Add a high energy beat and a break down that samples an accapella from Q-Tip (formerly of Tribe Called Quest) and you have a guaranteed classic.

Joey Youngman - D-Funk - CDR
Peak-time house with a synth line that raises the energy level.

Swirl People ft. dj Heather - We Used To Party - Aroma
Can we say instant classic? I'm predicting that Heather's vocals on this track will be sampled for years to come. Any old-schooler can relate to the message in this song: "When we were young, we were having fun. Our lives in music had just begun. Now that we're older, the game has changed . . . It's up to us to bring it back."

Joey Youngman - Goosebumps EP - Tango
Typical Joey Youngman style with that get-down-and-boogie jazz type of flare with the hip-hop influence.

Johnny Fiasco - Rhythmic Solutions - Tonic
Johnny is infamous for perfectly blending together the emotional release of deep house and peak-time percussion of a house stomper. This track is an intelligent display of his vast knowledge in music theory and cross-genre appeal.

Miguel Migs - 24th St. Sounds LP - NRK
Need I say more? After being the poster child for Naked Recordings, everyone knows this guy can deliver the goods.

brock december 2004 charts

bio courtesy of dave brock ~ photo by kourtney anderson ~ Brock began dj'ing in 1989 on WKNC-fm, where he founded and hosted a mix show while attending North Carolina State University. His early influences are his most profound and come through in his playing to this day. In the early 90's, UK progressive house by way UK artists like Sasha and Digweed combined with Orlando's Dave Cannalte, Chris Fortier and Andy Hughes dominated his sphere of influence. However, as he traveled from party to party across the US, Brock picked up much from the likes of Garth and Jeno of the Wicked crew and the Hardkiss brothers in San Francisco, Danny Tenaglia and DJ Duke in NYC, and Derrick Carter and Terry Mullan in Chicago.

He moved to Chicago in 1995 to swim in a larger pond and expand his musical horizons. From 1999 through 2000, he held a residency at the fabled SmartBar with Robbie Hardkiss and continued to play there regularly until moving to Florida in 2003. In the 8 years he lived in Chicago, Brock played with some of the heavies hitters in electronic music, including John Digweed, Seb Fontaine, Peace Division, Derrick Carter, Scott Hardkiss, Halo and countless others. He also played extensively throughout the US and Mexico during this time and continues his travels today.

Brock's unique programming skills and deft touch on his trademark lengthy mixes make him a standout in an otherwise incredibly crowded field. The deep, spacey, trippy house grooves he seamlessly combines with some of the choicest current and classic progressive house cuts makes his sets unique affairs that have to be heard live to be properly imagined.

Top Ten (Alphabetized)

Bluefish - Been Too Long
Sleepfreaks continue their top-notch production with another tight, trippy mix.

Circulation - Graphite
Tech-house pioneers continue their unbelievable run with a Donna Summer-styled number with a rumbling bassline.

Deepsky - Talk Like A Stranger
Burufunk mix takes Deepsky into electro-breaks territory.

Felix Da Housecat Watching Cars Go By
Track taken from Sasha’s latest remix/mix project is a stonker, but Armand Van Helden’s filtered madness is the one I reach for.

INXS - Need You Tonight
Danny Howells revisits 80’s classic – kept familiar guitar stab & cut up the Vocals - tasty.

Jaydee - Plastic Dreams
Steve Lawler’s tribal interpretation of one of the original progressive jams.

Alex Neri - Housetrack
Alex goes retro with this 9-minute slice of classic Italian funk.

Orbital - Belfast
Leama & Moor take party-closing classic in directions the Hartnoll brothers might never have imagined.

Powerplant - Let It Go
Mellower offering w/vocals and a tasty bassline make this an inspired effort.

Slacker - Best Boyfriend
Slacker delivers and reminds us why he stays three or four steps ahead of the pack…this one’s got a downtempo mix, a dirty-electro-progressive vocal and a filthy tribal mix by Scumfrog.

ac & lannan chill charts

photo by DJ Hardrive ~ After a fantastic performance at the recent phocas event, phlashback, many folks expressed a desire to see these two perform another Chill set together again. phocas figured what the heck. Let's do it again at the third anniversary party as a kind of pre-party cocktail hour. With new, unreleased and original tracks, combined with live Sitar, you don't want to be left out in the cold on this one! Here are just a few of the tracks you might here.

Kerry Lannan is a Washburn University Music Performance Honors graduate and has performed in many different musical settings including new music, electronic, free jazz, improv,symphonic, and ska. He has performed, toured and recorded with the Ray-Guns, Andrew d'Angelo, Morthana, Billy Higgens, and AC. Kerry was recently honored to perform with Karlheinz Stockhausen in Germany and received a Stipendien Music Prize at the 42.Internationalen Ferienkurse Fur Neue Musik at Darmstadt (imd). He performs on trumpet, guitar, sitar, keyboards, laptop, filters, analog synths, software synths, potentiometers, Gameboy, and Nes.

Karma Del La Luna "Travel Without Moving" (Yo Yo)
Organic oranges make love to Sasquatch through space and time, leaving in their wake the sounds of a collective universal orgasm.

Doof "Grantchester Meadows Remembered" (Flying Rhino)
A ray of pure sunlight melting away winter's spell, just long enough for a stomp and a blissed out smile on the dance floor.

The Lone Stuntmen "Thank You For Smoking" (Dubmission)
A richly blunted number of skunkadelic proportions, chuffed just right. Please pass the pomegranate.

DAB "Dream On" (Cafe del Mar)
A deep and rich atmosphere laid out on white sands and lush blue waters. Summer has come early this year with this groover.

"Conet Project" (Irdial-Disc)
A four disc collection of short wave radio recordings and number stations. A very in-depth document for the open-minded fluronaut.

U2 "Sleep Tonight <Dimitri's Magical Trumpet remix>" (Unreleased)
An odd transmission from the other side comes through in glorious technicolor sound. Do not operate heavy machinery while listening to this one.

Banco de Gaia "Tongue In Chic" (Six Degrees)
A wonderful dance floor burner filled with a killer bass line and lots of advice on the current state of things in the scene. This is an absolute must have.

Kerry Lannan and AC "The Dragon" (666 Zip Code Town Rekkids)
A deep bird's-eye-view of an epic equation laid out in plain color and cosmic pudding.

rx "Dick Is A Killer <Dimitri's Magical Trumpet remix>" (Unreleased)
This masterpiece gets the added Dimitri's Magical Trumpet touch, as if this track couldn't get any better. It drops December 11. Will you be there?

Dr. Toast "We Saw Color" (OEM Recordings)
Late end psychedelic chill out served with a healthy dose of lysergic confections.

steppa style

interview by by phelyne ~ photos by bassbinboy ~ Steppa Style is my favorite dj/producer at the moment. I've heard this man play entirely flawless sets live on his radio show on multiple occasions, blending and manipulating everything from old funk records, all the way into the most cutting edge ragga. On top of that, he has so many wonderful tracks and remixes under his belt that I feel I have truly gotten to hear a one of a kind musical skill that is unparallel. This seemed to be a great opportunity to ask him a few questions about his world of music, since a few people have expressed interest in learning more about him. He will be here for a small event I'm throwing in December, called Operation Oldschool. There is a lot to learn about him. He runs an online radio station Movement Radio, that has a very large and dedicated fan base. The station has 24/7 dedicated streams each of jungle, hiphop, and raggae. This man is a professional Chef to boot. You can't get any better than that! So, without further ado, here is what Steppa Style told me during a chat.

First id like to know how music entered your life.

The first time music actually touched me, I was like 6, sitting on the steps outside my bros room, listening to his pink floyd records. Then in Jr. High, I became a drummer and played classic rock style. Kind of like really light punk. More melodic, with a lot of guitar solos and stuff. Like Loli and the Chones, The Cramps Man, and especially Man Or Astro Man. Then freshman year, summer before I went to my first rave, the moment I saw the dj I wanted to do what he was doing. I had no idea what he was doing. I though he was making the music there, not playing records. That is how clueless I was. So I started buying records. Everything from Techno, Hardcore, Trance, House, and Jungle. Actually my first BIG rave was called CIRCA '96. So I met up with a crew called the Integral Gathering. They where a spin off the famous Moontribe group, after they got mainstream. So we would throw these monthly outdoor parties put on in amazing California locations, from the mountain peak to the desert cathedrals of rock. But at the same time, these kids were not offering the style of music my soul craved. It was later that year that I saw the man himself R.A.W. and I knew that jungle was my calling.

So I've heard you play live and you are amazing. Would you consider yourself to be a turntablist? How long did it take to get to you're skill level and at what point did it click for you?

Really, it has just been in the past year, that I have started to bring a strong turntablist element into my sets. Once I heard the Dj Shadow and Cut Chemist Brainfreeze and Product Placement mixes, I knew that more had to be done with jungle. Not just mixing the record, but using the turntables as an instrument. Audio1 was a big player in introducing me to the Masters of the art. I did not like rap when I was in High School. Once I learned to get over it, I accepted all styles of music from Funk, to Soul to RnB. Funk is a MAJOR influence in Drum and Bass and I'm trying to bring that back. Kind of like what Zinc and Hype where doing. People don't know, but all their sample are from classic Funk tracks. I mean, almost every record made from '94 to '98, every drum hit, every sample, was from a Funk song. I'm trying to bring back that element into music.

Sounds like you know about producing tracks. Do you produce?

Of Course. For the past two years, I have really gotten serious. Just started off by doing cheesy remixes, working with others breaks and loops. I have one record I have put out that sold out in 3 months under my own label, Movement Radio Recordings. The record was the Young Bloodz Ep. It was a jungle track but also had a vip and a ragga remix. The vip was Beenie Man and Ms. Thang and the ragga remix feat. Sizzla. The A side was a remix of the Lil Jon original.

So, you've been producing for a while. Tell me more about where you see your future as a producer.

Well, like allot of dj/producers, I see myself in the future working on more of the live element. Having a group of mc's that work with the music I make. Kind of like Cut Chemist and J-5, but bringing in the harder jungle drums with the Funk, Old Skool Hip Hop element. So yea, I see myself DJing my own beats, with live vocalist, in the future.

Do you have any immediate plans to put more of your tracks out?

Expect to see a few records out around the year's end. Keep tuned into www.movementradio.com for all the details.

You came into the scene young. What would you have to say to the people just learning about our culture?

Like everything in life, you need to find out what you like about it. Once you know what you are there for, you are in for life. Find the elements that draw you too it. With me, it is the complexity of the beats that draws me to jungle. And with DJing, just being able to manipulate the sound, real time. Instead of listening to the music, you are involved with how others hear the final product.

I'd also like to bring up the fact that you are a Chef. Would you tell more about that side of you?

Well, music and food have always been competing in my life for what will be my main focus. They both came at the same time and both developed at the same rate. So I took the reality route and decided to get my Chef career off the ground first, cause in the end, that is what pays the bills. Now that I am comfortable with being a Chef, and my skills, I believe it is time to focus on music for a bit. From '99-2002, I was pretty much gone from the scene. When I moved from Southern Cali to Northern Cali, I thought I was the only Junglist, so I kept to myself and focused on becoming a 4 star chef. Now here I am.

Maybe one day you can combine the two. Jungle with Food. That would be wonderful fun. Have you ever thought of doing anything like that?

Well not so much jungle specifically. I think just bringing in the music element as it is, would be a healthy first step. But there have been some ideas. A lot of people have come up to me with ideas of starting a night club/ fine dinning. But one that i've really had, would be a cooking show, with the youth/urban culture showing the new generation of young adults how to cook food that the younger generation would actually want to cook. I would like to bring in the hip hop/ dance hall world music element into it, also.

Sounds like a very nice idea. Hope to see that materialize for you in the near future, and we wish you luck. Thank you for giving us a piece of your mind. See yea on December 17th. To find out more information about Steppa Style, please visit his web site at MovementRadio.com. He plays live every week, so catch one of his sets if you can.

sense one

interview & photos by phelyne ~ Sense One is a not-so-native native to the Missouri area. No longer in our area, but still reppin hard for both the east and the west, is my good buddy Sense One. This cat is originally from New Jersey. Through circumstances of life, he ventured here. Since his arrival a few years ago, Sense One has been very involved in the Kansas City, Lawrence, Manhattan, and surrounding scenes. Always bringing the old school mentality to the plate and passing the positive vibes, you would have remembered seeing Sense One on the mic, in the break circle, or next to the speaker. He has recently taken up DJing as well.

Sense One is a true hiphop head. He possesses the 4 basic elements of hip hop, which are BBoying, Graffitti, MCing, and DJing. Now that our good friend and supporter has moved back to the east, now staying in Pennsylvania, I wanted to see how he has been doing.

So for this first question, I'd like to know why you decided to come to the midwest?

It wasn't a decision that I got to make. I joined the Army in January of 2000, my first assignment being Korea. I was told (a.k.a. lied to) that I would be able to choose wherever I wanted to go after that. That never happened. When I opened up my magic envelope mid-way through my tour, it said Ft. Riley, KS. I put my best foot forward and jumped in.

So had you already been introduced to electronic music before you joined the military, or was it something you learned about over seas?

I had always had an interest in music that was off the beaten path. I was one of the only kids in my fifth grade class in a primarily white 'burb in Jersey that listened to Public Enemy. But my first real taste of "electronic" music came in the form of Ministry, Front 242, and Skinny Puppy, in about '91 or so.

So would you say that hiphop was a breakthrough form of music for you?

Hiphop was definitely a breakthrough. It had a way of expressing opinions and feelings that just wasn't being done with most music at the time. When I used to turn on the radio and hear New Kids on the Block talking about how their girl got away, it made me sick. Poison running around in spandex and poodle hair. None of that was real. What was real was when Chuck D or Ice T would talk about how we need to be careful, because if we're not, then we just might not be able to speak our minds as openly anymore. Also, the beats, even as far back as LL's "radio", there was nothing hotter than a hard bass hit. The actual expression and articulation were what sealed the deal though, the intelligence of it all. But yeah, I'd have to say hip-hop and punk rock were probably my two biggest influences.

So how were you actually introduced to Electronic Music?

Real Punk, Dead Kennedys. My punker friends got me into Ministry and stuff, and not long after that I heard "The Orb's Adventure's Beyond Ultraworld" in about 93. That blew me away, and still does, the way that Dr. Patterson created a whole other universe built upon samples and drum loops. It also really opened up my mind. But it truly made me realize the possibilities of Electronica.

So when you were overseas, did you try to experience any of the Hip Hop or Electronic Music? If so, what's your full report, solider?

Well, while I was in Korea it took a little while to find the scene there (which didn't even really begin until the very late 90's). After some nosing around for about two months, I found an area of Seoul called Houngdae, which is about a three-block radius of clubs and bars. There was My-yung-wol-gwan, which was kind of our "home base", it was run by our friend Rob, a teacher from Vancouver, BC, and one half of Sickboy Productions. He'd let us play there and chill and whatever, but there were about 5 other clubs in the general area: Joker Red, Mata-mata, and 108 pretty much catered to the house-heads, MI and Theater Zero for the trance heads, Noize Bassment and Feedback for hip hop, and our lowly little hole in the ground, 101, for Drum n' Bass. 101 wasn't even really a drum and bass club when we found it. It got used for 2001, A Space Odessey, which was the NYE party for 2000-2001. A guy who later became my friend and DJ, Durante from Seattle, saw it's potential and rounded up the few drum and bass dj's and put a night together...Our other residents were Fujiwara (who has since opened for almost every major D&B act to go through Seoul), Kid B, and 0909...there were others who would drift in and out, but those were our soldiers, like clockwork, every two weeks. D&B was an entirely new concept to the Koreans, who pretty much only knew 4/4 beats, and most of that was that disgustingly sweet stuff you hear on bad anime. We had a relatively decent turnout, considering. We had about 40 regulars, and on a good night we might swell to 70. Unfortunately, the club closed down in the summer of 2001, and so did our night. There's a very strong hip hop scene in Seoul as well. Feedback and NB would have turntablist competitions on a pretty regular basis.

After you came to the midwest, what, in a nutshell has happened musically in your life?

Once I got here, it was kind of like starting from scratch. I gotta give mad respect to SyQuil for at least pointing me in the right direction, and helping me to meet some folks. I continued to write and focus on my lyrics and finding an outlet to use them, which was hard, being at Ft. Riley, but I still made the best of things. Once out of the Army, but still in Manhattan, I was able to put a lot more work in, not only as an emcee, but as a catalyst. I like being that, and being behind the scenes putting in work to see our music grow and gain respect as much as I like hyping up a crowd. I spent a few months doing Ultraviolet at Abe n' Jakes in Lawrence, and from there I met the Tribal Vision crew. We had very similar ideas of where we wanted to take the scene in KS, and I became their voice. I helped to throw a few parties in Manhattan, and at least give those kids there something to look forward to other than a night at the cowboy bar, culminating in what I think was a great success, Bangin' Under the Stars, in June of this last summer.

What are you currently doing with music?

I'm sort of on hiatus, but yet not. I've been spinning a bunch, mostly drum, bass, hip, and hop and should have a CD ready to rock and roll by christmas. I'm also building a studio with a close friend out here that should be done within the next couple of months. We're aiming to have a 2x4 setup along with a pretty decent bank of synths, drum machines, sequencers, and rack effects. And we're going to get crankin' on some next-level Ming&FS/Spooky/Busdriver/Dylan influenced stuff. I'm also going to be phocas east coast correspondent!

So do you plan on coming back to Kansas City anytime soon?

Hopefully in January sometime, if the road doesn't get too bumpy. I've been talking with a few friends in some neighboring cities to the east and west of KC about coming there, and considering that KC is right between them, I'm hoping I can at least make an appearance.

lady d

interview by Brent Crampton ~ photos courtesy of ForSoulOnly.com ~ Chicago has grown many house enthusiasts over the years, but unlike Lady D, most weren't around from its inception. From those early years of inspiration, Lady D has been carrying on the tradition of innovation and creativity.

Starting the For Soul Only deejay collective, Lady D brought together notable names such as Mark Grant and E-Smoove. They put on a number of memorable parties in the Chi-town area and then moved on to AM after-hours parties which were the first dine-and-dance events in Chicago. Next came the SuperJane Collective which includes deejays Colette, Dayhota, Heather and Lady D. The all-female roster toured the nation, made TV appearances and were featured in magazines such as URB and SPIN as well as the cover of XLR8R.

Her newest endeavor includes the record label D'lectable. With releases already out with artists such as Glenn Underground and Thick Dick, Lady D has all the right connections and all the right ideas to make her label work.

What prompted the move to start a record label?

I love doing A&R. My knowledge of music, all music, makes me good at it and I really like using my ear to find what's new and hot. When I worked at AfterHours Records, I did well at signing acts and finding new talent. I even released Kaskade's first record, so when no one was listening, I could hear he had something. I live for stuff like that. So, when I met my partner and we talked about businesses we could create, record label was at the top of the list.

The slogan for the company is "Chicago's premiere music boutique." How do you set yourself apart from the rest?

It's all in the marketing. A lot of people have labels, but beyond putting out music, they don't do much else. Most producers start labels to put out their music but the packaging, the PR and everything else just lays there flat. I started a label to market music and House culture. My partner Steve is an accountant so he keeps me analytical and focused as well as creative. D'lectable is a marketing boutique because we can take anything from music to marshmallows and put it out there for consumption in an exciting and unique way. Whatever we decide to market, it's going to be D'lectable.

Expand on "past, present and future house." Describe the style of music on the label.

Well, that's it exactly. I reach back and grab artists who have a past, some sort of history in the music. Every release features an artist from House' music's past, someone who is relevant today in the present, and someone who I think will be relevant in the future. I design the releases to feature 3-4 different artists so I can drive this point home and give the buyer more value for their money.

Tell me about the releases you have in store for the future.

I have something special planned for Miami's winter conference that I won't discuss, but I will tease you with "triple pack featuring the top names in House - believe it!" Aside from that, the next releases will feature an array of fantastic new talent that I think have a definite future in the industry.

Having a dj career that has lasted almost a decade, what do you feel were some of the more important aspects in getting yourself to the prominent stance you are in now?

The most important aspect was not getting caught up in the scene. Not destroying myself with drink and drugs. I believe moderation is sexy, so that's how I live. Other than that, just getting up everyday and doing the damn thing. Really thinking, what can I do today to challenge myself.

Tell me about the AM fine dine and after hours parties?

A.M. stands for all-music-all-morning. I had a crew back then called FSO - For Soul Only - and I had the good fortune to meet the guys who owned Schuba's - a prominent country western bar on the city's north side. Somehow I talked them into letting me have these parties that started at 2 a.m. and went until 8 a.m. They served top notch food and already had an awesome sound system for the live bands that came through the bar anyway. It was ridiculous because guys from the gay bars came, the club kids came, industry staff, the ravers and the househeads all came through, and we weren't serving alcohol! Me and my crew of Mark Grant, Mel Hammond, Frique, Jevon Jackson and Matty played each week and it went off. Always packed and always fun. Really good times. This is when afterhours were everywhere and you could pay cops to
be security at your afterhours party.

Since you were heavily influenced by legends Ron Hardy and Steve Hurley, would you have been able to reach your level of accomplishment outside of Chicago?

Yea, I don't know if I had grown up anywhere else if I would even be a deejay. Seems like fate that I was born and raised here. Seeing those guys as a teenager really had an impact on me. Hardy was an original, very irreverent and almost dangerous the way he would play. Steve was very much a looker, a mesmerizing kind of idol and personality. If I lived somewhere else, I'd be like most people who's history starts the first time they saw Derrick Carter or Mark Farina or something. I feel like I have an advantage over most because I do have the experience of seeing house as it unfolded.

So you're a single mom with a full-time music career that includes TV appearances, interviews in URB, Spin, the Chicago Tribune as well as upcoming gigs in L.A., San Francisco, Seattle. All this includes late nights and long flights. How do you manage the mom aspect, and did it initially slow down your career?

Absolutely it slowed me down initially. When I got pregnant, SuperJane was just hitting its stride. I kept playing in some places, but not as much, and there was some standoffishness from people and some judgments. Colette, Heather and Dayhota had a full year to really break open as for touring, publicity and all the rest. I mean, how much fun could I be then with no drinking, no drugs. So I just laid low and did select events. After my son was 8 months old, I went back at it. My parents and family are very supportive. I limit my traveling to weekends mostly and Monday through Friday I'm a full time mom. On the weekends he spends time with his Grandparents and it's all good. When I need to tour a lot, I work around his vacations and school breaks. My Grandparents are retired so they love having him.

Have you reached a point in your career that you feel satisfied with where you are at, or as Melonie Daniels sings, is their a voice inside saying, "don't you ever give up?"

I work on staying in the present. So in this moment, because it's all I have, I feel very satisfied. I look forward to the future and keeping it that way.

Be sure to check out Lady D's web site ForSoulOnly.com

hardmind

interview by sense one ~ After my move to the east coast recently, I was able to track down two of the innovators behind HardMind productions, a crew that has been dedicated to bringing quality events to the Tri-State area for almost four years now. Both respected DJ's in their own right, HowHard and Integrity have been putting their heart and soul into the scene since well before they started throwing events. On December 4th, they're gearing up for "Flashback, The Time Machine", their biggest event yet, a warehouse party designed to give the new-schoolers a taste of the old, and put a smile on the old-schooler's faces.


How long have you guys been around?

Howard: Brian & I have been in the scenes for quite some time... one of them being the rave scene. We didn't really know each other until we entered the DJ realm. About 4 years ago, I started a crew called Hardmind with my friend Jamie (DJ Mindgame). How HARDMINDgame. Jamie came across Brian sometime in 2001/2002 from some demos, we offered him to play our yearly free July 4th jam: Blending Formz, shortly after, Brian became the 3rd force in the crew. Later we brought in 3 more DJs (Mannchild, Sanz One, DJ Big Ears).

Where are you based out of?

Howard: Long Island, NY.... Brian is from NJ, but we've more or less adopted him since he is in LI almost every day. Brian and I chose to venture outside Hardmind and starting doing events about a year ago under my side project Raw Underground/Raw DJs and his Mind Grind. We've done about 6 parties since...

Brian: we're very similar, we're both very active, we're both very passionate,

Howard: and we haven't killed each other ... yet. That's a big factor.

Brian: We get along very well, and have similar goals.

Howard: Not many people can click so easily and move past just one event. We've collaborated with other crews, DJs, etc since Hardmind started, and trust me, we work with maybe 2 TOPS of those people.

I know, it's difficult; it takes a very special kind of chemistry.

Brian: we both focus on the satisfaction of the party goers and the progression of the culture as opposed to the advancement of our individual entities.

How was the Time Machine born?

Howard: that's Brian's brain work

Brian: That stems back from why I become a DJ. I felt that the scene took a turn for the worst around 2000. I felt production suffered, it lacked heart and creativity. I the felt DJs with heart deserted the nyc metropolitan area scene.

Howard: or ran for their lives!

Things were that bad?

Brian: the soul and vibe of a culture with unlimited potential was replaced with violence and corruption, at least in my eyes and of course (negative)attention from mainstream media. It more or less self destructed around that aforementioned time. In the year 2000.I didn't feel comfortable going out, but I still loved the music, it had touched me unlike anything had before, but the environment where it existed was so unfavorable, that I decided to simply purchase turntables and at the very least keep the memories of years past in my house.

But instead you couldn't keep it there?

Brian: I couldn't. I saw so much potential lost that I vowed to bring back... wait for it.... the integrity back to rave, hence my name. I wanted to bring back the sounds and vibes that drew me in, I wanted others to experience what I did and eventually, as Howard mentioned, his partner heard my demos and they brought me out to their day jam. It all unfolded from there, and The Time Machine is all about reuniting the old school and the new school... the time is right to unite what drew us to the rave scene with the new school who respect the old school. It's a statement that the good guys will win and that with unity, anything is possible.

What do each of you think we're going to have to do, collectively, as a community, to push this scene to the next level?

Brian: Work together, put egos aside. Eliminate the mindset of trying simply capitalize, who view rave simply as a business. We don't view it as a business, however we do work as a structured, professional group.

Howard: My concern is for the locals, regionals, and those bigger DJs we know still have that love in them.

Brian: Yeah, at our very core, we are party kids, ravers if you will.

Howard: 100%, first and foremost, we are on the dance floor with everyone else.

So what are your five favorite tracks right now?? If you had to pick....

Howard: Tracks!

Brian: tracks, haha, okay...

What would be the first 5 you pick up and play?

Howard: oooh... give me a minute to think about that so I don't ramble ...

Brian: First and foremost, one of my most favorite labels right now is Passion records. They produce a unique blend of Hard NRG and Hard Trance, but they break the definitions of each genre. All of their releases are dark, aggressive, and driving- raw, dance based rhythms which I always aim to feature. Grady G- Crazee on Passion is one of my fave releases at this point, Titanium Trax 1 by DJ No No with a remix by Karim, the Guy Mcaffer remix of "9mm is a classic" on Tripoli Trax, Mobile Dogwash-How Does it Smell on Dirtbomb Records, and finally "Jupe-The Negotiation" on Flashpoint records. All of these will be on my upcoming CD.

Will it be finished by the party?

Brian: Ideally, but we're so busy, I can't say for sure.

So what about you Howard? What's in your crate?, Deathchant?

Howard: I've more recently moved towards the more industrial/techno influenced end of Hardcore/Gabber, but I'm such a sucker for anthemy or melodic stuff. I love DC, Pys Genocide too... all that stuff is amazing, but more of the slower, grungy stuff.. The Rapist - The Ride (always my first track!!!) ... not soo dirty as it is simplistic and beautiful. Weapon X - Coming Down .... just came out. I just played this track (if I'm thinking of the correct title) last week at Thundertrax.... has an amazing melody. It's off of Enzyme records which are one of my all time favorite labels. Enzyme always comes through for me. The whole Weapon X 12" is good. There's even a weird, almost trance song on it. Project Omega - Protusan Attack ....another Enzymne release. Hardcore Blasters is another label I've been grabbing a lot more in the last year. Has the great melodic synths and anthemy melody line. DJ D's Step on Stage gotta be my top one now. Also, Delta 9's new release on AWW... and his last one on Drop Bass. That's the sick grungy stuff... amazing.

bpm? if you had to take a guess...

Howard: the more techy/industrial stuff is between 150-165, the melodic stuff Id say is from 160-175. I usually start slow in my sets with the techy stuff or recently with a hard techno track (Working Vinyl, Carnage Records), and work into the anthemy melodic stuff. Then try to hit some older stuff... like old Buzz Fuzz, maybe some Pysc Genocide or DC. I think some aren't really grabbing the slower stuff but I don't shove it in their face.

I'm pretty stoked to hear all you guys, I must say, I haven't been to a "large" NY party in a long time.

Brian: We're very excited about this. We've worked very hard, have chosen our DJs wisely Howard: There's people who use some of the decently sized clubs in the NYC area... but... sometimes that gets old after a while.

Innovation is what keeps it new, I support that as much as you guys.

Brian: This is different though. this isn't linear. this is taking a risk, stepping outside of the box,taking the culture in a different direction from where it stands now. We step away from politics, we don't satiate promoters and friends.

Howard: One of my favorite things is to tag with DJs who spin similar (and sometimes not so similar) styles. It opens a whole new dimension for your sets.

Brian: Because it has the potential to bring the best in each individual dj.

Howard: You work off of each other, the energy, and the challenge of going at it on the spot. Throwing down a hot track and turning to your friend and being like, "Top that!"

It's even more fun when you don't know what's in the others' crate.

Howard: If you are a good DJ, you can take the challenge.

Last question, do you foresee a growth in "traditional" parties?

Howard: I can see things happening in waves.

Brian: Right, we're at the beginning of the new cycle, and there's a lot of potential. Those at the forefront control what direction it goes.

Howard: We have more of a clean canvas now than we've had in the past.

Brian: so there is potential for growth and success if we choose that path and nurture it with the right intentions. We're in a very delicate situation, we have the support of a lot of people at this point. If we treat them well, there's no reason why we can't progress to levels that we've been at in the past. If we take their money and repay them with less than stellar events, we'll lose them and have to start all over again.

Howard: This time avoid the mistakes made in the past as well.

Brian: We know what we would have wanted in that position, as the party kid, so that's what we try to deliver.

Howard: I mean, how many promoters do you dance with on the floor during their party?

Brian: and that's why I feel we are successful.

Howard: We are not disconnected with the people down there. We want what they want.... I would go support a party I feel is worth it. I've paid for almost every party to this day... because I want to support the people who do what we do. The DJs, the promoters.... who ultimately create something for the party kids. In the end, we're here for the love of the music and each other...

Thanks guys, good luck...

Find out more about these guys at RawUnderground.com, HardMindProductions.com, DJIntegrity.com & DJHowHard.com.

dj cbx

interview by phelyne ~ photos courtesy of Dj CBX, out of California, runs the record label LA Abstract. He has been independently running it for a while now. This guy has a first hand perspective of what its like to be a musician and business owner in today's economy. Good music is hard to come by, thus inspiring people to make change to accommodate that craving for good tunes. Here is a guy who has decided to dive in, take a risk and start a label, in the name of the music. Not a easy thing to do, but worth the effort. This is how he sees things.

So, tell me how you got involved in the music industry?

Well, it started about a year ago. I was getting kind of sick of a lot of the crap that was coming out in the D&B scene. So I decided to do something about it. That's when I started La Abstract to promote the sound I enjoyed.

Take me back a little farther. Tell me about what your influences in music have been before you discovered electronic music.

Well, basically, I used to be into metal when I was younger. Back in high school I was a lead singer in a metal band called Detox. But after that fell through, I started making Hard Techno. I did that for about, I would have to say, 2 years. Then I moved onto hardcore, back in 1998. I found it rather limited because there is only so much you can do from a production stand point. That's when I started really getting into D&B (drum and bass). I remember the first song that hooked me was Noise Check by Capital J. So that's really what got me into the scene.

Okay. So you started up L.A. Abstract. What were your immediate goals with it?

Wow! That's a tough one. Let me see. I just wanted to bring that hard hitting sound that I fell in love with coming into the D&B scene to the masses. That was the ultimate goal. But in a financial aspect, I was hoping to make money, but that idea quickly faded. When I come to think about it, a lot has changed from when I started the company.

So would you say that you are still doing it because you love it and it's not all about the money, even though it takes money to keep the art alive?

Definitely. Here is a word from the wise; People. If you want to make money start up a boy band label or a metal label or even a polka label. There are only a few people actually making money in the scene and even then it's not enough. But ya, I have put way to much money into this company. But you know. Live and Learn. I know I'm getting wiser with my business ventures. But it's my passion. It's a very expensive passion, but still what I love to do.

Would you see yourself still doing it several years down the road from now, if the money wasn't a factor?

Well I don't care if money is a factor. I will still be doing this. It's what I love to do. There is nothing short of a bullet or maybe a heavy car that can stop me. I see myself producing D&B when I'm 80, have a grand child in one arm, and a 40z in the other. D&B 4 LIFE!!!!!

I'd love to still be rocking out to jungle when I'm 80, as well. Sounds like a grand old time. Thanks for the interview, Dj CBX. For more information about Dj CBX or La Abstract, please visit LAAbstract.com.

coincidence of musique

by Brent Crampton ~ photos by Misha ~  With the every internet slob to zoo animal coming out with a website, it is no surprise that domain names are hard to come by.

But what are the chances two entrepreneurs would be looking for the same domain name, at the same time, in the same city?

That's what happened when Dan Pieper wanted to start a website for free music downloads, and Ethan Bondelid began a website to promote his electronic music production company.

To break it down, over a year and a half ago, Pieper bought the UltraMusique.com domain, and then soon after, went to buy the EssentialMusique.com domain. Unfortunately, by the time Pieper got to it, Essentialmusique.com it had been bought by Bondelid, just minutes before. Oddly enough, Bondelid originally wanted the website url for his company, Musique, to be Ultramusique.com. Since Pieper had already bought the website, Bondelid went for EssentialMusique and snatched it up just before Pieper could.

Confusing?

It was also confusing to Omaha natives when the two websites came out at the same time. "I had people coming up to me thinking that I was the guy throwing the boat parties" Pieper said. "All along they were just confusing me with Bondelid's company."

Pieper and Bondelid didn't know each other at the time of the domain name incident. As word traveled around, they soon made acquaintances. Strangely enough, both websites were focused on the same types of music, mainly various genres of house with hints of breaks and techno. The difference was they covered different aspects of the industry. According LJ Munz, the web designer for UltraMusique.com, Ultra's main feature was providing high quality mix sets of local and international deejays. Everyone from international deejays such as Carl Cox, Hernan Cantaneo and Sasha, to local guys like Myth, Slick Cell and Glenn Okada. Through the past year, UltraMusique.com has recently gained an hit count of 1,000,000 a month, with most of the traffic coming from an international crowd. Their biggest market, according to Pieper, is coming from Germany, Brazil and Poland. These are just a few of the far-away cities the site is attracting through a grass-roots promoting tactic.

Bondelid's company, EssentialMusique, focused on local events in Omaha. Whether it be weekly events at top notch bars and clubs, or infamous one-offs events like the recent "Something Wicked - Goth Ball," or any of the boat parties, EssentialMusique was the company that brought electronic music into the club scene in Omaha. Bondelid also successfully brought some of Omaha's best talent under one roster, names like Myth, Superstar Dj Lee and Wizzo.

Almost as if the two were destined to be together from day one, EssentialMusique.com and UltraMusique.com have recently merged together under Ultramusique.com. Now with local and international traffic, the promotional company is looking to be very promising.

"Our mission is to make Ultramusique more of a lifestyle web site, rather than just music downloads and events" said Bondelid. With a website focused on people interested in the nightlife, fashion, art and music scene, they are striving to bring about a new image and lifestyle, "instead of what's been handed to them," said Bondelid.

phocas cubed

Wow! Three Years? It really does seem like only just a little while ago that I snapped that first photo that opened the door for what has been a really fun and interesting trip through the rave and club scene here in Kansas City as well as points here and there all over the United States.

The first couple of years I brought you the electronic music dance culture, through photography without really saying a whole lot about it. My only goal was to bring you inside the party. There always seemed to be something missing though. There was a story taking place, one that begged to be told. I kept reflecting back to why are had started this. Initially, it was to be a bit of photo-documentary on the rave scene, but it really did progress much further than that.

In the past year, I started up the Zine portion of this web site to help inform and educate those that wanted to know why we do what we do, as well as to help provide a forum for local DJs to gain recognition.

On top of all of this, I was attempting to put this whole story together only to discover what I had already known from the beginning. This wasn't just a story that you could put together over a couple of years. I may still very well sit down and write about those first couple of years one day, but it will be awhile. This story of this House has been going on for quite a long time now. Fortunately, I got to see one of it's most influential waves in the late 70s.

This story reaches farther back than that though. This story reaches back to the very first tune that made a person want to get up off of their feet and move their body, whether anyone else did or not.

It was that way the first time I heard House, in it's most infantile form, and it's come a long way since. It's for this reason that on the third anniversary of this web site, I bring you phocas "cubed", a night of some of the best House music at the one club that has done a lot to support the local House music scene here in Kansas City, Kabal Restaurant & Nightclub.

Located in Kansas City's Historic City Market District, it is quite a popular night spot for those that are looking for something that is a cut above the rest, and a quality club night. It really is one of the few gems in the Kansas City club scene, hosting some of the best talent locally, as well as from around the globe. Not only that, they also have a very excellent selection of food and wine to start your evening of partying out just right.

With that in mind, I intend for phocas "cubed" to be more than just another party or club night. This will be a celebration of House music and three really fun years behind the camera.

Beginning with dinner and cocktails at 8:30 pm, in the spirit of For Soul Only's Dine & Dance events in Chicago, the evening will start with a couple of special guests to provide a little warm up music for us before the House party begins.

Providing the soundtrack for this pre-party will be AC, from 666 Zip Code Town Records. He will be accompanied by Kerry Lannan on Sitar. If you caught their performance at my recent event "phlashback", you know that this is something really great that you will not want to miss out this.

Starting at 10 pm, after we've had dinner and few cocktails, the House (music) Party will begin. Our featured guests for the evening will be Dave Brock. Formerly from Chicago, he currently resides in Jacksonville, FL and will be coming in to see if he can House you up right.

Former Kansas Citian, DJ Xplicit has been hiding out in Smash Studios for the last year or so cookin up some house in New York City. He's coming out here and he's got nothing but Booty on his mind and plans on giving us a good dosing of something we haven't seen here in a minute... Booty House!

That's just the icing on the cake though. The local guys that we have that will be warming it all up are just as rich and filling too.

Making a special trip down from Omaha, DJ Brent Crampton. With weeklies at BrickTop & 415 in Nebraska, pushing the boundaries of house music in the midwest, including donating his time as a Staff Writer for phocas.net.

I have also assembled four of the finest House DJs in Kansas City for this event. DJ billpile will be bringing a few stax of wax. If you haven't caught this Kansas City original, you should get out more. He'll give you House like you need it.

Maxx is also playing. Many may remember him "the one" that made The Oxygen Lounge at the former XO Nightclub "the place to be", sometimes embarrassing the competition in the main room by keeping people dancing so long that they forgot there was a main room.

Last, but not least, Rob Lee vs Josh C. Blending some of the finest Tribal House in Kansas City, these two are probably the most under-rated DJs in Kansas City. They are definitely a tag team that will be turning things inside out. If you miss these guys, you just won't have gotten a full dose of House with More Drums.

The best part of all of this is that you aren't going to have to go broke to get all of this in. This event will only be $5!!! You will need to be 21 though. It will be held beginning at 830 pm on Saturday, December 11, 2004 at Kabal Restaurant & Nightclub (KabalKC.com), 503 Walnut, Kansas City, MO. 816.471.0017.

PS... Thank you to everyone that has made the last three years possible!

december 2004 editor note

Has anyone else had just about enough of the cold? Ugh... It makes me want to just hide in the house and do nothing! That was not to be this past month thoughl, there were too many cool things going on.

The cover this month is a photo that I took while at The Crystal Method show in Lawrence, just a couple of weeks ago. It was pretty good. The vibe was nice. The dance floor was definitely a mass in motion. It didn't seem to matter that their mixing was off just a bit. I think most everyone that was there had a good time, but the poor mixing was a pretty consistent thought among many.

This column's photo was from a recent outing to The Point, where a ran into a couple of friends and posed for a shot. (What's with the bill there FitzRoger? It's a flash. It won't blow your hat off... lol) I really don't know how they do it, but I don't think I've ever seen a bad night there. DJ Steve Thorell & DJ billpile have also picked up a new Wednesday night called "Boutique Wednesdays" at the Grand Emporium. They are open until 3 am, so when you're done getting your weekly Cup at Wednesday Perk, be sure to drop by for a little House.

Speaking of new nights, I ran into DJ Paul Wicked last week at his new Saturday night, called "Noches Calientes" at bar Ibiza. If you like the coziness of The Point on Friday, you'll dig this place for your Saturday night outing in Kansas City. They are only open until 130 am, but you can still drop by and get your legs warmed up for whatever your dance destination is.

Vital opened in Kansas City as well. Formerly, Club One 51, they've got a new name, and new attitude, new lazers (wow!) and new sound. With a capacity of 1500+, they definitely have the potential to become Kansas City's new Super-Club. It would sure be great if Kansas City, KS suddenly decided to adopt a more Chicago like attitude about clubs. If that place could stay open until 5 am, there would be no stopping KCK from becoming the new place to party! For now they'll just have to work with the 2 am deal.

There's always the after-hours though, eh? I hear there's things on the horizon, so even though the party scene this month was a little slim, never fear kidz! I'm quite sure that the coming months should prove quite interesting, but you may have to do a little traveling. I wonder if they are planning on doing Stardust 5... hmmm... I'll have to check on that. :)

Finally, musically speaking, my pick of the month would have to go to Tortured Soul who played recently at Kabal Restaurant & Nightclub. I took a couple of friends of mine with me that I knew liked House music and would appreciate this particular performance. I was more than right. When it comes to House, these guys know how to please. I know a certain Monkey that is so picky about her House music who really loved it. And you know, if she liked it, it had to have been good.

Oh Yea... speaking of House music... hehe... shall I plug my 3rd anniversary party one more time, or no? Yea... December 11, 2004. Read the main article this month. It will tell you everything that you need to know and a little more.

see you on the dance floor

~phocas~

december 2004 issue


Monday, November 01, 2004

on decks november 2004

Here's what I have received this month on CD. Get me a copy of yours and we will have a listen and post a thought or three up here. Eventually, we may even create some sort of rating system or something. Until then, this is what's on the street this month!

AC - The Morning After
contact: 666Records.com

More great stuff from the Topeka Chillmaster that recently came down for phlashback! This one isn't just for morning after. You can slip this in anytime you wanna slip away for a moment.
Omen aka Nemo - The Split: An Unfinished Work
contact: omenakanemo@walla.com

J. Phoenix - The Harvest Moon Session
contact: Syde-Sho.com

Selections from :beats: - This bonus 1/2 hour includes 2 unreleased cuts.
J.D. Staley - Gustoh
contact: 816.304.2340

Progressive House with a floaty sort of Trance edge. There were a couple of rough spots, but overall a good selection of tunes.
The Negro Sco - Dante Everglade Vegas Escapades E.P.
contact: addictz@yahoo.com

With beats by Dusty Rythyms and Acument, he's back with a word or two for ya... so listen up! Recorded live in Las Vegas, March 2004.
Brent Scholz - Mix Four
contact: bscholz@mmgworldwide.com

Deep, Sexy House from the dood with the fro that helped rock Union Station at Terror at the Train Station II!

sydeburnz charts

intro by Brent Crampton ~ The Rave-Master with oversized sideburns is at it again. DJ Sydeburnz is giving us with his top ten tracks of the month. And with his rock star attitude, he’s let us know exactly why he’s digging these tracks - “because they kick ass!”

For the past year, Sydeburnz has been expanding his genres into deep tech house. This genre could argueably be at the forefront of advancing electronic music. And with Sydeburnz pioneering the sound in the local area, there’s been an increase in deejays also picking up the sound. So jump on the band wagon and buy these tracks.

Switch - Get on Downz - I chose this track because it kicks ass!
Isolee - Raum Eins - I chose this track because it kicks ass!
Matthew Dear - Dog Days - I chose this track because it kicks ass!
Ada - Blindhouse - I chose this track because it kicks ass!
2raumwohnung - Ich Und Elaine - I chose this track because it kicks ass!
Switch - Get On Downz - I chose this track because it kicks ass!
Basteroid - Operation Gelungen - Patient Tantz - I chose this track because it kicks ass!
Jacob London - Gutterballs - I chose this track because it kicks ass!
Meotope - Lifedriver - I chose this track because it kicks ass!
Ricardo Villalobos - Easy Lee - I chose this track because it kicks ass!

For more information, check out djSydeburnz.com

odi charts

intro by Brent Crampton ~ photo courtesty of CymbalismRecordings.com ~ Dj Odi is one of New York City's finest jungle DJs and an artist on the Cymbalism Recordings roster. His signature style is characterized by his unique blend of scratching and sampling both of which were more prominent elements of hip hop music. His accomplishments as an innovator of urban music were further recognized in 1998, when Odi became the first jungle DJ to ever be accepted into the prestigious ZULU Nation, forever demolishing the barrier between hip hop and drum n bass.

After spending hours putting together only what Odi feels to be his favorite tracks at the moment, this Cymbalism Recordings artist gives it to us in his own words. Make sure to check him out in Kansas City at the party, Blueprint, on November 13th.

Alliance(gener8) - Jive - This one is from the alliance crew outta Maimi and it’s a dancefloor killer! Female vocals lead up to a huge bline drop and hard hitting drums that support the tune perfectly! Huge tune from Gener8!
Comatron & Nu Breed - War - Commin outta Germany, Comatron has been busy remixing and working with some of the best the world d’n’b scene has to offer! On this one he teams up with the Nu Breed crew featuring McFoxy, Fatman D, Shorston and more for a ragga influenced MC led stormer! Pure dancefloor fire!
Decorum - Conrtax (weapon remix) - The Weapon crew comes through with another blazing dancefloor stormer! This time remixing Decorums huge Contrax! “Weapon” features Andy Sine, Dieselboy, Kaos, Karl K, Jae Kennedy and they have been killin it for quite some time now! I was lucky to get my hands on this one and have been playing it everywhere!
Karl K, Kaos and Jae Kennedy - All Night Long - From the original Philly crew comes this slice disco influenced dancefloor mayhem. The track has massive sub work under the cheeky vocal chop and rolling drums to set this one apart as a standout in the bouncy tunes of the day!
John Rolodex - Raver Blues - Dark, hard and runnin’ is the best way I can describe this one. With some great old school rave samples working over precise drum chops and a wicked bline, John comes correct with this one and I am glad to have it in my arsenal!
Ben Sage - All about you VIP - This one was suppossed to be on the recod label Gian, but never got released! Amazing female vocals combine with sweet synths, full atmospherics and tight drums to take this dancefloor masher and bring it over to the musical crew!
Strategic Crew - The Boro's - A little shameless self promotion on this one. Written by myself and my partner deejay Vandal, this is just pure fun! We wanted to make something that we could enjoy playing that took what we liked the most about the music, drum chops, massive bass and hip hop attitude. And this I hope captured exactly what we wanted. I think we got it right it got us signed to Cymbalism Recordings!
Tetradin - amGOD - HUGE! . . . That’s all I can say. Tearin Reece bass, old flavor drums reminicent of the old virus sound, and wikked production make this one a killer . . . Stateside stand up!
Slip & Slide - Let me Know - This one’s a classic from ‘96 that I try and bring into rotation every once in a bit. With the alliah sample and warm Reece bline, this one gets em going every time!
Frou Frou - Let go - I heard this on the Garden State soundtrack and it’s one of those tunes you can’t get out of your head. I’ve been closing with it just to change it up and show people that d’n’b isn’t always Andy C and tear out tunes!
For more information, be sure to visit CymbalismRecordings.com

jonjon and nawna b charts

intro by Brent Crampton ~ photos courtesy of BreakfastClub.com ~ Jon Jon and Nawna B make up the duo of Breakfast Klub Productions. Based out of Wichita, Kansas, these two are loving house music, and each other in marriage, until death do them part. How often does one come across a married couple that can come home at the end of the day and tag-team house records together? And considering that these two are the only ones in Wichita playing that boompty/chunky/funky kind of house music, these two deejays make quite the couple. As to overlook their individuality and just group them as a pair, I had them work together to share with Phocas.net the top ten records they are playing at the moment. In their own words, here is what they are playing and why.

Kill Hannah – Kennedy – DC mixes - CMC - The vocals are killer, and the track just rocks the socks. We first heard it when Lance Desardi dropped it at Frisky.
Marmelade feat. Karine – Lullabies – Alex Kid Club Mix – Missive - Great acidy work with a sultry, sexual vocal that makes you hump the dance floor.
Lavish Habits – Dance Wit You – Select - Simple bassline, Mos Def vocals, and it is great to move some ass to!!
Dimitri – Infatuation – Tweekin - Killer bassline and very boompty-boomp. Shawna got the record with a scratch on it. Such is her luck, but she still plays the shit out of it.
Clyde feat. Capitol A – Serve it up – (brooks hip house mix) - Mantis - Heard the song on a Pat Nice CD and was hooked on it ever since. Awesome lyrics! Pheromones rule!
Lawnchair Generals feat Angela C. – Tell you Something – Westbound - This song has always made our asses move on that dance flo’. Sexy female vocals.
Kaskade – Steppin’ Out – Jason Hodges Mix – OM - Reminds us of each other!! Isn’t it b-e-a-utiful and sickening all in one?
J Rod & Pat Nice – Peter Pan (Land Shark Remix) – Pin-up - Doesn’t everyone feel this way every once in awhile? Reminiscent of how things use to be before we had to grow up. Jon says, “Catch you on the B-side, Pat!”
Demarkus Lewis – Crown Royal – Brique Rouge - To Shawna, this song makes her smile. It has a fantastic female vocal and she has danced to this song on more than one occasion. Makes Jon feel all tingly on the outside.
The Human League – Don’t You Want Me - This old 80’s tune has been remixed and reworked and is an oldie but a goodie.
For more info about these guys, check out their web site BreakfastKlub.com.

ac november 2004 goa

intro by Todd Comer ~ photo by Hardrive ~  AC is definitely one of the most under-rated DJs by the MidWest Dance & Music scene, but outside of our land-locked area, you will find him playing to audiences cross-country, as well as crowds as far away as Germany, such as the recent Voov Festival. He is not just a DJ though, but also a musician, producer and owner of one of the very record labels in the Central MidWest, 666 Zip Code Town Records. Master of Goa and PsyTrance and most recently, Chillout at phlashback; with an accompanying new release Muladhara, here's a few Goa selections from AC this month, to help give you a better idea of the kind of things you will hear from his record bag.

Phi "Plz Pass Me Beer & Acid" (Elf) A step back to the good old days of full-on beach stompin' acid.

Hydrophonic "A Place Like This" (Yellow Sunshine Explosion) A searing stormer ignighting doofs all over the planet. This is the aural roller coaster from hell as being the most fun your ears can have.

Cronneloctopus "Power Beers" (Unreleased) The sounds of Duff Beer and lysergic insanity wrapped tightly around a throbbing 4/4 beat.

Grapes Of Wrath "Birds Of Prey (Y2k4 Edit)" (Paradiso) Absolute pure sickness for the dance floor. The Grapes are the new masters of the late night madness.

Kode IV "Fall Into My Heart" (Cibea) A dance floor favorite from the home side of the pond. Always in my crate.

Dark Nebula "Lucifer In The Sky Of The Diamonds" (Paradiso) Snivetts take to the dance floor devouring everything in their path, including your mind. A masterfully dark stomper.

Enterprise "Soma" (Tribeadelic) Full-on weird science!

Cameleon "Clear Vision" (Turbo Trance) Unique percussive sounds chip away at your ego and force you to dance like a dervish.

Nomad "Stay Clear" (3D Vision) Frantic synth work weaves in and out of driving percussion to bring your ear wax to a proper boil.

Lazar "Shaggadelic" (Implant) Somewhere in space and time, Timothy Leary and George Clinton gave birth to this blinding piece of psyfunkiness.

AC can be found lurking about his record label web site at 666Records.com

ac november 2004 chillout

intro by Todd Comer ~ photo by Hardrive ~ AC is definitely one of the most under-rated DJs by the MidWest Dance & Music scene, but outside of our land-locked area, you will find him playing to audiences cross-country, as well as crowds as far away as Germany, such as the recent Voov Festival. He is not just a DJ though, but also a musician, producer and owner of one of the very record labels in the Central MidWest, 666 Zip Code Town Records. Having received his newest chillout release, Muladhara, I was really anxious to have this DJ play at my event, phlashback. I knew that people enjoy it every bit as much as I did. Bringing a live Sitar player with him for accompaniment, I was absolutely right and heard many praises for his set, and a lot of people asking exactly what they had heard. So, here's a few chillout selections from AC this month, to help give you a better idea of the kind of things you will hear from his record bag.

MIDIval PunditZ "Forest Dreams" (Six Degrees) A wonder-filled journey through distant lands...a monster of a morning track!

Aes Dana "Sub Morphing" (Ultimae) From the Ultimae label what more do you need to know? Another must-have of spacious psychedelic ambience.

J.Viewz "Untracked" (Candyflip) For the cabbage, a weird little ditty that morphs in and out of downtempo atmospheres teasing the listener to completion.

Gargoyles "Space Baby"(Backroom Beats) A groovy, lushious space filled with slinking chuffers. Pure pillow funk for the spoons.

Kerry Lannan & AC "K├╝rten Krunk" (666 ZipCode Town Rekkids) Blunted downtempo moodiness with a healthy slice of TR808, sitar and answering machine samples.

Soul Surfer "Sunrise @ Bells Beach" (Yellow Sunshine Explosion) This is what life sounds like as you watch the sunrise at a beach doof. It is a blissed out explosion of awe.

Aes Dana "Dusts" (Ultimae) Another reason to dance and listen inwards to the coded wetware of gaia. Sealed with the Ultiame sound of perfect mastering.

Banco de Gaia "Harvey and the Old Ones" (Six Degrees) The best way to greet the sunrise. So much energy and awe explodes at the peak of this song, you just can't help but to smile and dance.

Rx "Dick is a Killer" (Unreleased) A brilliant piece that sports George W. Bush as the lead singer professing his love of Dick and a sex change. It is pure madness signaling a new standard in production. This song NEVER leaves your head.

Shulman "A Magnificent Void" (Aleph Zero) A sonic tapestry of inner-space, as this is what a Alex Gray painting sounds like.

AC can be found lurking about his record label web site at 666Records.com.

steady

an interview by phelyne ~ photos by todd ~ One of Kansas City's most talented, yet humble djs, Nick Steady was a DJ I had heard of for a few years but never really got to know until recently. Being a huge ragga fan myself, I was thoroughly impressed to hear him throw down a ragga style set when he was booked at the Cup and Saucer for Wednesday's Perk a month or so back. So, I took the liberty to pull him aside, and talk with him for a bit. I wanted to know more about his views on the world of music. Here are some of the great things he had to say.

Nick, when were you introduced into the scene and what peeked your interest about electronic music?

I was first introduced to electronic music back in 94 or so. A friend of mine had some bootlegged videos from parties in England and they were mostly playing breakbeat hardcore, the stuff that was popular right before jungle came into being. I didn't accept it with open arms at first, but it did peak my interest and so I gave it a little time. I think it was the way it sounded. It wasn't about any certain message as far as it not being very lyrically driven; it seemed more important for the music to make you feel an emotion. It lacked ownership like most mainstream forms of music, so it was easier to feel like a part of it yourself. A lot of the sounds were very new, unlike anything I had heard before. I had gotten so bored of rock and the other things I was listening to. This was fresh and unknown. It was all very exciting to me then, and still is today.

What motivated you to learn to dj and how long after you got involved into the electronic music culture did you decide to start djing?

It took a while. For a long time it didn't even occur to me that it was something that I wanted to do. I had always played instruments growing up. I played cello from the time I was eight and played bass guitar in highschool. I had stopped doing both around 99 and it left a huge void in my life. It wasn't until 2001, I think, when I was spending most of my time around a record store that doesn't exsist anymore, and almost every one of my friends were djs. They thought I had good taste in music and wondered why I hadn't taken up djing before. It all kind of started there. None of them played jungle or dnb and that's what I wanted to hear, so I started buying records and practicing all day and night.

What store are you referring to and who were the people that were inspiring you on a local level?

Goodtimes was the record store. The people that really pushed me in the right direction were Rob Lee and Nitro. Rob sat me down in front of the tables and explained how everything worked and left me to my own devices to figure it all out from there. It was a good strategy. It didn't take me long to feel my way through it at all. Nitro really helped me boost my confidence. He wasn't much of a drum n bass fan, but he always had good things to say about my track selection and my growing ability to mix. When I would start to doubt myself, he would always know exactly what to say to make me stop feeling sorry for myself and to get back up on the horse. They were both great mentors.

Who would you consider to be your major musical influences that were not local, whom you might have never had contact with?

Electronic wise, or just in general? I guess it all ties in together either way, because there is a lot of non electronic music that influences me in what I do today. I suppose it's all relative. But to answer the question...The non electronic music that has influenced me has been bands like Tool, Alice in Chains, Rage Against the Machine, PJ Harvey, The Who, David Bowie, Jimi Hendrix, Janis Joplin, Sly and the Family Stone, even classical composers like Vivaldi, Handel and Grieg. As far as electronic music that has influenced me, producers like Square Pusher, Dyllan, Tech Itch, High Contrast just to name a few.

Do you plan to persue music as a career or keep it as a hobby? Where do you see yourself in 10 years from now, musically?

I don't like to make plans. I'm the type of person that can go where ever the wind carries me. If it turns out to be a career then I would accept that with open arms, if not, it won't mean that I'll stop playing. Whatever is meant to be will be. As long as music is in my life in some way shape or form, I'll be happy. The important thing to me as that it remains something that I enjoy. I do plan on getting a little more serious about it in the next few months, but I'm carefull not to get overzealous about it. Ten years from now, hopefully I will have stopped procrastinating and made a few tracks and really have a defined style I can call my own. Really, and I suppose this is true of any dj, I would like to have found my niche by then. I think I'm still testing a lot of the waters at this time, but I'm startin to be able to separate the different styles I enjoy apart from one another. Wow, I didn't think about the fact that I'll be thirty-five in ten years, so let's say that this is what I want in five. Of course, with the way this music is ever-chainging, it's very hard to pinpoint anything as far as predicting the future.

faint blue note

by Michael Bradshaw  ~ photos by Andrew Nolte ~ At this point in the game you can still get away with not knowing who The Faint are. However, the window for that opportunity is closing fast. On the other hand, if you are aware of The Faint and you don’t like their music, whether you’re a techno head or an indie-rocker, there‘s simply no excuse not to like this band.

When the opportunity arose to write a review for The Faint’s show at the Blue Note Tuesday night, I jumped all over it. I was taught in my journalism classes to be weary of stories where bias might skew my objectivity. After the first paragraph of this review I hope it’s clear that I am a die-hard Faint fan so this is going to be skewed as hell.

That being said, I will admit that I have walked away from shows by DJ’s and bands who I love, wishing I had spent the night doing something else. I know the difference between a good and bad performance and have no trouble giving a bad review to musicians I respect.

Fortunately, I wont have to do that here.

After wrestling with the door for a while Tuesday night in front of The Blue Note in Columbia, Mo, The Faint’s tour manager escorted my photographer and I into the show in time to see the opening band touring with The Faint. Beep Beep was the name of the group and they were just crappy enough to provide me some quality time to reflect on how my love affair with The Faint began two years ago.

I remember the first time I heard their music I was living in London. A friend of mine brought home a copy of “Dance Macabre” fresh from a live show at Oxford Circus. Some other friends and I were already pretty inebriated and had little energy to protest her putting the CD on. After listening to the opening track, “Agenda Suicide” for about eleventy-million times in a row and trashing our flat to the remaining tracks, it was clear my relationship with The Faint had just begun.

“Damn,” I thought, “London has some really cutting-edge music.”

When I learned the band was actually from Omaha, Ne, I simply couldn’t believe it. Not to rag on Omaha or anything, but, The Faint got remixed by Paul Oakenfold. I can’t think of any other band that has exploded on the scene like they have and can claim the Midwest as home. Some would argue The Get Up Kids have done it, but I’m talking exclusively about bands with talent here.

After suffering through Beep Beep and a lukewarm performance by TV for Radio, the time for The Faint was nigh. I stood in anticipation sipping my drink and smoking nervously as the crew set up the video screens and keyboards.

Before I knew it, The Faint took the stage and proceeded to pound out track after track of twisted ejecta that plumed in the theatre like a phoenix rising above the crowd. It frothed and shit rainbows and firebombs sending the entire place into a tizzy.

Yes. It was that good.

I had the opportunity to preview The Faint’s latest album, “Wet From Birth” so I was pretty familiar with all of the new songs. It didn’t matter if most of the crowd only recognized stuff from “Dance Macabre” and their first album (the first of their albums that matters) “Blank Wave Arcade.” The tracks from “Wet” are equally as danceable and squeal with the same high-intensity voltage The Fait are known for.

My only disappointment with the show is that The Faint didn’t play what I think is the best track on Wet from Birth. “Southern Bells in London Sing,” is to me a fine example of just how far The Faint is willing to take it. Some criticism has been written about The Faint in regards to “Southern Bells” saying that it’s “overly ironic.” I disagree. I think Southern Bells is quite sincere. Sure, the Indo-European folk music meets no-wave punk-thing is a stretch, but it works. Even though I think I’ll look back on writing that last sentence in twenty years and laugh, the song is good and there’s no arguing it.

There is also no refuting that Wet is a great album. The Faint can simply do no wrong. Most of The Faint’s critics site that the band is too dance-oriented, too electronic, too 80’s. To that I say, dance rock is what’s popular right now (thank god), electronic music is popular right now (because it’s, uh... the year 2004) and people are just now realizing that there was some darn fine music in the 80’s and there’s nothing wrong with celebrating that fact through the advent of new musical trends.

This last point is important because ultimately The Faint is an 80’s band transported to the 21st century. After a particularly stirring cover of “Psycho Killer” originally by the legendary and totally essential, Talking Heads, it was obvious The Faint is aware of their roots--I feel I have to include the artist who originally recorded “Psycho Killer” because half the crowd Tuesday night seemed to be stumped. Though, I was to busy having an orgasm in my pants to give it much thought. However, the crowd was definitely in tune to The Faint as is half the musical world at present. After their cross-country tour to promote Wet from Birth, The Faint is tackling Europe (again), Australia and Japan.

And, my fellow Midwesterners, they’re from Omaha.

After drinking enough to drown a monkey, dancing to my favorite band amidst the clamor of synths grinding over drum machines, I figured it was time to put my pants back on, find the photographer and head home.

“To wrap it up,” I thought to myself as I stumbled to the car, “The Faint are great, no-wave and punk are great, I love the 80’s. Beep Beep sucks. Midwest represent.”

For more information about this band, including downloads of some of their hottest tunes and remixes, be sure to drop in on their web site TheFaint.com