Friday, December 01, 2006

dingwalls

Justin Kleinfeld ~ “Talkin Loud and Saying Something” or “Dingwalls” as it was more commonly known was the session that shaped a generation, in sound, style and attitude - its influence spread far and wide. It was the counterpoint to the rave generation’s acid revolution, taking that same spirit and optimism and applying it to a very different music. It became the touchstone for everything that followed in it’s wake, acquiring near legendary status, tempting folk to later claim that “I was there” whether they were or not. It was inspirational, revolutionary, celebrator and radical. It was a family, it was a congregation. It was our Paradise Garage.” – Patrick Forge, August 2006

Celebrating 20 years since the now legendary "Talkin’ Loud" Sunday Sessions first commenced at Camden, UK club Dingwalls, Ether Music is proud to present the definitive tribute CD collection “Sunday Afternoon At Dingwalls.”

Running each Sunday from lunchtime until 6.30pm Dingwalls featured a live act almost every week. During the first hour or so Patrick Forge played less obvious music, spiritual jazz, mellow vibes, modal tunes, stuff that strayed from the obvious 500mph fusion and Latin bangers that the dancers traditionally loved. Different groups of dancers preferred different styles so it was important to mix up the rhythms, and contrast the mad percussive work-outs with more melodic material, mixing rhythmic and harmonic intensity.

Then the band would come on. For some this may have been the highlight of the afternoon, but whenever a live act failed to ignite the atmosphere it was obvious that for the majority, it was the records that really mattered. However some of those live shows were unforgettable: The JB’s, Roy Ayers, Dave Valentin, Poncho Sanchez, the eternally hip Mark Murphy, the mighty Mongo Santamaria to name some of the U.S based artists who performed at the party. Then there was the acid jazz generation of home grown talent, The Brand New Heavies, Galliano, JTQ, et al. Dingwalls also brought about the renaissance of British jazz-funk pioneers Incognito, and it provided a platform to a generation of U.K. jazz talent, Courtney Pine, Cleveland Watkiss, Ed Jones, Orphy Robinson and many more.

Gilles Peterson would follow the band, often building his set from a whisper to a scream, starting with a record so subtle or minimal it seemed more designed to clear the floor than build the vibe, but it worked, allowing the drinkers to get to the bar and the dancers to set the tone for what would follow on the floor. What did follow was musically adventurous, diverse in style and tempo, and more often than not totally inspired. Gilles gave his all to those sessions and the crowd loved him for it. He was brave, dropping hip-hop and house tunes which upset the purists, but he was on a mission to present this music in a new way. Gilles could make an old Latin tune sound like the most relevant, modern thing you’d ever heard just by the way he dropped it; he had a great way of blending and making the unexpected work. The session would always wind down into a more soulful vibe, it’s one thing to leave a crowd wanting more, to leave them smiling and wanting more because they’ve just shared a few special tunes with some wicked people, that was Gilles at Dingwalls. At the end everyone would roll out of there happy, delirious, sweaty, and intoxicated, in love with the music.

The last ever session on a Sunday afternoon at Dingwalls produced a queue that snaked from inside the market to half-way down the high street. Incognito provided the finale with Jocelyn Brown singing “Always There” and bringing the house down, setting the vibe for a session that maintained a fever pitch of emotional intensity until the last bars of “Family Affair” faded into eternity. “Sunday Afternoon At Dingwalls” is a CD collection filled with the music that inspired this “Talkin’ Loud” generation.

For more information visit EtherMusic.net or GillesPeterson.net

ministry of sound session


Justin Kleinfeld ~ Are you ready to jack? Get ready… The acclaimed Ministry Of Sound “Sessions” series continues to push the best names in dance music, whether they’re the hottest one-to-watch or the most established veteran, they scour the world over to deliver the optimum level excitement in every release. The 9th in the series comes from the legend himself, Mr. Curtis Jones, giving us the two sides of his musical character from his Cajmere moniker of the finest house music to the twisted but quirky beats and vocals of Green Velvet.

Curtis Jones has long been heralded as one of the true greats to come out of the U.S. dance scene with his productions having always received a ridiculously large amount of support and attention from DJs across the board. He played a key role in nurturing the Chicago house renaissance of the 1990’s with his seminal label Cajual Records and gained immense success in 1993 with the Cajmere single “Brighter Days” (vocals by Dajae) that is featured on this Sessions mix in the form of the Underground Goodie mix. Later that year, he formed the sub-label Relief mostly for instrumental tracks by himself and others. Besides releases from DJ Sneak, Gemini and Paul Johnson, this is where his alter ego Green Velvet really came alive and “Preacher Man,” “Flash” (Track 2 on Disc 2) and “The Stalker” all helped to cement his reputation as one of the most original and exciting producers in the game.

This mix sees both sides of the man go head-to-head with a Cajmere mix on Disc 1 and a Green Velvet mix on Disc 2. As you’d expect, Cajmere rolls in with his soulful touch; combining classic jackin' beats with swinging horns and lush vocals. As usual there’s a few surprises along the way, with his use of James Holden’s remix of ‘Safari’ being one of the obvious choices to prick the ears up – he uses it brilliantly! The darker side of the man comes out to play on the Green Velvet CD giving it a far more late night feel with strong acid undertones and faster, tougher beats driving the mix. This is the sort of techno that would rock a stadium. Both CDs heavily feature his own productions, remixes and edits.

For more information, check out MInistryofSound.comGreen-Velvet.com or Cajual.com

rob and chris listen again


Justin Kleinfeld ~ BBC Radio One DJs Rob da Bank and Chris Coco are two musical evangelists who have dedicated so much time to the pursuit of new sounds that their own mothers probably struggle to recognize them. Luckily for us, Rob & Chris' family relationships are their problem, not ours, and we can sit back and enjoy the fruits of their labors in the form of Listen Again. This double-CD compilation features a selection of celebrated and undiscovered gems from across the musical spectrum. Listen Again enchants, entertains and promises to introduce even the most jaded listener to what could well be his new favorite band.

In everything they do, Rob & Chris have both found ways of taking the best of what is perceived as “fringe,” “leftfield” or “niche” music and presenting it in a way that highlights its mass appeal. This is exactly what they achieve across the 26 tracks of Listen Again. For every established act like Hard Fi or Jose Gonzalez, there are little known gems from acts such as Patrick & Eugene or Rainbow Family. For every slice of blessed-out studio magic (The Freelance Hellraiser, Jim Noir) there is a slice of raw rock 'n' roll (Clap Your Hands Say Yeah, Gogol Bordello). Thoughtfully, the pair also included some exclusive live recordings from Arab Strap, James Yorkston, Kitty, Daisy & Lewis and King Creosote from their BBC Maida Vale sessions.

Rob da Bank's first foray into the business of music was in 1995, when he launched the Sunday Best night at Clapham, England’s Tearooms des Artistes. Based on a love of chill out, electronica but with an anything goes musical policy, the club was so successful that in 1997 it spawned a record label - Sunday Best Recordings - which unveiled then unknown acts Groove Armada, Bent and Lemon Jelly to the world via single releases and compilations. Such a good idea could never be contained in one small south London club, and over the last decade Sunday Best have partied everywhere from Glastonbury to Ibiza, and in 2004 launched Bestival - Rob's very own independent three-day festival on the Isle Of Wight. The 2006 edition of Bestival was a complete sell-out and featured live headline performances from Pet Shop Boys & Scissor Sisters.

Chris Coco first made his name as promoter during the acid house explosion of the late 80s, but quickly found himself reconnecting with a passion for moody electronica, dub reggae and film soundtracks first nurtured as a youthful fan of New Order, Kraftwerk and The Velvet Underground. He spent the mid to late 90s as a globe-trotting DJ spinning everywhere from sunset parties in Ibiza to fashion parties in Tokyo. DJing led to producing and compiling, Chris has been behind a string of acclaimed albums over the last decade, recording for labels including Warp and Distinctive, and collaborating with everyone from Nick Cave to Iain Banks in the process. He is also much in demand for his soundtrack work, making music for feature films and TV shows like The Football Factory and Nip /Tuck.

With so much in common, it seemed inevitable when Rob & Chris were brought together by Radio 1 in April 2002 as the presenters of the Saturday morning “Blue Room” show (www.bbc.co.uk/radio1/dance/blueroom). Presenting the show alone on alternate weeks, Rob & Chris quickly made the Blue Room one of the most influential shows for launching new music on the airwaves; a vision that was reflected in the subsequent release of two Blue Room compilation CDs. Displaying the same disrespect for genre and ear for quality that is so evident throughout the two CDs of Listen Again, the pair made the “Blue Room” essential listening for anyone keen to discover extraordinary music - past, present and future.

2006 sees Chris and Rob as busy as ever. Chris is currently on tour with Robbie Williams, DJing and adding a sprinkling of sonic space dust to the band's live performance; over the course of this year he will have played in front of over two million people. Rob continues to run the successful Sunday Best label and is preparing to take on a new role at Radio 1: from September 2006 he will host a new show called “Sundays With Rob da Bank.”

For more information on “Listen Again,” Rob da Bank and Chris Coco visit: EtherMusic.net,SundayBest.neet, ChrisCoco.comBestival.net or BBC Radio 1 (rob) (blueroom).

a summer channel


Stacey East ~ What is left to do after being on top of the electronic music industry for more than a decade, what achievement outshines traveling the world performing in front of hundreds of thousands of people at venues like Red Rocks and 3-Com Stadium, remixing Madonna (twice both #1 on Billboard), Paul Oakenfold (twice), Seal (#1 on the Billboard), Frank Sinatra (The first official estate commissioned electronic remix ever), David Bowie, America, Curve, The Crystal Method (#2 on Billboard), BT, Keoki, Carl Cox & Markus Schulz? What could be more rewarding than being featured on MTV, and producing tracks for Sandra Collins, D:Fuse, and DJ Rap? What can you do to top mountains of critical and popular acclaim in magazines like Rolling Stone and URB, barely being edged out for a Grammy nomination and a Dance Star award, licensing tracks for films like Tomb Raider and Bad Boys II, television powerhouses such as Buffy The Vampire Slayer and CSI, and spicing up video game soundtracks for Gran Turismo 4 and SSX 3?

You start all over again.

J. Scott G's new Summer Channel venture is a direct answer to the continued enervation of the dance music industry that he helped impel as one half of seminal beat rockers Deepsky. As Rave culture enters its twilight and clubbers become jaded by mountains of listless deep-prog-idm-breakcore tunes, the party-going public has subconsciously clamored for something fresh and exciting with shrinking event attendance, drooping CD and record sales, and a palpable malaise about club nights once considered massive. Enter Summer Channel.

“No one seems to write songs anymore,” says Scott. “Now it's the 'How many stutter edits can I cram into a track to get into the Guinness Book of World Records?' mentality. It seems like people have forgotten that music is supposed to be about something instead of about the technology itself. A wise man once told me (about over using the 303 during it's heyday), 'Use it as your salt and pepper, but don't make your dish out of it.' I think the same can be said about music technology in general. Some people use it as a substitute for good songwriting.”

Songwriting ability is one trait that Summer Channel has in spades. Tastes of songs from the debut album The Sweet Sound of Inevitability showcase Scott's survivor mentality and wry sense of humor about the music industry, loss, perseverance, fortune, and life. The first single, A Thousand Miles, is an emotionally wrought memoir on the trappings of stardom and the imminent rebirth that success compels. Industrial strength guitars trade blows with tech savvy synth jabs to form a whirling cloud of cross-pollinated soul sustenance, topped delicately with breathy, heartfelt vocals from guest siren Kathy Fisher.

Not quite a solo project, Scott has enlisted the talents of several choice performers to make Summer Channel a reality. “The thing that's made this record amazing so far are all of the people I've chosen to work with. My guitarist, Cameron Morgan (www.cameronmorgan.com) is a fucking prodigy. He's been the piece of the puzzle in every song that's made it go from just an electronic track to a 'live' sounding masterpiece. I've also had the amazing luck of finding astounding vocalists like Rebecca Coseboom of Halou who sang on 'I Am Persuaded' (www.halou.com), Patrick Scott (www.patrickscott.com) who sang on “Soulmate In Every City” and a forthcoming track you'll hear soon called 'Undertow.'”

Summer Channel is not merely a culmination of fortunate circumstances; rather it is an evolutionary step on the path to a modern and refreshing force in a world dominated by stale ideas and hyper-processed pop drivel. It is also an energizing catalyst for those that may feel new music has nothing to offer them. “Honestly I can’t remember the last time I actually bought a CD,” Scott laments. “But when I write music now, I always imagine that it's going to be played to a huge crowd. Its part of the reason I have a hard time writing anything that isnt epic in nature. And as silly as this sounds, I still jump around the room and dance like a freak when I have a wicked groove going. Its still as exciting now as it was when I was programming my first drum tracks, holed up in my bedroom at 16. I had no idea how far it could go.”

For more information check out SummerChannel.com !

luna bootlegs


Stacey East ~ At the young age of 23, ear and eye-catching DJ Lea Luna has quite a handle on the club scene. She is a lifelong musician: playing keys for as far back as she can remember, and spinning records since she wasn't even of age to get into the clubs (in the underground rave heydey, 1999). When a 16 year old girl begins sharpening mixing skills and stacking up an arsenal of records and CDs that soon in her life, what potential does she already have in the club industry when she turns 21? DJ Lea Luna will tell you. She's already played all over the country at some of the most prestigious clubs and events the commercial electronic scene has.

Last year, her remix sets and her 6-foot-blonde stage prowess handed her the rockstar nickname "bootlegs."Her crowd-shaking mix of big-room club, house, progressive, rock, and retro landed her in the DJ booths of clubs such as Avalon New York and B.E.D. Miami. Not only clubs took notice. She even rocked the stage with Ultra music fest favorite Kevens, as part of his show, and opened for music legends Steven Tyler and Chuck Berry.

"After these past couple of years, I feel like I've reached a level in my artistry that measures up with the best, and I'm ready to own it. I recently added my first name to my former DJ name, DJ Luna. To me, the name Lea Luna symbolizes the final touch. I've completely embodied the artist I've always dreamed of being. I've become the real ME." ...and that she has. Right now she's unleashing her own original music: vocals, keys, beats, and style. Her first release "What's Your Sign," is an electro-house dancefloor masterpiece with Lea Luna's own quirky, sexy lyrics.

It is only days from being released, and is co-produced by Deepsky's J. Scott G., who also worked with Madonna, Seal, David Bowie, and Paul Oakenfold, to name only a few. "I started early, I traveled, I learned, I met people... I went through all kinds of music training, audio school, and this whole DJ thing forever. Now, I've pinpointed my love for this scene, the music, the lyric, my life in general, and art in general. I've defined my strengths, my own unique style, my inspiration, and my goals to a T. It all leads up to this: basically, I've lived my whole life to make this new music ROCK and take it to the stage."

Recently, Stacey East of East Music Group added Lea Luna to the top names in her roster with Frankie Bones, Disco D., and Heather Heart. It's no doubt, Lea Luna has earned the stage, and everyone deserves the experience.

shiva massacre


Tim Yoder ~ Interview with DJ SHIVA

Describe your style as of late?

I have been mixing things up a bit lately. Although I am well known for banging the hard stuff, not much hard stuff has really been up to my standards lately. I have found myself getting into what I describe as more "minimal funk". Not so minimal as to be boring (if I wanted to listen to a sink dripping, I would stand in my kitchen), but clean, round sounds, with lots of tweaky noises, bleeps and bobbles. Lots of Adam Beyer's latest, as well as Thomas Schumacher (he is INSANE), Oliver Koletzki, Marc Houle, Ozgur Can, and so on. I have always liked techno that twists yer brain, and I am finding these artists are pushing those boundaries, but still keeping it good and funky.

I have also gotten WAY into a new genre coming out of South London called dubstep. Think hiphop/broken beats, with dub influences and thick SUBBASS. Lately I have been playing more dubstep gigs than techno gigs, mostly because I am one of the few people playing it in the Midwest. And I add in my techno mixing styles, do it all in Ableton live with tracks, loops and effects, and throw a slightly different flavor on the genre.

So I have definitely been varying things up lately, and I am really excited about music right now. :)

What influences have you brought into your music? How has it effected your music?

I definitely come from the more aggressive end of the spectrum, coming from punk rock/industrial, but I love all kinds of music, from folk to funk to hip hop to jazz to classical to ambient. So I have definitely brought the aggressiveness and the political awareness from my punk rock days, the musicality of my classical violin training, and the love of shaking my ass! I think the political landscape of late has had a big influence lately, which ranges from sheer anger to utter despair and every emotion in between. So I think my emotions have affected how and what I play, even more than usual.

Describe the "Goddess Complex"?


The Goddess Complex was an idea I had way back in the day. It was always meant to be a loose collective of women artists, musicians and DJs, but really never came to fruition until I realized that there were more women DJs in the Midwest now than ever before. I had thought of the idea for the Venus Envy parties about a decade ago, but there were never enough women around to make it happen. So this last summer, I finally had the venue, the resources and enough women DJs in the area to do it. So Venus Envy was born and The Goddess Complex came to life. We have done two events with all women on the decks and the proceeds donated to various local women's charities that empower women. I have always maintained that I did not want to play all women DJ events UNLESS they were benefits, so I finally got to do it the way I wanted to. Now we have a loose collective of women DJs in the Midwest who are involved. The purpose of TGC and VE is to empower women, to give back to the community, to inspire other women to get to it and follow their dreams, and to shake our asses and have a great time doing all of the above. Thus far, both Venus Envy events have been successful with some of the best vibes I have ever encountered. I couldn't ask for better people to share it all with than my Midwest sisters! Check MySpacefor more info!


How is SisterSpin going?

SisterSpin has been kinda slow going. I was hoping to build the kind of online women's DJ community that SisterDJs (made my DJs Daisy and Courtney back in the day) was for me, with less fear of being blatantly feminist. Truth be told, I haven't had the time to devote to it lately to really get it hopping, so that in large part is why things have moved slowly. Maybe once winter hits and I have nothing better to do than sit online I can really start to push it a bit more.

I noticed a few records under your belt, anything we have to look forward to in the near future?

That's really up to a few labels that I have been waiting on forever. My remix of Ron S just came out on Anode Records, and there is a remix of Manuel Fuentes that (hopefully) will be out on Germany's Giant & Dwarf Records soon.

I haven't really been concentrating on production much lately, both due to an incredibly busy work and gig schedule, and just a lack of inspiration. I have never been particularly prolific as a producer, mostly because I only really write when the feeling hits. I don't like to force things if I feel I have nothing to say, just to get records out. That strikes me as soulless and pandering to an industry timeline and not necessarily to what my heart wants to do. I have a job already. I don't want music to be a "job".

So what do you see in the future of techno? How has it changed from say five years ago?

The future of techno has always been "right now". :) That said, it has changed a lot in the last five years I think. I played an old school techno set a few weeks ago, and that really made me rethink how I have viewed techno in the last few years. Each record sounded TOTALLY different, and it made DJing really fun and challenging (and kept the crowd interested as well). When things went super loopy (at least in the hard techno realm) it kinda took the fun and the challenge out of it. It kinda got real homogenized, and I don't think that's a good thing.

The genre splits have really taken their toll too. Now, instead of just playing good techno, regardless of its sound, people have split off into subgenre categorizing (hard/minimal/schranz/whatever) and super specialization, instead of just playing what is good across the board. Of course, only having an hour to play takes its toll as far as being able to stretch out and play a bunch of different stuff too, but listening to all techno (and just all kinds of music in general) is healthy as a DJ and a musician if you really want to do something interesting. I get bored easily, so I like to have a good variety at my fingertips. ;)

Tell me a bit about SUBterror?

SUBterror, while it could be seen as just another DJ crew, is so much more than that to me. It is my family. We all have known each other for years, play all kinds of different music, and share the common goal of both loving music and wanting to use music as a tool for progression and personal/social change. We share similar political/social views, and we are all there for each other no matter what. I know that my SUBterror brothers and sisters are there for me, through thick and thin, and I for them. I don't know what else to say. These people are my family and I love them all dearly. Check out the (woefully out of date)SubTerror.com

What direction do you see yourself going in the years to come?

Oh geez...do you have a week? I plan on spinning as much as humanly possible (I get a little tweaky if I don't play on a regular basis; it's my therapy...really...not kidding), hopefully doing more production as well. I am gearing up to work on a totally different kind of production project here in the near future with my friend Saqi Dosaj . She is a singer/songwriter, and I have been working on beats and random musical stuff for her next album. So it's a long ways away from techno production, and it makes me think in a totally different way. So that is a nice kick in the pants to go back to my roots of writing melodies and beats to go with vocals (I used to play guitar and bass in bands back in the day). That's in the embryonic stage right now, but I am plenty excited about it.

I have also been getting back to my poetry/spoken word roots. My friend kicked me out of retirement a few months ago, and then we went to Dayton, OH for a poetry slam, the grand prize for which was opening for Saul Williams in Dayton the week after. Well...I won. ;) That was rockin in itself, but sharing the stage with Saul was truly amazing. So my poetry juices are flowing (albeit slowly) and I am looking at the world through poet's eyes again, which I haven't really done in the last few years. But poetry has always been a little different than DJing for me. Poetry I do for the sheer enjoyment of it, and I have no plans to make a career out of it (the business end of ANY entertainment industry can get on my nerves big time). That said, I have NO idea what the future holds, so if anyone ever wants to pay me to travel around and do poetry, I ain't gonna say no.

I just want to enjoy life, make music/poetry/art, read books, hang out with my friends, travel, meet new people and impart a little joy to a world that is sadly lacking in it.

Oh, and I would like to overthrow capitalism and throw pies at Bush and Cheney. That too. ;)

Care to join me? We can play loud music and dance a lot while we do it, cuz (paraphrasing Emma Goldman) if I can't dance, I don't want your revolution! ;)

For mixsets (and even a short set of spoken word), visit djshiva.subterror.com or check me out live at Christmas Massacare!



a 5th of mazi


Joe Hensen ~ Interview with DJ MAZI ~ photo courtesty of TCA

So I read that you were born in Iran, what originally brought you to the states?

I moved to the U.S. when I was 12 with my family. We came here because of political turmoil in Iran.

What got you into spinning records?

Ever since the age of 16 I was going dancing at a club here in Chicago called Medusa's. Essentially what got me into spinning was my love for dancing. In 1990, my freshmen year in college, I got a chance to mess around with some turntables and a mixer. We were at my girlfriend's house around Christmas time. Her brother had pulled out his old DJ gear and by the time we left their house I ended up commandeering the entire set up. Getting behind the decks was more or less an accident. If my ex's brother hadn't pulled out those decks on that day who knows what I'd be doing now.

Can you play any instruments?

I play the guitar and my keyboards badly.

Whats the difference between the crowds of all the different places you've played like Chicago, Paris, Ibiza, Tokyo and so on?

It would take a book to answer that question. Their differences are overshadowed for me by their similarities. Before the set and afterwards everyone can potentially be very different. But while I'm playing music people basically fall into two catagories. Those who get the music and those who don't. I find that those two catagories can exist anywhere.

How do you feel about all the animosity from those who spin on cds and those on vinyl?

Thankfully, I don't hear much of it anymore and it's a stupid debate. Music should be the topic of discussion, not whether it's playing from a CD, a record or futuristic nano cube.

What dj's do you like to hear?

DJ's who put the music above their own ego. The last few sets I enjoyed we're played by Loco Dice, Josh Wink, David Duriez and my roomate Kyle Szmurlo.

What inspired you to produce your own tracks?

"Move Any Mountain" by The Shamen. I remember they had a remix contest for that song making all the parts available on one of the vinyl pressings. Right around that time I was working on accompanying a producer friend of mine with some beats and effects while performing live. We decided to take a crack at the contest. During the process I started to wrap my head around drum machines and sequencing. Our remix sucked but it got me fired up to learn more.

Do you have any favorites?

Favorite...
Writer: Louise Ferdinand Celine
Food: Thai
Band: Joy Division
Ice cream: Coffee or Spumoni
Synthesizer: ARP Odyssey MK3
Music software: Cubase SX
Club: Two way tie between Fabric and Crystal (in Istanbul)
Actor: Harvey Keitel
Moon: Callisto (Jupiter's 2nd largest)
I could go on but that's enough.

I've read that your sets have a "journey style" way to them. What is that, exactly?

I like to go between genres, styles and tempos to create a dynamic set of music that reflects the communication between the audience and me. The most important thing for me about DJ'ing is this impromptu creation of atmosphere that is unique each time. I like to build up a crowd but I think just getting harder and harder is plain boring. Too many DJ's treat their audience like halfwits. When I'm on the floor dancing I like a DJ that can play with my emotions and I try to do the same when behind the decks.

Do you have anything special planned for your show here in Kansas City?

Well right now I've just started working on my next Audio Soul Project album due to be released in April of next year. I have a couple of the tracks near completion and KC will be the first place where I'll be testing them out.

Do you have any advice for any beginning dj's out there?

Don't start your own label. It's pretty much the mold to start as a DJ and then 3 months later become a producer and then 2 months later after everyone has turned down your demo start your own digital label on Beatport. This lack of quality control is choking our scene. I think it's temporary though. The people who truely invest in their music, time being the most precious thing they can give, will succeed and those looking for short cuts will eventually get bored and becoming accountants like they were always meant to be. I guess my advice is to do it for the music and the music alone. For even more on Mazi, visit TCA-Web.comGourmetRecordings.com or Mazi on MySpace!



december 2006 editor note


Well, I wasn't particularly fond of the new layout, so I ditched it for now. I am beginning development on a new backbone, but I really hope to be able to keep much of the same structure. With any luck at all, the whole change will be mostly transparent.

Anyhow... the cover this month is from back in '01 at a little night called Echobass Mondays, held at the former Club Evos in the west bottoms of Kansas City. This event, along with others such as Stylus Fridays & The Wednesday Perk would ultimately help pave the way for electronic music in Kansas City to emerge out of the underground. Each of these nights in had their own significant contribution to the shape of things to come and the people that I met in these humble beginnings will always be remembered. Without them, none of this would have happened. My thanks to them. Specifically, to DJ Fitzroger, who allowed my camera to snap that first shot.

The shot to the right is of the whole krewe from last month's Blackliquid show at the Grand Emporium. It was definitely a good time and people couldn't seem to stop dancing, much like the last time he was here for our anniversary party this time last year.

This month, for our 5th Annivesray Party, we've gotten involved in two events. The first on Saturday, December 9th is dedicated to the club crowd and house heads and will feature DJ Mazi from Chicago at the Grand Emporium. Opening for Mazi will be local Saturday resident DJs Steve Thorell & Eric Sheridan.

The second will be Christmas Massacre - The Return on Friday, December 22nd. As one of the first "raves" that I photographed back in 2001 and with them celebrating their 5th birthday too with DJ Shiva, Arsenic, Offtrack and some of the best Techno & DnB DJs in Kansas City... this is surely going to be an awesome month for dance!

december 2006 issue