Friday, December 31, 2004

event photos dec.04

Flyers for events photographed in December 2004 appear below.

A link to the associated photo album appears beneath that.

The Simply Soul Syndicate, Matthew Brian & Alan Alda, Rob Divozzi
Kabal Restaurant & Nightclub
Kansas City, MO

Paul Wicked
Empire Room
Kansas City, MO

DJ Delirium, DJ Venom, Gonzo, Dread, Myth 1-3, The Germ, J Costas, Heathcliff, Pinky N the Brain, and Eco in Area One  /  Area two hosted Annalyze, Sykopath, Joe Jack, Jim Mas vs How Hard, Rocksteady, Integrity, Mama C vs DJ Massacre, The Manchild, Mindgame, and others (unreadable from flyer).   /  Krazyglue, C-Tag, Brain Dunn, DJ Candy Kid, Tommy D, and others (also unreadable on flyer) in Area three.
Somewhere in New York
photos by senseone

Steve Thorell
Grand Emporium
Kansas City, MO
photos by eric

DJ P, with residents Paul DeMatteo & Ataxic
Kabal Restaurant & Nightclub
Kansas City, MO
photos by joe

DJ Emperial with residents Flotilla, Sike Steeze, Mike BoogieSpringfield.
Jilly's on Broadway
Kansas City, MO
photos by shaun

Swayzak, along with Matthew Dear, VHS or Beta, and EVAC.
The Bottleneck
Lawrence, KS
photos by kourtney & laura

Steve Thorell & Bill Pile
The Point
Kansas City, MO

Steve Thorell
Grand Emporium
Kansas City, MO
photos by eric

Dave Brock, Xplicit, Brent Crampton, Bill Pile, RobLee vs Josh C, Maxx, and an opening live performance by AC with Sitar accompaniment by Kerry Lannan
Kabal Restaurant & Nightclub
Kansas City, MO
photos by todd, jennifer, richard, shaun

Buddha Bar
Kansas City, MO

DJ Shad
Kabal Restaurant & Nightclub
Kansas City, MO

Steppa Style from LA, Johnny Tremayne, Mike McGrath, Bucho, Chrissy Murderbot and Phelyne
Stables Bar & Grill
Kansas City, MO
photos by shaun

Paul Wicked
Empire Room
Kansas City, MO
photos by shaun

Paul Anthony, MC ADB, with local support from Chief, Timid, Misha, and 3-Face
The Mile Away Hall & Tavern
Council Bluffs, IA
photos by joe

D:Fuse and residents Paul DeMatteo & Ataxic
Kabal Restaurant & Nightclub
Kansas City, MO

Commix, Logistics,  cQuene, Spinsteezy
Kabal Restaurant & Nightclub
Kansas City, MO
photos by shaun

Jonathan Ramsey
Harling's Upstairs
Kansas City, MO

Charles Feelgood, Paul DeMatteo, c-Vaughn, Breakbotix, and Mike McGrath.  Upstairs hosted Ataxic, Soda, Brent Scholz, PMS, Humdrum, and Joe Cummings
Kabal Restaurant & Nightclub
Kansas City, MO

Saeed Younan
Kansas City, KS
photos by shaun

Kansas City, MO

Steve Thorell
Grand Emporium
Kansas City, MO
photos by eric

DJ Maxx with resident DJ Two Heavy
Empire Room
Kansas City, MO
photos by todd & shaun

Grand Emporium
Kansas City, MO

A House
Overland Park, KS
photos by kourtney & laura

Steve Thorell & Bill Pile
The Point
Kansas City, MO
photos by eric

New Years Eve at Martini Corner
DJ Tabitha
Empire Room
Kansas City, MO
photos by shaun

Clubhouse on Baltimore
Kansas City, MO

~ that's it for this month ~

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

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

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

Kid Icarus - Unified Citizen Project

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 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 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 ~ 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


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,, &

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

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 domain, and then soon after, went to buy the domain. Unfortunately, by the time Pieper got to it, it had been bought by Bondelid, just minutes before. Oddly enough, Bondelid originally wanted the website url for his company, Musique, to be Since Pieper had already bought the website, Bondelid went for EssentialMusique and snatched it up just before Pieper could.


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, 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, 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, and have recently merged together under 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

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 won't 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 (, 503 Walnut, Kansas City, MO. 816.471.0017.

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