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Musuem

“If you can talk you can sing
If you can walk you can dance
I believe that rhythm and movement is natural in our bodies
Dance is a primal form of communciation and its very deeply rooted in us
Singing and dancing together is what binds a community together
It is a way of expressing joy, sorrow, and passion

It has been recorded since before the dawn of time
that spiritual leaders and healers were first dancers
And in many cases the dances of Africa are thousands of years old
And I pay homage to the ancestors and elders of this tradition
Traditionally certain dances were used specifically for healing body, mind, or spirit
These dances come from a people that did not separate spirituality from everyday life
African dances were performed for any significant event or rite of passage from birth to death”

“African Healing Dance” — At One Ft Atjazz from his Mix: “If You Can Walk, You Can Dance” (Make Sure To Click the Link Below and Listen While Reading For Best Results)

It was a cold, blustery afternoon a month or two ago when I first got to talk to Seth “Dedikate” Carter, one of the key people behind the forward-thinking Columbus dance and music force Musicality. Strangely, before I even met Dedikate in person, I thought he and I would get along.  I had been listening to his mixes and following the remnants of his Musicality events through pictures and stories. I was truly moved by his music-first approach and his desire to bring our community an event dedicated to giving us a safe space for listeners, dancers, and artists to explore the rhythm of life without pretense or hype.  As I learned more about him, it seemed that he and I walked along a similar path in life and I felt an intense desire to share his story and worldview with our community.

Musicality

I came to our lunch meeting with my regular blinders that were keyed into what I hoped to hear from Dedikate, but, as always, the universe had different plans for the conversation. I had hoped to learn about Dedikate’s historical story and how he has been able to quietly bring world-class talent to our city. Quickly though, the conversation turned away from Dedikate’s historical narrative and his accomplishments toward his spiritual approach to sound, energy, and the rhythm of life:  “I believe there is a spirit and energy in everything. That’s why the trees make noise with the wind blows, we have personalities, and you can hear somebody walking. I am trying to say that energy is just energy. All energy falls into a rhythm if you let it. That’s what makes music so beautiful. It’s an expression of energy.” As that conversation turned toward his deep passion for sharing beautiful, inspiring music with people in our community, it became expressly obvious that the story of Dedikate and Musicality isn’t one of individual striving or accomplishment. The story is explicitly about erecting a Church Of Soul in our city that inspires people to think positively, embrace the person next to them, and keep on walking confidently in the direction of their dreams. Its a story that cuts to the heart of the ideas, values, and morals that we all share in our common endeavors. It cuts to the heart of our Collective Soul.

spoonful

Dedikate’s message has resounded within my daily life to the extent now that I see the Soul of our community and the music everywhere. Looking back on all the people who I have interacted with in our community,  I see the Soul seeping out of every action we have undertaken to share music and collaborate on common events.  From exploring new venues and sounds to reaching out to new audiences, I see Soul. From the creation of flyers and events to the production of music and mixes, I see Soul. From the desire to break out of formulaic rules and the drive to write those rules anew, I see Soul. Through this collective soul we all share, I see the good will, passion, and pure desire of people in our city to connect to and create something bigger than themselves.

Viewed within Dedikate’s powerful perspective, Soul becomes more than just a word. Soul becomes more than just a genre of music. It becomes a philosophy, a way of life, an animating energy of rhythm:  Soul. That immovable force. That power that flows through us and around us and is expressed in our movements. Soul. That unexplainable interconnectedness. That common frequency we all vibrate to on this solar powered jukebox. Soul. That most divine inspiration. That revealer of the path to your dreams. Soul. What we all share. What we all strive to find in our lives. Soul. Meaning. Found right in the place you least expected it. In your next step, word, or thought.

Poster

We are fortunate enough to have an opportunity to directly experience an event curated by Dedikate tonight (Friday, May 31st) at Double Happiness (482 S. Front Street, Columbus, OH) when he spins with Trueskills, DJ Nimbus, & Malik Alston with live percussion accompaniment from Craig Huckaby. (EVENT DETAILS CLICK HERE) Make sure to check out the sounds of this wonderful musician and get in touch more deeply with this monthly event. Until then, check out his interview to step deeper into his world:

Local Autonomy: What does music and sound more broadly mean to the way you live and experience life?

Dedikate: That is a deep question. My life fits in a rhythm to begin with; it’s always been that way, even before I started dancing. You can ask anyone who is close to me and they will tell you that music is involved in anything I do. I don’t even have a television in my house. The minute I come home I start playing music or searching for music or whatever. That is in the physical world, meaning what I see and hear outside of myself. Inside my mind I find myself constantly playing a song (loud) in my head regardless if it is one I have just made up or someone else’s.  My wife tells people the strands of my DNA are made up of musical notes, lol.

A lot of it has to do with my spiritual background. I believe there is a spirit and energy in everything. That’s why the trees make noise with the wind blows, we have personalities, and you can hear somebody walking. I am trying to say that energy is just energy. All energy falls into a rhythm if you let it. That’s what makes music so beautiful. It’s an expression of energy. It’s even better when it’s live and there are four members, for example. Then that makes four elements of energy. The best thing is that we have learned how to record that and replay it over and over again. Because music will say things differently to you over time, depending on where you are at in your life. That’s the best part about it. It’s a way of being able to express to the world what is happening in the moment of now.

dj

LA: We spoke about our common love of the very diverse sounds of Motor City Soul. What is this music and what does it mean to you?

D: Detroit in itself has its own rhythm. I feel like there is just an essence (soul) of the city itself. Also, the music history, in all its genres has been so thick. If you are a native, it’s impossible for that not to have an effect on you. I know people from Detroit who aren’t even musicians and know the same information about music that I do. It is just part of life out there. That’s why I always love learning new stuff that comes out of there. A lot of time I really try to not judge it or classify it as a genre because there is something new coming out there all the time, its just music.

Virtually everyone that has made music in that City has inspired me in some way or another. Aretha Franklin, Jeff Mills, Moodymann, Al Hudson, Donald Byrd, Iggy Pop, Dennis Coffee, Rick Wilhite, Theo Parrish, Marcellus Pittman, Mike and Craig Huckaby, Dilla, Royce, Andres, Kevin Saunderson, David Ruffin, to name a few. That’s not even the half when you consider the people that came through there to record on Motown, Ashford, Birdie, Submerge, Metroplex, Tamla, Sound Signature, Mahogani, Temple, Tribe, Transmat, etc. The craziest part about Detroit is that even after all I’ve mentioned, it still doesn’t scratch the surface of all of the music that has come out of there. I really have a humbling gratitude for that place when I play there.

LA: You came to house, techno, etc. by way of hip-hop and bboying. Walk me through the process of what got you into (for lack of a better term) dance music genres.

D: Well, I have always listened to electronic music. I started going to ELEmental parties when I was 14. They were a group of people that pushed the boundaries for music in Columbus. They threw awesome parties and got people together in the name of music. I grew up going to those parties and I also followed rock bands like the Grateful Dead and Phish from state to state for years. I learned a lot about all types of music from that experience alone.

Breaking

I started listening to hip-hop when I was about six years old. Eric B and Rakim, NWA, Beastie Boys, Run DMC and later on Ice T, BDP, Slick Rick, etc. Hip Hop always remained a constant in my life all throughout my endeavors and I started attempting to bboy in 1996 but never took it seriously until 1999. I’ve pretty much been dancing ever since. Give or take injuries here and there. Through that I learned several other types of dance like house, salsa and freestyle. I would just go to the club and dance forever. During that process I would dig for all the music I heard at bboy jams or house clubs, etc. I travelled a lot so I was always hearing what was brand new and during the time there was a lot of stuff coming out. I would dig in whatever way I could, whether I was at the record store, online, through people and mixtapes, record shows, flea markets, etc. Just to be able to find that music, and when I began taking djing seriously around 2005, everything just fell into place. I began djing bboy battles and people liked what I played so I decided to get more involved and do it somewhat professionally for some time.

Dancing

LA: What does the art of DJing and music production mean to you?

D: Djing to me is like telling a story or giving a description of your experiences in life. All of the music I play I have found a deep personal connection with and I want to share that with the listener. I approach djing also from the standpoint of educating the listener as well. A lot of music was never made popular due to many reasons like poor advertisement, lack of financial backing, etc. A lot of times those artists were truly gifted and had a lot to give to the world. I believe people deserve a chance to hear that. I dig for records to be able to share that music with other people.

Records

I am still trying to find my sound with music production. I also haven’t been able to fully set up my studio as well and it’s killing me. I think music is a universal language and if you come at it with an honest approach, people will relate to you. It has to happen freely, otherwise it doesn’t come out honest, and frankly I haven’t had the time to commit to it, although I plan to a lot in the future. I also think using actual instruments is essential. There is something about how you approach an instrument in the first place that makes your sound unique to you and you only. I have a few instruments I can play mediocrely like a bass, piano, conga, and harmonica. When I get my studio situated I definitely plan on giving a piece of myself to the world, musically.

LA: Your Musicality project has really pushed a Music first approach to shows in our town and has been hosting some of the best talent from around the Midwest–Gerald Mitchell, Rahaan, Terrance Parker, and Rick Wilhite. What is the philosophy behind the project?

D: My goal is to create an environment that is comfortable for everyone to be able to relax and come experience music they may have never heard before. It is very centered in dancing because of my background, but if you come its not a requirement to dance. I really just wanted to create a night that people know that will be a solid stream of feel good music. Music that is undeniably good and expose people to it in a way that is not too “in your face”. My goal isn’t even to make money off of the night, its more so to be able to bring people here that would normally never come and play in Columbus on a regular tour. So far it has really worked out and I have a lot of surprises in store. I plan on throwing special events with some fairly big names in the future. I also would like to expand and bring more people from Ohio in general to my nights. It’s always a good time and I have gotten a lot of good feedback from people. Im definitely not going anywhere and plan on throwing larger events in the future! Hope to see everyone out. 

Check out the rest of Dedikate’s extensive mix back catalogue at his Mixcloudfollow Musicality Columbus on Facebook for updates on their next shows, check out their websiteAND go to Musicality tonight!

flyer

This saturday (May 18) ele_mental re-emerges with a 20th anniversary event at Kobo to celebrate the continuation of underground electronic music in our city (Event Details HERE). A focus on continuity is so vital, as ele_mental has never really left our community. Sure, they were not planning weekly or monthly parties over the last 5-6 years and many of its core members now live outside the city, but one does not have to be physically present or be screaming louder and louder to have an influence on the shape of our community. Sometimes the best thing a person or organization can do is to do nothing and let the creative pulse and vision one has created reverberate within the community in smaller ripples. Such is the simple way that ele_mental has come to inspire a whole new generation of people to work to keep the scene alive and offer a safe space for artists to explore ways of opening the  “eyes and ears and minds” of listeners

In my own way, this is how I came to know and be inspired by Ed Luna, Todd Sines, Titonton Duvante,  & Charles Noel and their artistic approach to dance music without even meeting them. I was caught by one of those smaller, barely perceptible reverberations that still echo out from the core years of their time in Columbus, 1991-2003. Even though I wasn’t there, didn’t here the songs, or feel the powerful rhythm of those days, the stories, pictures, sounds, and conversations I had with people shaped by those days influenced me in important ways. It was the high ideals of ele_mental  to rise above hype and push art that gave me the courage to push the boundaries of what music was acceptable and to not settle for the genres of acceptability that were in vogue at the time. It was the focus on education and scene history, charted by Ed Luna and others, that gave me a template and background knowledge on which to build. It was their hot burning fire of creativity and the will to build in new directions on the edges of sound that poured gasoline on my own kindling flame and showed me how to harness language as a system to express what was inside me. In short, as I stand on my own two feet, I recognize I walk on the ground built by their actions.

It only seems fitting that ele_mental would re-insert themselves into the conversation in a more direct and pointed way now. After 5-6 years of development, the scene has ramped back up. New clubs have opened in the old spaces. New organizations have arisen to fuse the experimental and dance sides of our scene. New publications, photographers, and videographers have taken advantage of advances in technology to document what people are doing creatively in our community.  New faces have mixed in with the old to create a new community. However, the newer members of our community have never experienced an ele_mental event. What will transpire when we all get under the same roof and dance to the same beat? I am, with Ed Luna, hoping for a Chain Reaction. The sort of chaotic, unstable synthesis that merges the ethos of DIY creation and sound barrier bursting so characteristic of ele_mental with the energy of the next generation to give another injection to the most recent wave of underground scene building in Columbus.

In order to get you ready for the show, I gave seven different members of ele_mental and our community the opportunity to reflect, just as I did above, how ele_mental influenced their lives and our city. I hope you enjoy the result. I think it really captures some of the importance of the organization and its ideals for our community. Below you will see the question I posed to all participants and their answers In alphabetical order by their first name:

Its the 20th aniversary of ele_mental and its got me in a reflective mood.  How have your experiences with the ele_mental influenced your life, your relationship to music, or your art?

Charles Noel aka archtyp, monochrome, A.R.S.:

archtyp

“ele_mental was something that came into my life at the perfect time. In 1990, I was in the middle of an important transition creatively speaking. I was fresh into my 20’s and ready to explore the universe of creativity. I was looking very optimistically and somewhat scientifically into the future. A few years into college, I was banging my head against a few disciplines that I had almost no business messing with, music theory/performance and electrical engineering. The situation was that I wanted to be an audio engineer and at OSU in the 80s they had set up an audio recording degree that was half music and half electrical engineering. I gave it the college try, but really couldn’t hang. I was expected to learn how to play an instrument (a school of music requirement) and get heavy into math and physics for the electrical engineering, but deep down I just wanted to get creative with sound. I wanted to chart unknown sonic territories, help develop new sounds for the future, and contribute to the furthering of the art.

I was pulling inspiration from many areas that were not overlapping much at that time. I had my ear into hip-hop, techno, house, industrial, punk, noise and experimental. In my mind, I wanted to draw lines between all of these and connect a visual aspect that took elements of art and design. This is a very common theme in today’s digital omni-connected world, but nothing you would randomly stumble upon in the late 80’s and early 90’s. 
Around the time that I came to this realization, I made a connection with some guys who had been hangin’ around in the small but active Columbus underground music and indie art scene. These guys had some of the same crazy ideas that I had, but coming from a different angle.

Archtyp as poor boyLooking back on that moment, it was a very odd window into the future. It wasn’t very defined in terms of looking at the past and just doing what you did then but better. We could see elements of change coming. The idea that the rules that we previously abided by were fading away was the fuel for lighting our art-student-collective/event-promoter/dj-producer-label owner fire. 
A fire had been lit and in a very short amount of time it would grow out of control. I’ll admit that I was along for the ride during much of the original inception, but being around motivated people that are willing to take risk is quite inspiring when you want to get shit done. From the get-go, ele_mental was about things that didn’t actually exist and as someone that had young creative energy who wanted to chart new territory with all that was in reach I was drawn into the collective. Many others where drawn in as well to varying degrees. We were all worker bee’s working toward a greater collective good. Heavy camaraderie came early on as we would learn to pull resources from anywhere in the collective to get our individual and collaboratory ideas into reality. We were all so motivated to teach and learn and to make things happen.

We took ideas and stripped them down to what was important. At that time, everyone was doing the opposite of that, so we stood out. Ironically though, we were not doing something just to stand out, which is a common motivation to do something. We simply followed a creative curiosity that told us to do something because it doesn’t exist and it is interesting enough to put some effort into. 
That force was responsible for those things that elemental gave to us all; Friendship, friendship on the level that was somewhere between a family member and a significant other, Creative, the idea that every creative step should be taken for a reason and to further the art, Knowledge and Motivation, how to make beautiful things happen when you don’t have enough resources. Networking, find those who inspire you personally and professionally and reaching out to them. ele_mental has given me all of that and so much more. 
To sum up, elemental gave me life; the means to create things, navigate problems and forge relationships, to keep forward momentum, and do what makes you happy.”

Ed Luna aka Lunar

Ed luna

“For me, ele_mental really allowed me a forum and venue to bring things together not only to benefit my own growth, but to nurture growth in others. I think its impact on Columbus, and other places here and there, is almost undetectable, but is secretly incalculable. No one did anything even remotely resembling what we were doing at the time, and few have even tried since. The reason it didn’t leave much of a visible impact was because it wasn’t really designed to. It lived on (and lives on) in the idea of collaboration and sharing itself, rather than in some need to prove how influential we were. We’ve never lived in the past, or in the need to prove anything, and we’re not about to start doing that now, even as we’re entering a new phase of understanding our own history.

I think this might be the most lasting legacy of ele_mental: it was about asking the right questions at the right time, and manifesting these questions into events and moments that people could participate in. In that sense, it’s as relevant now as it was twenty years ago.”

Jeff Chenault of ten-speed guillotine/circuitry room/Jeff Central:

Circuitry Room7 (1)

“The ele_mental events were an important time in the history of electronic music in Columbus, Ohio. Ed Luna had the brilliant idea to bring a diverse family of sound artists, performers and DJ’s together under one roof. Columbus at the time was bursting with so many talented people that it seemed more like a demented family reunion than a concert gig. Steven Wymer, Mark Gunderson, The Weird Lovemakers, Central Inhabitants, Kevin Kennedy, Todd Sines, Titonton Duvante, Charles Noel, Mike Textbeak, the list goes on and on. To say my work was influenced during these times would be an understatement. I learned new ideas from the “new school” of kids as much as I hope they learned from us old farts. I’ve also made friendships that will last a lifetime. There was no egos, no discrimination, no boundaries, and no rules. We were family and the DNA that held us all-together was sound.”

Kevin Kennedy aka FBK, Powerhouse, Sleep Engineer:

fbk“Before meeting the Body Release crew (which was the nucleus of the ele mental crew) in or around 1991-92, I was a crazy kid that was part of an iconoclastic hip-hop group called Poets of Heresy (we were one of the first hip-hop/rap groups to perform regularly on OSU’s campus…playing with rock bands like the New Bomb Turks-who gave us our first show).

I was introduced to Charles Noel by a mutual friend-a bass player named Diego Rivera…funny, I know. Charles and I hit it off quickly, and arranged to trade gigs that summer. I was also invited to some of the early house parties. I spent that summer of 1992 on campus mostly…listening to people like Doug (doughboy) Holmes spin Hardcore and Gabber, charles and others playing Drum and Bass, and becoming very influenced by the new electronic sound (which I was familiar with from my youth as a breaker/wanna-b-boy). I realized that this music had power.

The more Charles and I talked, the more interested I became. Charles actually CHALLENGED me to begin creating dance music. I was in the process of building a ‘home studio’ in the basement of my mother’s home, and started to ask TONS of questions…I started picking up little bits and pieces of gear…by 1994 I was in the beginning stages of doing my first recordings…to which I would annoyingly rush over to the ele mental house (by this time, on 14th street) and play my newest creations. Somehow, I had a level of artistic merit, and began to come along for the ride. I played my first show (a NYE party at the house, playing experimental records before Mark Gunderson took over). I had been into the DMC/battle scene for quite some time…I could scratch, but I couldn’t beatmatch.

Thank goodness that most everyone was occupied or in school at the time…it gave me a chance to come over and play records at a better level than I could at my house…and learn to beatmatch on better decks (I had a pair of Technics D-1s at the time).

Had it not been for the elementals-I’d probably be a frustrated and bitter ex-rapper. The love, guidance, and sheer community of the group was enough to make me a better artist. I thank my lucky stars that I was able to meet lifelong friends like Charles, Todd Sines, TiTonTon Duvante, and Ed Luna….A debt I will owe for the rest of my life.

They brought the world of dance music to Columbus, and to me. And now it’s time to give it back to the world. Can it really be 20 years? Wow.”

Mike Textbeak:

Mike Text“Well I was in Body Release before Elemental existed and left Columbus and B|Re to move to Minneapolis in 1992. Working with Todd, Charles, and Titonton definitely had a great impact on me.
All 3 had great artistic drives to constantly create and I totally identified with that. Also, we all had such unique likes even though we were all basically from the same scene and we all had an insatiable hunger for new music. I remember going through records for sampling one day at the house on (I think it was on 17th) with Titonton and he played me Plight and Premonition by David Sylvian and Holger Czukay and completely blowing me away. I remember Todd blasting AFX “Tamphex” early in the morning while eating cereal and the insane alien sound echoing all the way up the stairs. I ran down and planted my head in the speaker. I remember Charles playing me a cassette of music he was working on solo that was was slow bassy breakbeats back at Todd’s old dorm. I was totally astonished by how cool and deep it sounded. It was such the polar opposite to what we were doing with breakbeats in Body Release at the time.

We all each had pretty diverse taste. Charles had an awesome collection of industrial and also hip hop and breaks records and would scratch them equally well. Todd was always pushing out for new sounds. Like in high school he was always researching new music and exploring new ideas with sound. Titonton was just so absolutely talented at playing and composing music. I remember we would be sitting around and he would just smash out the riffs from 808 State songs for us. He would write songs on his Ensoniq VFX and pound them out manually part by part in long sequence mode without quantize.

It was so awesome that all of us brought these different things with us and then combined it into B|Re.”

Scott Litch of Squared:

Scott Litch

“ele_mental was one of my first exposures to the underground electronic culture in Columbus. Their events were always very thoughtful. I remember Ed Luna handing me his “think” article to me at a party. I read it and thought it was really interesting. The ele_mental crew was always thoughtful with their events. They always incorporated a mixture of art as well. This always brought out a really eclectic group. When things started to die down around 1999, I felt that I wanted to create my own production company that kept some of the same aesthetic going. I still continue to work with the ele_mental crew to this day, as we just hosted Titonton at victories a few weeks back.”

Steven Wymer aka tactil vision + djvd:

Post 90--Tactil Vision

“For me, in the mid-90’s, the “rave” scene was pretty much where the cutting-edge music was at the time..”techno” became a movement so much to a degree that it even elicited some feelings of contempt artistically, i admit, as i even tried to avoid the trend. So there was both a feeling of being inspired, but also overwhelmed. There was all this music and all these people that had started a movement of sorts apart from the “industry” and succeeding. So when i was starting out, i guess i tried to maintain my own identity to a degree, but the overall feeling of community was indescribably refreshing. The best part, i suppose, it prevented me from being too stuck in my own ideas, or being pretentious starting out…the genre or method is really secondary to the experience of being in front of people and the connection. So it enforced my need to stay true to myself, but also be open to others; the social aspect (if there is any other aspect) of music took root. I suppose then, i took it all for granted…being involved in ele_mental’s events basically was where i first got my opportunities to perform live and eventually i found they knew quite a bit more about the history of electronic music than i, it was more inclusive. They were actually carrying on much of the underground “industrial music” philosophy, with random Coil and Kraftwerk fans, when industrial music was going mainstream. So i was introduced to all these various forms and media, which opened my mind. Obviously, that was the point. It wasn’t a lot about dancing for me, i remember. I was sort-of taking it all in at the time and managing to contribute something remotely interesting. I guess at the time i was becoming a bit of a purist or an isolationist and this seemed to be challenging that; akin to a naive virgin finding himself in the middle of an orgy.

So the scene was broader and more encompassing…i don’t even know how it all happened, i knew a guy that knew a guy, who i don’t even think heard my music, but there i was opening up events with other live acts before the DJ’s took over the rest of the night. I was doing noise stuff. And these guys like Kevin (Kennedy) were basically dragging their studio and equipment out in a garage and doing everything live. DJ’s hauling around crates of vinyl. No laptops then! I don’t remember any computers- everyone was using MIDI. If they were, it was Atari’s or something. People were hacking stuff and hooking up VCR’s for video. I remember Ed having that funky haircut and rarely could i get a convo going with him, because he was mostly interested in the girls, i suppose 😉 So even now by habit, i keep in mind stuff might get dirty or damaged. You might get rained on setting up. Live: be prepared, keep an open mind and meet as many people as you can.

For the most part, i remember the DJ’s having the most impression- using the turntable as an instrument and the skills they had. It was all “street” back then, like the alleys and garages started breeding kids. Actually, in my own work, i guess now i realize where the grittiness and funk comes from that still permeates my own work. I even ended up incorporating a turntable in my own sets. The DIY ethic. There was quite a bit of sampling and cross-pollination. Whether you were into James Brown or Joy Division, it all was in the mix. So right off the bat it was about live performance, trading music with people and diversity. To this day, i still have a hard time labeling tings or getting narrowed-down creatively…after an ele_mental event, you’d come home and your mind would be swirling around, it was almost information overload. Maybe it was a portent of the internet culture to come. So, the experience was everything; the love of music was really the only thing we had to bring us together..it was actually quite genius, really, in the way it tapped into the sexuality and freedom of expression. It was about being a part of a whole, where the individual and the mass had a delicate balance for a time- both physically and psychically. I guess it could even be compared with a modern-day brothel, without the actual fornication. So for the most part, as beginner, i was having some illusions being challenged and such being exposed to that and perhaps even saw myself and others in a different light…”

Todd Sines aka xtrac + A.R.S. :

“ele_mental is simply… just that.

Ed came up with elemental and I thought we should fragment it — just to give it some “space”. What was essentially thought up out of the thin air, without too much thought, ele_mental has come to symbolize the nature of our activities, for work, art, and personal endeavors. It is a permeating cohesion that governs my every movement; the multi, inter, cross and trans-disciplinary nature of what we began 20 years ago has covered my career for + SCALE, my music, my friendships, my relationships. It is seeing the parallels in life; the elementary nature that forms deep, lasting friendship bonds for decades.

As there’s almost a decade + stretch between the various “electrons” of ele_mental, our events in the past decade, particularly since our move to NYC (and New Orleans, SF, Portland, LA, and beyond) have become a family reunion; whether it be a wedding, a group dinner, “waffles at da crib”, or concert & DJ sets in various spots across the globe.

While I wasn’t as focused as I should have been in college, nor siblings; I think I made up for it in the “ele_versity” with fellow student/teachers Charles, Titonton, Ed, Anthony, Chris, the Kevin’s (FBK, MWK, TWK, TSK, FWK, et al), Michael, David, and countless others. They have provided insight, perspective, inspiration and most of all, friendship that is 20+ years strong.
Todd Sines
14 May 2013”

In the moment

Dezi Magby, aka DJ Psycho, is a prolific DJ and producer from Flint, MI. He has been honing his craft  ever since he was 11 years old and picked up the turntable as his instrument of choice and started wielding records like sonic weapons. He is affiliated with the all-important Detroit Techno Militia, which has helped carry the banner of Techno music for that city and for all of North America for some time. He is a part of a new collective of artists called Convergent, which focus on sound production and DJing that pushes the boundaries of arbitrary music rules. They also just found out that their releases will be distributed by Underground Resistance/Submerge. Even with this techno pedigree, he is not one that can be so easily put in a box labeled “techno” and placed to gather dust in this genre classification in your brain. He spins EVERYTHING. I do not exaggerate here. In my short time immersing myself in this form of music, he finds connections in beat and sound that I have heard few people even consider. Take this recent mix he put together called “Scenes From The Closed Doors”:

Or take his appearance on Detroit’s Fox2 where he found an innovative new way to introduce people to his sound through the use of the Charlie Brown Theme Song and another very interesting track I will let you hear for yourself:

His sets for dance floors are no different. One listen to his extensive set of mixes on his mixcloud demonstrates he is adept at taking the listener back to a place where disco, house,  jungle, techno, and Drum & Bass were all part of the same musical language not distinct, unrecognizable vernaculars.   Listen to those mixes HERE. ]

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Entering DJ Psycho’s world of sound is like stepping into an interplanetary portal and being thrown at light speed into an alternate dimension. A dimension that looks, smells, tastes, and feels like the world we are so accustomed to, but where the development of music took a left instead of a right turn. One might say going left wouldn’t have made much a difference than going right, but in DJ Psycho’s universe the result was dramatic. Gone is narrow minded listening according to the limiting rules of genre classification and the hype machine. Gone is defining oneself according to arbitrary definitions of “the cool” created to push product. Gone is that empty motivation of self-aggrandizement and party culture. What remains is the pursuit of art. The pursuit of self-expression and finding ways to link the power of the music in vast interconnected networks via the turntable device. What remains is Soul; that irresistible force that propels us to Live, Create, and “Point Ourselves in the Direction of Our Dreams”. Seems to me that going left is the only way any of us make it out of this existence with any sort of experience of really getting in touch with the human condition.

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Luckily, this saturday (May 11) you got a chance to take that left hand turn and enter this alternate universe for yourself with a night of sound curated by Squared. Dezi will be playing alongside like-minded local musicians: The Fallen, Lower Frequency, and Beckett. As excited as I am to see Magby spin live, I am equally excited to see how this night of music unfolds with our local support. I am a huge fan of the live PA sets of The Fallen (We are talking creating music on the spot here and not just spinning), the smooth roller coaster ride of Lower Frequency, and the downtempo sounds of Beckett. All the fun starts at 9 pm at Victory’s and there is no cover. Event Details HERE. In the mean time check out the interview with Dezi below to learn more about his art and approach to music:

Local Autonomy: How does sound and music influence the way you live and experience life?
Dezi: I was taught at an early age that everything around U influences U. Good, bad, pleasant, unpleasant. The oddest things influence me. Watching Looney Tunes. Talking 2 my kids. The news. It all has 2 go somewhere…and it locks its way in 2 my subconscious until it gets pulled out 4 some reason or another. Luckily, I keep my headphones on most of the time, so the thing that gets me going the most is what’s in them. I try 2 take in as much as I can in the course of a day and most times at night, because U never know when something will strike U. I’ve woken out of a cold sleep and made things. Still do.

LA: 2.) It took a lot of courage to end the Irrational outfit and start Convergent. What drove you to start a crew that was more like a family?
D: Irrational HAD 2 end. It had no choice. It reached the end of its course by not having a course 2 begin with. The ideas were there, but there was something holding it back. I kinda had this personal dustup over the winter, and when things like that happen, U naturally want 2 take a different course in life just 2 keep U from going insane. I decided at that point 2 ‘dead’ Irrational, since its purpose was muddy anyway, and true irrationality is just an ugly thing 2 witness, and I didn’t want that connotation anymore with what I was doing creatively. Luckily, as the lineup goes, it was already there. Nano Too Hype has been one of my best friends 4 over 15 years. I’ve had his back since he was 17, and I always accepted him 4 being him. Ryan Start and I are as close as it gets. Our philosophies are in sync. We’re both Geminis – he’s a G II, I’m a G III – so there’s an understanding that goes beyond just simple friendship. Dustin Alexander aka Dayda….he and I have been friends forever as well. We like a lot of the same forward thinking music. Kevin’s my best friend on the planet – we have a 26 year history of bashing clubs 2gether on a cerebral level. Me and Kevin bought records from Jeffrey Woodward when we met in ’87, and Jeff was also the first person I heard play house music in my city – outside of me. It goes on and on throughout the entire lineup. All of us have some sort of long LOYAL history 2gether….so when the idea of putting Convergent 2gether came around, the family unit was the BIG thing that I wanted 2 put forth. The name was thought up by family, voted on by family and perpetuated by family. That’s the key. No one man can take on this all alone. Your team is everything. The name says it all. Convergent. All of us individuals coming 2gether and making something that represents our relationship 2 each other.
What’s beautiful about Convergent is that I don’t dare hold any of the members back from doing whatever they want 2 do – any avenue they wanna explore, I say “go 4 it”. Learn something, get good at it. That just means that the next time we come 2gether, no one is afraid 2 say “I got this” or “I think so-and-so has a hot record” or “I think I wanna put this out”. Our lack of fear combined with our respect of each other makes us all better as musicians and DJs and FRIENDS in the long run….and that’s what it should be about anyway, right?

LA: I loved hearing you share some of your philosophy on music creation and group building when you said at the end of a recent interview: “Forward motion. Don’t settle. Try Anything and Everything.” How does this open-minded, present moment centered approach influence your music?
D: If U take a look at my record collection, U realize that I have very few limits on things. I think of music as a gift, regardless of the source. I get as much feeling from a Public Enemy record as I do a Billy Squier record, or a P-Funk record, or a YMO record, or whatever. People take 2 much time worrying about genres and where things are supposed 2 fit and categories and all that dumb stuff. I don’t have time 4 that. When I go 2 a record store, I’m all through the room. My friend Herm that runs Vertigo Music in Grand Rapids, MI kinda makes a game of what ends up in my pile at the end of my trip. Most times, he is flat surprised. Other times, he’s like “I expected 2 see U pick that up.” That’s my philosophy. That’s what makes me tick. If I stayed in one lane, the people who know me best would think I was sick or something.

LA: I loved working through your back mix catalogue. Everytime I thought, “Oh, I get Dezi.” I was thrown a curve ball and you were spinning late 70s prog rock or you would throw in some disco, D N’ B, etc. How do you fit all these musical pieces together into a mosaic? Where do you see the connections?
D: Musically, everything has a pulse….the trick is 2 find it and make it relate 2 U. My influences are so freakin’ scattershot that writing it down kinda confuses even me. U never think of an inner city Black kid with a good set knowledge on The Beatles or Billy Joel or Todd Rundgren….or could talk 2 U about bands like Strapping Young Lad or Santo and Johnny or what have U. All of those things have a pulse that I can relate 2. I’ve always worked on the theory that the only thing that separates good music from working 2gether perfectly is BPM.

LA: Finally, what are some of the place, moments, people, or practices that inspire you to create?
D: I wish I could say that there was an individual time or place. It’s more like this running series of events. Seeing P-Funk at the height of their musical powers at age 9 at the IMA Sports Arena. Seeing Prince as many times as I have (16 and counting). Again…the cartoons. U have NOOOOOOOOOOOOOOO idea how much Looney Tunes inspires me. It’s the whole warped sense of humour that I believe that people have lost touch with, especially in electronic music. The history of that music is so vast and so deep, yet people are happy 2 put them in their little categories, shut off their minds and pay attention only 2 that point in time. I have pre-dubstep records in my bedroom that the hardest anti-dubstep dude would lose his mind over. I can pull out Underground Resistance records that would make the nearest electrohouse fan drop a load of bricks in her pants. It’s all relative…and people need 2 see that. Maybe I’m the bridge. I don’t know. I haven’t gotten that far yet, and I’m the furthest thing from being done.
As far as people, my family comes first. My moms, she was all blues, old Stax and Hot Wax stuff, Sam Cooke, Motown and Atlantic sides, James Cleveland…music that spoke 2 the soul. My dad….man!! His taste was wide. Doo-wop, early rock and roll, anything funky, anything DETROIT, fusion jazz. He would bring back records and tapes from his friends at the shop all the time. He introduced me 2 Chicago “IX”, Bonnie Raitt’s first 2 albums and Stevie’s “Songs In The Key Of Life” in the same day. He and I discovered a lot of stuff 2gether – Frampton, Pablo Cruise, Steely Dan. My uncles gifted me with deep jazz, all the funk stuff that was coming out of Atlanta and Florida, Heatwave, Brothers Johnson. My brother and me were all about Funkadelic and Parliament and Kiss and stuff like that. Both parents sung in the choir, as did I and my siblings. I hated my own singing, so I picked up instruments. Of course mom and dad indulged me there. Drum sets, guitars, build-it-yourself keyboards. I got records 4 Christmas all the time. I didn’t care much 4 anything else anyway. The trips 2 my grandparents were big. Dad would flip the radio and keep driving. That brought me pop and rock. My cousin Jessie in Detroit put me on 2 the B-52s and whatever crazy stuff Mojo was playing. My aunt’s now ex-husband was a cabaret DJ in Pontiac, so whatever was hot, I was on be4 my classmates. He gave me lots and lots of records. Ugh. That’s only the first 10 years of my life….
I could go on forever, really, but again, it’s the whole thing about everything U hear, good or bad, or from whatever source U get it from, there’s an effect…and if U look close enough, there’s a tie. There’s a funk in early Andrews Sisters records that’s as hard as any James Brown jawn or in any of DJ Premier’s scratches. The middle finger that’s strong in Dead Kennedys records is united in spirit with Johnny Cash’s Sun Records output. I see as much syncopation in a Derrick May record as I do listening 2 George Shearing’s piano solos….and if U are listening 2 Kraftwerk and don’t hear Parliament’s playfulness, U gotta listen harder and looser, man. The uniting point of all of this great music is right there.

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Sam Harmon, aka glacial23, is a electronic music producer, instrument builder, noise explorer, record label head honcho, etc. from that sprawling settlement on the southern reaches of Lake Erie, Cleveland. I have not delved much into the people and sounds coming from this city, but I have been continually impressed by the quality of the events and forward-thinking folks that are up there. Whether it is the spiritual melodicism of Forest Management, the open format deconstructionism of TEXTBEAK, my favorite record store Experimedia (run by the amazing sound artist Jeremy Bible), or the 500 other amazing folks and venues up there (That radio station up at Oberlin seems to just churn out amazing events). Like his contemporaries, Harmon has pushed his own singular music vision and has explored the beats, sounds, and musical ideas that interest him most by splicing together elements of noise, house, techno into his productions. However, he is more than just a musician. He also runs a label called Glacial Communications releasing his own and other artists work digitally and in limited run special format releases that would interest any collector of hand made physical releases.

Acetic

I have been following the work of glacial23, ever since his amazing release Acetic in March of last year (Which is available for free for a limited time right now on his Glacial Communications Bandcamp). On that release, he deployed a menagerie of drum machines, synths, and other hardware to explore the sounds of acid. Yet, these experiments weren’t necessarily your run of the mill “acid trax”. His tracks on Acetic took you down the dark, claustrophobic hallways of our existence with the sort of menacing sounds you would envision accompanying a film rendition of Franz Kafka’s “The Trial.” The type of sounds that bring to life the sonic environment of the labyrinths that we all navigate in our complex, bureaucratic societies where we are at the whim of authorities and rules we vaguely know and never consented to. I feel this is perfectly captured in “The End Track” where you seem to be penned in on all sides by the methodical machinations of the drum machine and synth, as it chugs on and on creating a whole world before your ears.

Prior to listen to this release, I had only really connected elements of the acid sound with the club tracks of the 1990s acid house. On Acetic, glacial23 still retained some of the dance floor sensibility, but also brought in his penchant for damaged/deconstructed techno/experimental music. I guess thats what drew me to his sound, as he finds much creative fodder by playing sets of formulaic “genre” rules up against one another. Though not as abrasive in his embracing of deconstruction as say Pete Swanson’s recent work, glacial23 brings in just amount of the “damaged” sound and the dance sensibility to bring us to a new place with these sort of acid sounds. This is directly evident in his track “Sense” from the 9/09 EP where he utilizes these sort of crystalline sounds that  jut up against and fight for attention with the infectious acid melody he plays over the top of the track:

His two most recent releases, a compilation of noise-influence techno “Four on the Noise Floor” and “Chute”, explore similar territory and showcase the work of contemporaries up in Cleveland that orbit in similar musical territory. Such work highlights not only Harmon’s approach, but the vibrant creators he is surrounded by in Cleveland.

glacial23 was nice enough to answer some questions for me in advance of his performance at Frequency Friday this Friday, May 3 at Wild Goose Creative. He will be performing alongside Yanktronics, Jazz improv group Brett Burleson/Ryan Jewell/Aaron Quinn, and Sam Hoar. Should be a burner. Event details can be found by clicking HERE.

Interview:

Local Autonomy: What does music and sound more broadly mean to the way you live and experience life?

glacial23: It’s pretty important. I’ve probably been fascinated by sound as long as I can remember, and interested in finding ways to reproduce what I hear, whether exactly through sampling, or in some kind of approximative way through synthesis.

set upLA: How did you get into making music and building your own instruments? Did one come before the other?

g: In school I played trumpet and euphonium from 5th-9th grade. By the time I got to college in 1993 I had a definite interest in electronic music, and had a friend in my freshman dorm who had a “real” synthesizer (a DX7) and drum machine he let me borrow for a little while. By the summer of 1995 I had started acquiring my first couple of pieces of gear- a Yamaha DX27, Realistic MG-1 (the so-called “Radio Shack Moog”, which I still own), and a Roland TR505 drum machine.

Building instruments happened a little later and followed a convoluted path- I tried building a little mixer in high school, but really had no idea what I was doing at the time and it didn’t work. After I had taken a real circuits class I decided I’d try my hand at putting some kits together. The first was a little bass drum synth called the ADV-Bass in 1998. By some miracle it worked correctly on the first try, so I got cocky and bought a couple more – a snare drum synth and a MIDI-CV converter. The snare synth never worked very well, and the MIDI-CV converter didn’t work at all (I finally fixed that a couple of years ago!). Frustrated by these second attempts, I put DIY gear on the backburner except for some very small projects (modding a morse code practice oscillator into a light theremin, for example)

At some point in the 2000s I received a Theremin kit as a gift which I eventually got working, and then in late 2006 I first read about this wondrous-looking microcontroller board called the Arduino(via this article: http://todbot.com/blog/spookyarduino/). By 2008 I knew enough of this electronics stuff to give introductory talks on it at the Notacon and Penguicon conferences. At Notacon that year, I met Pete Edwards (a well-known circuit bender and synth-DIY guy) who provided encouragement and chided me to up my game when he saw the terrible soldering iron I was using at the time.

Also in the summer of 2008, Bob Drake (aka Fluxmonkey, who has been doing this kind of stuff far longer than I have) did a summer workshop on building simple electronic music devices (you can find notes from those at http://fluxplayshop.blogspot.com and http://fluxmonkey.com/electronoize/). Some of the output from that workshop led to Ryan Kuehn offering to put out what became “DIY Volume I” on his label (Everyone Else Has A Record Label, So Why Can’t I?). I decided that the premise of that album should be a release where every instrument used would be either built, modified or repaired by me in order to be used (the “repaired” clause allowed for use of the MG-1 and my 4-track cassette recorder for multitracking), so I had to build the equipment I needed to make the sounds I wanted.

LA: When did you start Glacial Communications? Were you releasing music before this?

g: The label officially started around 2002. Before that I had put out a few things with The Button, a band/collective that had emerged out the radio show I did on WRUW from 1997-2010. Our first CDR came out in 1998- that group was more of the Negativland/ECC sample-heavy collage variety, so I decided to start my own little imprint for my solo synth-oriented material.

My earliest unreleased (or barely released- some were on mp3.com for a while but are now not online) date from late 1995/early 1996. At some point I’ll probably reissue some of them.

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LA: Being an engineer and a musician, What does it mean to you to be able to make music on instruments you have built yourself?

g: Initially, some of the reason was cost- I wanted synths capable of certain things, but the commercial version was prohibitively expensive, and after trying software synths for a while(I really did!) those interfaces weren’t what I was looking for. DIY just seemed like the right way to go. It also provided me with a reason to use some of the hardware end of the Computer Engineering degree I have.

Nowadays, my day job doesn’t allow me to write code or things like that as much I’d like, so some of that creative urge to build has to come out in other ways such as building synths or working on projects at the hackerspace.

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LA: I was drawn to your work, because it trudges across the terrain of noise, experimental, and more traditional dance forms (like acid) and shows how they are all connected. What has prompted you to explore the interconnections between these music forms people often try to separate?

g: That’s been a weird journey. Some of that has come from being influenced by the intersection of the “industrial dance” scene and the techno scene of the early 90s, and by my own research into the history of what came before those (i.e. learning about the industrial scene of the 1970s, or the history of techno & house in the 1980s)

I started off making sort of off-kilter techno & industrial, as that was what I wanted to make and was sort of dictated by the gear I could afford at the time.

Since I was friends with a lot of people in the Cleveland experimental/noise scene, I decided I’d give “the noise thing” a try for a little while and put the more straight-ahead dance stuff on the backburner- so I’d be doing things like playing a x0xb0x (TB-303 clone) and modular synth together in an odd way- sort of acid house without beats. In November of 2010 I went to see Oneohtrix Point Never and Laurel Halo at a house show here, and was utterly blown away by Laurel Halo’s performance, which was straight-ahead techno, and the crowd seemed to at least be digging it a little bit. I had a show of my own a week or so later on a noise night at the now-gone Bela Dubby and whatever I had been planning wasn’t working in my head, so I decided to try adding the drums back in. It got kind of a mixed response at the time, but it did lead to my getting suggested to open for a huge show at the Grog Shop a few months later.

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LA: You, like myself, have been an Ohioan for some time and have picked through many of the same bins in record stores I now go through, gone to the same venues, etc.. I am incredibly inspired by our state. Does the landscape, architecture, and terrain of Cleveland and Ohio more broadly influence your work? How?

g:  I’ve been a lifelong Ohioan- the first half or so in greater Columbus, and then I came to Cleveland for college and liked it here enough to stay.

There are definitely some Cleveland landmarks I consider influential- some of the interesting terrain you pass by when taking the RTA trains, the Sidaway Avenue suspension footbridge (it’s been closed since the 60s, but you can still see it as you’re driving down Kinsman), the area underneath the Detroit-Superior bridge where the Ingenuity Festival was held for a couple of years, and certainly some of the terrain just on either side of the Cuyahoga River- the so-called “Industrial Flats”. There is something about the look of decayed infrastructure- not necessarily the “ruin porn” you see in stories about Detroit, but more of a mild unkemptness with just a little rust on the girders.

 

Glacial Communications & glacial23 on the Web:

Glacial Communications Facebook

Glacial Communications Bandcamp

Glacial Communications Website

glacial23 Soundcloud

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I did my second spot on Trademark Gunderson & Frillypant’s Sound of Plaid Radio Show two weeks back. You may remember my first spot on the show in November. You can listen to that HERE. This time around we played some local music, some old & new music, talked big ideas, and had a great time. Take a listen when you get a chance.

Tracklisting: Click on Artist Name for more info
(Band — Song)
Jay Dee — Airworks
Elizabeth Waldo — Balsa Boat
A Tribe Called Red — The Road
The Fallen — Raw Times
sKewn — Circling
Jeff Central — The Day Of Attack
Druid Cloak — Sun Elf
Glass Teeth —BB EYEZ (FUNERALS Remix)
tactil vision — illusion
Glacier 23 — The End Track
Walleye — Burn 4u
Mike Shiflet —1917
Mike Shiflet — Zahlentheorie
The Evolution Control Committee — The Fool On The Hill (Major-Minor Swap, incomplete)

I have been getting a great response from a lot of people around the scene from my posts concerning what’s going on in the scene today. All I can say is thanks. Thanks for doing what you do, so we can all have a community and I can help tell stories. This project does not exist without the energy expended by all of you in our community.

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Today, I am continuing these contemporary community-centered posts by shedding some light on the past and present of Mister Shifter. Mister Shifter is an artist that cut his teeth in our scene in the 1990s when the underground and club scene was thriving. He is an accomplished DJ and producer whom made up half of the critically acclaimed Drum and Bass duo Random Movement. Listening to the Random Movement back catalogue, one is catapulted back to the late 90s and early 2000s when the D & B sound was at the cutting edge of dance music and Mister Shifter himself was a key contributor (alongside Mike Richards) to pushing these new bass sounds in our city and abroad. Not only does his story help detail some of the back history of bass music in our city, but also provides a lesson on how an artist changes over time. Over the last few years, Mister Shifter has adopted an open format approach to sound, which has enabled him to continually change up and incorporate new styles and sounds into his sets. This has proved incredibly useful for him, as he has been able to reinvigorate his love of DJ’ing even as he grew bored of past sounds he immersed himself in so heavily. For me, it also makes for better art, as Mister Shifter is able to draw on diverse musical influences to craft soundscapes for dance floors that aren’t pigeonholed to any one tempo or mood.

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Mister Shifter will be playing a free show this Friday, February 22nd at Victory’s Live hosted by Squared headman Scott Litch (Event Details Here). Squared has been one of the gold standards of Columbus dance music for over ten years, as Litch has continually tried to innovate conceptually and graphically to push Columbus dance music to the next level. Within the last year, he has brought in new resident DJs to his Future Fridays event like Lower Frequency, Kevin Parrish, Tony Fairchild, and others and collaborated extensively with Quality, Run614, and Push Productions. Together these actions have increased the cohesiveness of our scene and provided artists in our scene a platform to play sounds not often heard. The show this friday is no different. Scott has carefully curated a stellar line up of artists like Mowgli, Mister Shifter, Ill Atmospherics, Lights Out!, and Doctah X that have expertise across the spectrum of bass sounds from Drum & Bass to Dub. In order to get you ready for that show, I provide for you a broad ranging interview with Mister Shifter that delves into his love of music, his time with Random Movement, and what he is up to now.

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Local Autonomy: What does music and sound more broadly mean to the way you live and experience life?

Mister Shifer: It may sound cliché, but I’ve been a music junkie since I was a young child. Ever since I can remember I’ve been obsessed with music. I feel honored to have grown up in momentous times like the golden era of hip-hop, and the grunge movement of rock, even the 80’s (for better or worse). Being engaged and in love with music during those times of my youth really helped shape my life, and how much I appreciate music.

I’ve always enjoyed sharing music that I love with friends, from making mixtapes before there were CD’s or MP3’s, to modern day methods . Eventually becoming a DJ was a very logical progression, and that desire to share music with others has always been the driving force. DJ’ing, for me, was never about ego or because it was a cool thing to do, it was always about sharing what I loved. There’s almost no better feeling than playing the music that I’m passionate about, for tens, hundreds or thousands of people at at time, and watching them experience the same joy that it brought me. It’s a really amazing feeling that makes me never want to stop doing it.

LA: How did you get into dance music? Was Drum & Bass your first love, or did you get into later?

MS: In the early nineties I really started to gravitate towards the hardcore-breakbeat stuff that was emerging out of the UK. Artists like 2 Bad Mice, Underworld, Omni Trio, and Hyper On Experience loosened the grip that hip-hop, industrial, and some other genres had on me at the time.

Soon after, I was full-on obsessed and going to clubs and raves every single weekend, experiencing the full gamut of electronic music at the time. I think most importantly I have the ele_mental guys to thank for exposing me to such quality music, from their core artists, to the amazing local and international artists that they were bringing into Columbus on a regular basis. I’m eternally grateful for people like Ed Luna & Titonton.

Oddly enough, I didn’t gravitate towards drum & bass right off the bat, and primarily favored techno & house music for quite some time. That all changed, and I’ll never forget when drum & bass just “clicked” for me. I was at a rave at the Valley Dale Ballroom in 1997, and Titonton was playing a drum & bass set in the main area. Grooverider’s remix of ‘Share The Fall’ came on and it honestly turned my entire world upside down.

1997 was a pivotal year for drum & bass, so in my mind it’s easy to see how I got taken so hard by it. Artists such as Ed Rush & Optical, Dillinja, Photek and Adam F were putting out some of the best music the genre has seen to this day. Drum & Bass was taking the electronic music scene by storm, and I surely got pulled into the frenzy.

In a way I guess I could consider drum & bass my “first love” as I’d never been full-on consumed by any single type of music like that before. I soon bought my first set of turntables and a mixer, and started buying vinyl in massive amounts. I basically did nothing but practice DJ’ing in my spare time for the next few years.

LA: What were your experiences like in the late 1990s and early 2000s when you were DJing huge dance music events and pushing the Drum & Bass sound?

MS: I was a great experience to be a part of drum & bass in what I consider it’s golden age, the late 1990’s. Playing raves in warehouses before those type of events dried up is something that I’m so thankful to have been a part of.

Once everything started to move into the clubs in the early 2000’s I had made a bigger name for myself by getting into production. Getting signed to an iconic drum & bass label like Breakbeat Science was huge. That really opened doors for me, and allowed me to play some of the biggest drum & bass shows that would come through Columbus. It was a treat to play alongside some of my idols such as LTJ Bukem and Bad Company during those times.

LA: What prompted Mike Richards & yourself to start the Drum and Bass duo Random Movement?

MS: I managed the DJ department at Sam Ash Music Store a long time ago. One of my co-workers who I went to high school with used to have a friend that would visit often and blow my mind while toying around on the synths in the keyboard department. His name was Mike Richards, a classically-trained musician with a background in Jazz. He was somewhat unfamiliar with drum & bass and DJ culture at the time, but was very interested in knowing more. I basically fed him all of my favorite drum & bass tracks to get him initiated with certain artists and labels, and got him instantly hooked.

It didn’t take long before we started making tracks together and within about a year we had an offer from DJ Dara to release a 12″ on Breakbeat Science’s sister label Orgone Recordings. That single, “What a Woman” sold all of it’s pressings and got us out there in the international spotlight.

The success of that release gained us enough exposure to secure a release on Ireland’s Bassbin Recordings. That release contained our biggest hit to this day, “Stars in the Dark.”

Drum & Bass icon DJ Marky fell in love with “Stars in the Dark”, as he famously played the track three times in one set at The End nightclub in London. He later said he was extremely upset for not being able to sign the track to his own label, Innerground, but we worked out a deal and our next release came out on his label.

At the time, Bassbin and Innerground were two of the most popular drum & bass imprints in the world, and we were the first American artists to be signed to each of them. It was a huge accomplishment, and I’m still shocked and humbled by it.

LA: Its crazy to think that you were still releasing vinyl records with Random Movement in the mid 2000s when vinyl was arguably at its lowest popularity. Though vinyl releases have always been a benchmark for success for producers, What are your thoughts on the resurgence of vinyl within the last 5 years?

MS: Yeah, at that time the vinyl market was declining pretty heavily with the emergence of CD decks and hardware like Final Scratch and Serato. Releasing tracks on respected labels were enormous accomplishments for us. At that time, releasing a 12″ was basically what you needed to do to earn the respect of your peers in the DJ community.

I’m not surprised that vinyl is still popular today, albeit more so amongst purists. There is nothing that compares to the warm sound and tactile feedback it provides. I prefer DJ’ing on vinyl wholeheartedly, but I’d be lying if I said I didn’t love taking advantage of some of the innovations that later came along, like Serato and Ableton Live.

I used to pull my back out lugging over a hundred records to each gig for years, and then all of a sudden I could show up to a venue with thousands of tracks to choose from, and instantly sort by artist or label. It made playing shows a lot of fun, especially since I never had set lists in mind, and would always read the crowd to figure out what songs to play next. Being able to pull out a classic from ’95 because it just felt right at the moment was really gratifying. It’s not surprising to me that the vinyl market took such a hit when these technologies became ubiquitous in the DJ community. That said, I’ll always treasure vinyl, as I loved the many years I played on it exclusively.

LA: Within the past few years you have transitioned into a more multi-genre DJ’ing approach. What led to that shift?

MS: I had always appreciated all styles of music. I would have loved to DJ other genres over the years, but during a large portion of my career DJ’s strictly used vinyl, and it would’ve cost me a fortune to buy enough wax to support that type of endeavor. I reached a point where I had honestly grown a bit tired of drum & bass. That scene was starting to crumble due to a lack of innovation, and tracks were becoming quite samey and cookie-cutter.

Around 2007 the dance rock scene was really starting to blow up. Labels like Ed Banger, and artists such as MSTRKRFT, Diplo, and Hot Chip were surging in popularity. I made a DJ mix called “Selections for Love Making” around that time which ended up getting a lot of buzz, and surprised a lot of my friends who knew me only as a drum & bass DJ. I started playing shows and had a blast enjoying the freedom of not being pigeonholed into one style of music. I loved dipping into techno, french house, 80’s… you name it. It was fun being able to pull from different genres, yet striving to keep a cohesive vibe during the course of the night.

Around that time, Squared and I started a dance rock night called “The Fix”, and soon after I became a resident DJ at places like Bristol Bar and Spice Bar. Things took off pretty fast, and before I knew it I was playing sold-out shows alongside heavyweights like MSTRKRFT, Benny Benassi, and Steve Aoki.

LA: What is next on tap for you musically?

MS: There’s nothing I love more than DJ’ing. I’ll continue to play shows as long as there are people on dance floors.

I just always try to keep an open mind musically, as my tastes tend to change over time. I’ve never tried to jump on any bandwagons, even though my identity as a DJ has altered over years. I like to keep up with what’s new and emerging, but still incorporate it with the sounds of the past. DJ sets only consisting of the top tracks of the moment tend to bore me, so I’m always looking to diversify.

If I like a new song that I hear, there’s a good chance I’ll try to somehow work it into a set. I’m currently enjoying a lot of the future garage/post-dubstep stuff that’s coming out of the UK at the moment, and I’m really starting to come back to drum & bass. I’m glad to see a lot of artists over the last few years break out of molds and experiment with different sounds and tempos. That’s surely what I’ll continue to do myself. You’ll rarely hear me play the same type of set twice, and I find that to be very exciting and rewarding.

See you on the dance floor.

I was milling around on the internet and compiling links for the multitude of work that has come out of our city over the past few months. Man, I was seriously impressed. There were a multitude of mixes, original production, and live events that just blew me away. I figure I would do the community a solid and put together a rough list of some of the recordings that have been posted online from people in our community. This is obviously not exhaustive, but consider this a first attempt to update the sorely outdated archive. All the listing are in alphabetical order and numbered so you can see that there are 27 unique pieces of music to explore. These numbers do not correspond with a ranking. They are given more so you can see each piece of music as a unique entity and to give you a sense for our overall aggregate output over the course of 2-4 months as an artistic community. If you like someone’s work try to look more deeply into their other releases and go see them live! (Note:  If I have missed you send me a link and I will put you up here. Also, feel free to point anyone in this direction if they are saying that Columbus doesn’t have a thriving “electronic” music community.)

1.) 9star: “Tangible Thoughts”

2.) Aaron Austen: Promo Mix

3.) The Beat Oracle Radio Show: “Saturated”

4.) Ben Bennett: Spoilage (New LP out on Jeremy Bible’s Excellent Experimedia Records)

5.) B-Funk: Thump Show

6.)  Bohno: Sink Deep

7.) Burgle: Jack Shack TV Mix

Burgle 53 Min Jack Shack DJ Set by Jackshacktv on Mixcloud

8.) Conner Campassi: GRVTY

9.) Creamz: Basement Sessions 002

10.) Crucial Taunt: Frito Flip

11.) Dave Espionage: Jack Shack TV Mix

Dave Espionage 51 min Jack Shack DJ Set by Jackshacktv on Mixcloud

12.) DJ Push: There Was Sun

13.) Doctor Zapata: Promo Mix Enero 2013

14.) Doctor X — His latest mix “Ambient Evening” on his Perscriptions Radio Show

15.) Druid Cloak: The Groove EP

16.) Dustin Knell:BACK & FORTH: A LOVE/HATE Mix

17.) The Fallen: “Live at BLUR”

18.) FBK: “Where Their Love Still Exists”

19.) FBK: “In This Deadly Light”

20.) FUNERALS, Druid Cloak, and Others (BOO SRA Remixes):

21.) FUNERALS: Vessel Mix 2012

22.) George Brazil: Jack Shack TV Mix

George Brazil 59 min Jack Shack DJ Set by Jackshacktv on Mixcloud

23.) Hawstyle’s Most recent mix on his Bus Bass Show:

24.) jMac: January Promo Mix

25.) Kevin Parrish: Squared Online Podcast

26.) Lower Frequency: Squared Online Podcast

27.) Midislut:

28.) Mike Shiflet: “Secret Thirteen Mix”

29.) Mike Shiflet: Three Tracks from new LP “The Choir, The Army” 

30.) NetworkEDM: Post Day-Glow Hangover Mix

31.) Ohioan: “Buoy”

32.) Plural: “The Beatings Continue”

33.) Quality: February Live Recording

34.) roeVy: PROXY – Raw (roeVy remix)

35.) Self Help: Jack Shack TV Mix

Self Help 50 Min Jack Shack DJ Set by Jackshacktv on Mixcloud

36.) Single Action: Bus Bass Mix 55

37.) Sybling Q’s most recent mix on his Q Factor Radio Show

38.) Tactil Vision: “savage”

39.) Titonton Duvanté: Live Mix 2012

40.) Todd Sines: Live at Mister H

41.) Tony Fairchild: February Jack Trax

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