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KF Signing

[Failure performing with Pink Reason]

There is a street in the SUMMIT.3 sector called smt.1 that lies just off the main thoroughfare of our city. It runs parallel to the streams of people, transportation devices, and popular notions that populate the safety of GRID 1. However, spatially and socially, the sector of SUMMIT.3 could not be more far removed from GRID.1. Its boulevard smt.1 may run to the heart of the city just like the roads of GRID.1, but as one walks down the smt.1 it feels like the segregated zone that the cloud has labeled it to be. There is a quiet to the sector that comes from its social isolation. However, despite the tension that hangs in the air like the humidity on a hot summer day, the sector at least has fewer heat-lock cameras and you don’t have to deal with the pretensions of the folks out on GRID.1.

One thing is for sure, the people who have found there way to SUMMIT.3 don’t seek out the comfort of the orthodoxy. These folks may have found themselves in this sector by ascription or by choice, but the fact remains you can search for ideas, sounds, or object here. That’s why I live in SUMMIT.3. The sorts of things I am searching for aren’t found to be profitable for consumption by the nebulous cloud of global capital that controls 95% of what is produced and sold in GRID.1. If you ask me, things started going down hill when we let an A.I. decide what we needed to produce based on the aggregated yearnings of our social media ramblings. The cloud has created a mainstream culture that has become an endless mirror of itself. A cascading descent into simulation from which there is nothing but slight tweaks on past ideas. For many folks in SUMMIT.3, this is the reason we call this sector home. We are deep-sea divers dwelling in the heeps and mounds of “out-moded” styles, philosophies, and objects that have been cast off as the fat of the empire. We don’t need the cloud to produce for us and tell us what to consume. We don’t need to be spoonfed culture. We will decide what to produce and consume for themselves from the remains of the mainstream. Sure things ain’t as shiny as they are in GRID.1, but at least we have our own path to explore.  At least we have our autonomy from the cloud.

Future Maudit September Poster

[Flyer from September Future Maudit Show]

One of the most exciting developments to happen musically in the SUMMIT.3 sector recently is the work of Kevin Failure and his Future Maudit shows. With some of his contemporaries like Tyrant Manque, they have thrown out the manual on how to throw shows centered on synthesized sound. He and his associates have embraced an inclusivity and no-boundaries approach to shows that is celebrated widely around SUMMIT.3.  It makes sense his approach would resound with the locals. They don’t just give the audience what GRID.1 promoters and performers would give them. There is no polish or packaging. There is no pretense.  He gives them art. He gives them an experience that approximates the reality we all live. He gives them noise, experimental electronics, techno, improvised improvisation. He gives them the musical equivalent to the philosophy that guides their lives. He gives them a rough, unpackaged pieces of art that allows them to explore their own autonomy in a not-so-perfect world. This is all anyone in the SUMMIT.3 sector ever wanted: A haven where they could experience a soundscape that spoke to their lives. A place where all the bullshit of the manufactured simulation of GRID.1 fell away and we were left with the skeleton of human experience.

Savage Quality

In addition to the Future Maudit shows, Failure runs a record label called Savage Quality that releases EPs and LPs from his past band Pink Reason and other assorted projects of industrial and experimental music. Failure kindly passed on one of these records to me and it oozes that same boundary-defying qualities that all of his Future Maudit shows push. It is a sound born of another sector, but it is of and about the SUMMIT.3 sector all the same. It doesn’t try to fit into a niche. It boldly steps out of the niche and begs you to turn it off. It pushes your buttons and makes you bend your ears to understand what it is all about. It features a glitchy sound of technology gone haywire that forces you to confront the inevitable decay of that shiny GRID.1 reality. It forces one to confront the reality that in the age of the cloud all is not made to last.

Future Maudit Poster

Luckily, Failure, Tyrant Manque, and my compatriots THE FALLEN will be throwing another Future Maudit Show in the tonight in the  SUMMIT.3 Sector with glacial23, Kaptin Kirk, and Jacoti Sommes at Cafe Bourbon Street (DETAILS HERE). Next Door at the Summit the comrades CC & Dustin Knell will be playing with Nosferatu, Ethan Eschelon, and Shirtless Midnight at NIGHT MODE (DETAILS HERE). The SUMMIT.3 Sector will be bopping tonight with both of these crews exploring the far reaches of sound that we all want to hear. Hell, maybe even a portion of the GRID.1 element will explore these sonic outposts and convert to the teachings of our rhythmic bible. In the mean time, enjoy this interview I did with Failure in advance of the show:

Interview:

Local Autonomy: You have been in a band for over ten years, program music at Cafe Bourbon Street, and study the history of certain strains of music. What does music and sound more broadly mean to the way you live and experience life?
Kevin Failure: Music is like oxygen, or language. It’s how I live and communicate. It’s my hustle. It’s been that way as long as I can remember. I’ve been in the band I’m in now over a decade, but I’ve been playing in bands for over twenty years now, and have been booking shows for eighteen.
Everything positive that’s ever happened to me has come from music, and music has literally saved my life many times over the years. It’s also probably indirectly responsible for plenty of the bad shit I’ve experienced too, but, what’re you gonna do?

Local Autonomy: What does the future maudit event mean to you (i.e. what is the name supposed to capture in the experience you are trying to create)?
Kevin Failure: Our policy makers, scientists and technology producers are inspired by the same dystopian science fiction that inspires us in the counter culture. While we largely read these books as warnings or prophecies, they read them as instruction manuals. We’re holding a shattered mirror up to our contemporary reality.

Local Autonomy: One of the most interesting parts of the future maudit parties is the open format approach to programming with diverse genres being represented. Why do you think its important to have spaces where noise, techno, experimental, industrial, and punk can be heard side to side?

Kevin Failure: With the exception of punk, I think that the boundaries between the other forms you mentioned were probably defined by media and marketing teams with no real connection or loyalty to the underground. During the 90’s, I’d read about Merzbow in Massive magazine, the midwest rave bible. I’ve seen plenty of Skinny Puppy references in the techno community, in interviews, on records, and a large percentage of the people I know who ended up into electronic dance music and going to parties fell into that through industrial dance music. Techno is an experimental musical form. Some of my favorite tracks are all of those things mentioned at once, and maybe that’s where the punk comes in, is in the attitude and the presentation – not giving a fuck about arbitrary rules and definitions. 

Local Autonomy: I really enjoyed thinking out loud with you about if it was still possible to create new paradigms of music in our world where many people say everything has been done or is a re-hashing of something old. Do you think creating new music, new revolutions in how music is heard and experienced is still possible today? How do you think we do it?
Kevin Failure: These things will happen organically, whether we appreciate the results or not. I just like to keep things fun and challenging, for the artists as well as the audience.

Local Autonomy: We talked at length about the role of dance in communities and cultures across the world. What role do you think dancing and music broadly defined as “dance music” plays for our communities?
Kevin Failure: It’s obviously a primal need shared by humans of all backgrounds. It’s simple: Free your ass… and your mind will follow.

Photo Mixing q[photo courtesy of Ray of Hope Arts]

Much of how I judge my connection with an artist is based on the lessons Kevin Kennedy taught me about one’s musical compass. In a candid conversation we had on how we both relate to music, he shared with me an insight that has become a core idea to how I approach music. He said that one knows very quickly if a track or set speaks to them. If the music grabs you and leaves you bobbing your head then you know that you have a connection with that creation. I have carried this insight with me and it has helped me immensely in understanding and refining what I call my musical compass. This inner compass is pretty important in our time period of increased “connection,” screaming NOISE, and endless mounds of “news.” Like the magnetic forces of our north pole has provided a form of navigation through endless horizons of land and sea, our inner musical compasses now guide us through the mounds of information that we all have to move through to find the art and people we connect with most and want to learn from. It was this compass that has led me to a deep appreciation for Tony Fairchild’s work and his desire to take the long, scenic route through the valleys and mountains of skill building rather than the direct route of instant gratification.

Anyone present the the first time I heard Tony Fairchild spin could see how I instantly connected with his work. Prior to seeing Fairchild spin live, I had not heard much of his work. I knew from the little exposure I had with his mixes online that we had a common musical vocabulary and were interested in the same constellations of sound. However, it was not until that set that it really clicked for me. It was not until I turned off all the distractions and just opened myself up to that experience that my musical compass confirmed how much I connected with his vision of the world. From the minute that needle hit the first record, I could not stop bobbing my head and was soon propelled into strange, trance-like convulsions around the dancefloor. However, its not surprising that I connected with his work.

At that time, my musical compass had me exploring the darker spectrum of techno and house, which primed me to look deeply into the imagery behind Fairchild’s set. Fairchild spun a set that weaved together a string of sounds that evoked the dystopian soundscapes that seemed to really be capturing my imagination at the time. The set ebbed and flowed through an exploration of the space in-between precision and spastic syncopation. It moved from propulsive energy to the sort of deconstructed sputtering so characteristic of the music of the past 6-7 years. In this set, I saw the richness of our organized world revealed. I saw the “perfectly ordered universe” of our bureaucratic lives set against a backdrop of the contradictions and dysfunctions of the very human systems we have created. I saw past the rhetoric of how our world worked to see the simple realities of municipal bankruptcies, the convulsions of the world economy, and our inability to deal with simple social problems in a direct and non-partisan fashion. In his soundscape, I saw him revealing simple truths about the nature of our reality and the common space and organizations we share through the synthesis of sound. Quite pointedly, I saw that despite our best efforts to make things work the way we want them to we will always be human and have to adapt to the paths presented to us when life doesn’t go according to plan.

Aside from my connection to his music, it is quite obvious that Fairchild has embraced his own inner music compass and has let it guide him to construct his own path through the sound. His inner compass led him to not shy away from the challenge of embracing vinyl. He has embraced a deep respect for the music format and the lessons it can teach someone. His inner compass guided him to not shy away from making the transition from the “dubstep” that gripped him in the mid 2000s into “house”, “techno”, etc. He took the lessons he learned on how to focus on a single genre that he picked up listening to these artists and applied it to other constellations of sound he had yet to explore.  His inner compass led him to not shy away from the long, scenic route of attempting to master the craft of DJing. In our age of instant gratification, this is a powerful act. Fairchild rejected the seductive lure of building a social media following and its accompanying HYPE. Instead, he invested his time in building a toolkit of skills that would help him express his voice. He took on the never-ending task of mastering a skill, and in that act dropped out of the rat race of EDM. He just followed that inner compass and opened himself to what the experience will teach him. Is that not what all of us should do if we are truly paying attention to our collective soul and seeking to connect deeply with the sacredness of our community and the art we all love?

Photo mixing 2

[photo courtesy of Ray of Hope Arts]

Luckily, Fairchild was kind enough to do an interview and a mix for us all to share some of his art with our community. I hope you have the chance to check out the mix and interview. It really captures the deep respect and reverence Fairchild has for the artform we all love. I hope you too will show this same respect for this mix as more than just another 54 minutes and 6 seconds, but as an opportunity to see what Fairchild is trying to teach and reveal to us. Don’t come at it ready to judge. Come at it with no judgements at all.  Respect the music and the artist and amazing things can happen and you can allow the music to lift your mood, your spirits, and your heart. I know this mix he created has done that for me numerous times over the last two weeks as I let it float into my world. You can connect with Fairchild on his Soundcloud page and through his association with local dance organization Squared. He plays on a regular basis for Squared’s monthly at Victory’s.

Mix:

Interview:

Local Autonomy: How does sound and music influence the way you live and experience life?

Tony Fairchild: There are two sides to this coin. First, music inspires, stimulates and opens my mind to new ways of perceiving reality or giving shape and sound to a reality that may only exist in your head. Dance music, techno in particular, tends to either paint a picture of the reality in which the artist exists or create an alternate reality that the artist has dreamt up. Detroit techno is the textbook example of the first; guys writing tracks about the decaying, technology-driven city in which they lived. The whole minimal-Perlon-Ricardo Villalobos camp really exemplifies the second; guys writing tracks to give shape to some exotic alternate reality or future that exists in their head. Both approaches allow me to experience realities and aesthetics that aren’t my own and open my mind to a bigger world of ideas than the one I naturally inhabit. It’s a great experience to listen to a piece of music that conjures up the image of another time and place in your mind.

On the other hand, music distracts and consumes me. I have a very obsessive personality and the thought of the next record I buy, the next artist I discover, etc. can take up a bigger portion of my thoughts and attention than they should. I have to consciously temper this, otherwise I would have no friends and my only chance of getting a tan would be from the light coming off of my computer from the Discogs home page. It’s a double edged sword.

vinyl

LA: How did you get into dance music?

TF: Listening to a lot of electronic music in high school in and early college. Traditional music production (ie bands) lost its appeal and I sought anything that was produced electronically. At first I listened to a hodge podge of genres, trip hop, IDM, techno, it was all just electronic to me. Around 2007-8 I got really into dubstep coming out of the UK. The sound was so novel at the time. It all sounded like the music for a film noire score. In retrospect it was a good entrance into the dance music world because it was more cerebral than dance floor oriented and that’s the kind of stuff I had always been into. Guys like Skream, 2562, Hessle Audio and Digital Mystikz narrowed my focus to a single genre. Around 2009 as dubstep DJs started to slow their tempos and mix in house and techno, I followed suit and started exploring those genres. You’d heard a DJ mixing a 130-135 dubstep track with an Anthony Shakir cut for example. I loved those blending of genres. Basically I listened to Ben UFO mixes and played whatever he was!

LA: There has been much written about the resurgence of the popularity of people of our generation going back to vinyl. What got you into vinyl and what keeps you loving the medium?

TF: I had a really strong conviction when I decided to start spinning that I wanted to do it the hard way, the way all the old school guys did. I thought that if I took the hard road I would end up being much more skilled in the long run. There was also a gravitas I felt from the DJs I liked that spun vinyl. They had the dubplates and the super-rare old school jams. It showed commitment and I respected that.

Chain Reaction2

What keeps me at it now is the desire to master the craft. That and I am obsessed with buying and collecting records. I get sweaty hands every time I go to the records store. “What goodies will I find this time?” I was up in Toledo this past weekend and found some crazy shit on this German label, Chain Reaction. You can’t find those records anywhere, and here I got them for 50 cents from the back of a used record crate in Toledo! I used to think that you couldn’t find house or techno in Ohio, but its just a matter of digging hard enough and having the knowledge to recognize worthwhile artists and labels. Digs often end up fruitless but finding the occasional gem more than makes it worthwhile. I heard records referred to as the Black Crack lately. I’d say that’s a suitable description. If any of you readers want to unload, you know who to call!

LA: Each set I have heard you spin I hear the presentation of older house/techno tracks right alongside new, which I find extremely gratifying as I feel the music always holds up next to the “new”. What approach do you take to weaving together music of different eras?

TF: Its not really a conscious act for me. It might be a techno record that came out last week or an acid house tune that is older than me. If it complements the track that is playing or takes my set in the direction I want to go, I’ll mix it in. This is very much a Midwestern mentality that I’m proud to associate with. All the old school guys I look up to spin this way. They’ll mix a disco track into slamming techno back into a Kraftwerk tune. The contextualization is fun as a DJ and it usually makes for an engaging, diverse set.

LA: We are both from Toledo. I know that city influenced me in ways that shaped the type of music I listen to and who I am today. Did Toledo shape your tastes in music or your interest in music?

TF: If Toledo is responsible, its only because the Airport Hwy library branch had a copy of Aphex Twin’s Selected Ambient Works that I rented when I was 14! Much more is owed to the friends I had in high school. They were all in a band and I got to hang around while they wrote songs, practiced and shared other music they were into. They turned me onto a lot of the music that would have a large influence on my tastes. Radiohead, Four Tet, MF DOOM. I have them to thank.

Later in life, I have come to have an affinity with Detroit and its music. I actually used to live further up in Michigan, about 30 minute away from the city. It blows my mind that I grew up so close to such a powerful cultural revolution but only realized once I moved away. The Midwest is the birthplace of all the music I love so much and, despite its lack of popularity these days, I am very proud to be from the same fertile lands.

LA: You have begun dabbling in production doing what you term “Sketches”. What has been the most surprising thing you have found in that creative process?

TF: Its embarrassing to even talk about because of how undeveloped and uninspiring my stuff has turned out so far. The biggest thing I’ve learned is that loops are easy to make. Arranging them into dynamic, fleshed out tracks is hard as hell. Also, a lot of work goes into refining your overall sound. Just because you have 909 samples, a Juno and a 303 doesn’t mean its going to sound old school. Regardless, its been a fun experience and I look forward to learning how to use my gear in new and interesting ways. Also, big shout out to Kevin Parrish for all the knowledge he’s shared and patience he’s had showing me how to use my own equipment!

Black and white

Lucky me, I look in my inbox and I see Single Action is feeling quite generous and has shared another of his wonderful, thoughtful mixes. Now this guy doesn’t get a lot of attention around town (Save for Hawstyle who runs the Bus Bass Show on WCRS), which really sucks because he has a lot of talent.  I really like his his mix work, which is chock full of his own productions.  As I said in my first write up on him around a year ago:

“He weaves a careful web of drum n bass, jungle, and ambient influences into a careful sound tapestry that explores many emotions and themes. He takes you to the highest of highs taking you floating above the clouds and pummels you with barrages of bass that take you crashing back to earth. This is quite the feat with the genres he is playing with, because it is easy to just say I am going to come after you 100% without stopping. I love a good throw down, but I really appreciate the nuance that Single Action’s quiet moments bring in a mix.  The result is a beautiful juxtaposition of styles and sounds that really work well together in my opinion and keep you guessing where the mix will go next.”

Above the crafting of the music and mixes, I like to listen to his work, because he makes me think. Its not all just pop and drop. Its expansive enough to open up head space to think about the nature of the world we live in, but intricate enough to just lose yourself in the sound. It grips your attention and demonstrates he has been digging around for his own distinctive sound for some time. I appreciate this in an age where many people will not look to the back stories of the recently created genre. Consequently, when I hear someone going off in their own direction I just breath a sigh of relief. Anyways. I reposted up his first mix and the new one (Mix 2) on my soundcloud for you all to listen to. Make sure to check out my interview with him from last July HERE to hear him speak about his work more in depth. Embeds are available below: Enjoy.

Mix 1 (From 07/2012)

Mix 2 (New)

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. ]

Nebula

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.

Flyer

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.

There has been much written about the boom and bust cycles of dance music ( i.e. when is the edm bubble going to burst?). The boom happens when certain strands of dance music attract wider “pop” audiences and bring new listeners into dance communities. During this time, audiences swell, more records are sold, and it is “cool” to be associated with that music community. Much like other “pop” fads, these boom-time periods always come to an end. The bust of a cycle results when the luster of dance music fades and many of those new listeners abandoning dance communities. We are entering what appears to be the tail end of one of these boom periods (Its debatable I suppose), and a lot of keystrokes have been spent trying to decide what is going to happen. The resounding answer people give is that it is natural that dance scenes ebb and flow in popularity, but their survival is not in jeopardy.  The problem is that writers often stop there and don’t explain why dance scenes will survive. Looking to how our Columbus scene has weathered these boom/bust cycles in the past provides one way to provide an answer to this question. By drawing on my conversations about our local scene’s recent history, I want to argue that dance music persists in columbus because there is an underlying infrastructure that is kept alive by the people who continue to use the music, ideas, and traditions we all share even when dance music culture is not popular.

Rewind 6-8 years ago. The underground ele_mental parties had ended, other crews associated with the underground had slowed their activities, and many of the clubs across the city had closed. Both the underground and more obvious club oriented activities had slowed from their once feverish pace. Local dance and experimental record labels like 21/22 and Exoteque Music went into disuse. A whole generation of fans seemed to disengage from dance music as its popularity reached a low point in Columbus and across the nation.  At the surface, it appeared as if the scene in Columbus had died.

Yet, I question whether the scene actually “died”. Did all the people so instrumental to dance music flourishing in our city in the 90s and early 00s leave the scene?  Did all the fans “grow up” and stop liking dance music? Sure some people did leave and others “grew up”, but the vast majority of people that held dance music so central to their lives never left. Consequently, all the know-how of how to build record labels, dance music crews, clubs, and build a scene from the ground up was still in the city. The rich traditions of how a scene is supposed to operate were not lost. The love of the music and the artists need to express themselves never waned.

The scene didn’t die in the early 2000s. The infrastructure of the scene just went into a period of dormancy. Dormancy is very different from death. A state of dormancy is characterized by re-grouping and contemplation that naturally comes about after a common routine has resulted in stagnancy. Activities continue, but in a much less pronounced way.  Death is, well, its death. An end of a form of expression or life. Culture doesn’t die. It carries on in the cracks of the system. After some 10-15 years of doing dance hard in Columbus, it was natural for the scene to shift into a slower, more underground phase as the popularity of dance music waned. However, expressing oneself through dance music did not die. The most visible organizations throwing parties became less active and many of the recognized venues had closed, but the infrastructure of the scene was still intact.  All the rhythms, know-how, and traditions were still used by people, but the scene had receded back into the cracks of the city.

Quickly after the disbanding of many of the most visible crews and clubs, other events and crews took their place. By 2006, Sweatin’, Squared nights at Bristol, Restart House, and other underground parties were regular events that gave DJs and fans a space to express themselves. The scene wasn’t filling the newport, Skully’s, or BOMA, but it certainly couldn’t be pronounced dead. A core group of new and older scene members took the lead and brought dance music back to a prominent place in Columbus nightlife. In the short period of 5 years, the Columbus scene went from dormancy to again having 5-10 dance events a week. Our scene is again pushing out in a multitude of directions. New routines have replaced the old. New crews have replaced the old. The dance and experimental electronic music community is again thriving and sharing their music with Columbus and the rest of the world. We have new events, radio shows, record labels that offer you the opportunity to get exposed to new sounds. We have a multitude of innovative, dedicated people still pushing the scene forward into new spaces and concepts. (Check out the links on sidebar to see all the different people working to make our scene great with video projects, record labels, record stores, and events).

What we can take away from this short history?

1.) Well, It is quite evident that dance music persists in Columbus because it matters to us and we want to share it with one another. We are the core elements of the infrastructure that give life to something bigger than our selves: a dance music community.  The boom/bust cycle may affect how many people show up, how many records one sells, or how cool someone may think you are, but there will always be a scene as long as people come together and use the music, ideas, and traditions we share.

2.) Having a scene go into a state of dormancy is not necessarily a bad thing.  Dormancy is vital for weathering those periods when dance music is unpopular in the mainstream and growth is hard to come by.  By receding back into the cracks of the city, we can regroup and find a ways to keep our community together when there is less support in the mainstream. Gauging back the frequency of events can also be really healthy and important for a scene to shed old routines and think about new ways to innovate. It can also help foster community and build the type of committment that is needed to push the scene out of dormancy and back into a prominent part in a cities night life.

I feel these two lessons are important, because they remind us that the scene is in our hands. Its not in the hands of abstract economic, political, and cultural forces. Sure, these influences shape what our scene looks like, but in the end its all on us. These lessons also prod us to have a more realistic assessment of our scene’s development. We do not need to be New York, LA, Las Vegas, Berlin, or London. We need to be the best version of Columbus that our city has ever scene. I for one feel lucky to be a part of our scene. Our community is constructed of a teflon-tough DIY fabric that has endured the tests of the Boom/Bust cycle.  We have done more with nothing than all those many market cities have done with immense financial resources.  Just look at all the dance music related record labels, radio shows, events, and organizations that are now active in our city. If that doesn’t give you faith in our community then I do not know what will.


SO I am back. Yes I know two times in one week. Its like the golden age of Local Autonomy all over again when I didn’t do anything but bother people to make mixes for me and write about the scene. Well, I guess that hasn’t changed much. I still bother people to answer questions and make music, but just less frequently so I don’t get kicked outta town. Today, I renew the Our Scene | Our CIty | Our Sound mix series after a brief hiatus with a mix from Central Ohio producer Single Action.

I am a big fan of Single Action’s productions and mix work because of the menacing and melodic character of the work. He weaves a careful web of drum n bass, jungle, and ambient influences into a careful sound tapestry that explores many emotions and themes. He takes you to the highest of highs taking you floating above the clouds and pummels you with barrages of bass that take you crashing back to earth. This is quite the feat with the genres he is playing with, because it is easy to just say I am going to come after you 100% without stopping. I love a good throw down, but I really appreciate the nuance that Single Action’s quiet moments bring in a mix.  The result is a beautiful juxtaposition of styles and sounds that really work well together in my opinion and keep you guessing where the mix will go next.

To shed some more light on this mix and Single Action’s approach, I asked him a few questions about what being a musician is about to him, what emotions/ideas he was exploring, and why he likes to synthesize music and vocals in his mixes:

Local Autonomy: What does the act of creating music mean to you?

Single Action: Its art and expression. The beautiful thing about being an artist in any media is that sometimes your building on the emotions and sometimes you purge. With so many things pulling people apart these days, music is one of the things that proves we are together in this.

LA: What ideas/emotions/sounds were you exploring in this mix?

SA: This was an exploration of some of my most simplistic tracks and some of my more extreme tracks. I’m always exploring atmosphere and pads with hard hitting bass and grime. Love it. : ) I wanted to take people through the black hole. A lot of these tracks were darker and or more aggressive. Taping into the feeling of loneliness and the pains of being human.
But these are the things that ultimately make us stronger. Sugar only taste better with salt. ; )

LA: From listening to a bit of your mix work, I have seen how important vocal samples are to your mix-making approach. What do you hope to achieve by synthesizing music and vocals?

SA: I want to be more poetic in my use of words. Not just telling people to get down and dance. I also love it when words are used as a sound in the beat like an atmospheric note.
When using so much vocal inlay, you half to be careful not to smash words together. So at times it governs how and when you drop your track for the mix, but 9 of 10 times it works great. I didn’t want to just rinse out everything with the samples. I wanted to almost confuse and then bring the pain with certain tracks. Trying to give foreshadowing of the next track or remnants of the previous tune. Vocals are what give a little more meaning and are another part of what makes DJing fun to me.

Mix:

Single Action on Souncloud

“And when he came to the place where the wild things are they roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws….”

“Till max said BE STILL and tamed them with the magic trick of staring into all their yellow eyes without blinking once and they were frightened and called him the most wild thing of all and made him king of all wild things”

Is this weekend really just about raging? If not, what other meaning could our attendance at shows have? Taken at surface value, it would be easy to accept that dance music culture exists as a diversion of frivolous fun. Many have made this argument in dance music literature. Yet, social scientists are very skeptical of anyone who says that any act which requires such a heavy investment of time, money, and energy is inconsequential to the larger ways they live their lives or make communities.

True to this point, Clifford Gertz coined the concept deep play to make sense of such events and actions that may seem to be unimportant at first glance, but in fact are essential to people and communities sense of identity and connectedness. One look to the religious devotion of fans associated with OSU athletics offers a perfect alternative case to see how this works in other places. I argue that when we go to shows together it is true that we are all there to have fun, but there is something much deeper at stake in our play. Discussing the deeper significance of Sendak’s “Where the Wild things Are” offers a way to understand what happens on these magical nights When we all come together.

Reading the above passage from Sendak’s famous Illustrated story, “Where the Wild Things Are” it is evident that lead character Max is confronted with terrifying demons on his journey (Interview). How often in our lives are we brow beaten by larger forces, people, or ideas that act as demons continually haunting our every step. Wild eyed and hungry, these demons push and prod us to stay in the box of what is socially acceptable.  They ROAR, terrorize, and trample on our dreams and hopes and tell us to be reasonable, responsible, and above all normal. Never receding into the distance, we carry these demons with us at all times.

You are probably asking yourself: what demons? Well, just think for a moment how difficult it is to take the less beaten path with your career, lifestyle, eating habits, fashion, who you love, etc etc.  For most of you, I do not need to explain much farther, because those very demons are the ones telling you to stay in line and not to deviate. They could be people. They could be institutions. They could be you.

How difficult it must have been for Max to stare those Demons in the eye without blinking and tell them they had no place in his life.  Are we able to stare at these demons in the face and become master of them? Maybe not alone, but when we get together for these shows we are able to look all those demons squarely in the eye without hesitation. For a few short hours, we have the courage as a community to do and be better than we ever knew was possible. This is the deeper significance I see in our shows. Sure, we say its about scene building and reppin’ our city. No doubt, its about artistic expression of all sorts as well. Underlying it all, these shows are a sign that we are still living and breathing human beings and we want to feel something. Its a shining beacon relying a simple message over and over to the rest of society: We refuse to be calmer, happier, more efficient, productive, and to settle for the cage of mediocrity. It is at this point that, like Max, we feel like the kings and queens of the world.  There is no doubt that others look on at us as Kings and Queens as they are envious of our ability to soak the true marrow out of life through our dancing, playing, and living free from the confines of the norm.

“Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.” — Mark Twain (via Ed Luna)

Luckily, you have three amazing opportunities to explore, dream, and discover with everyone else in your community. No doubt, it is vital to go to Where the Wild Things Rage at the Bluestone on Friday Night for three stages of all local talent, but also make sure to check out DOAP tomorrow night at Rumba Cafe to revel in all the glories the dark night can bring. Then end your weekend by checking out Juicy: Time to Get ill at Circus where scene mainstays Kevy Kev and Kingpin will curate a night of their favorites in dance music. Event Details for each show are available by clicking the link on the show name.

There are a handful of people in the Columbus dance music scene that have been around since the days of Mean Mr. Mustards in the early 80s that are still involved in the scene. These individuals have been indispensable in shaping the terrain of where we dance, what we listen to, and the types of parties we hold (Thats a whole other story I suppose that I will save for another day). Kevy Kev was there in those beginning days and has stayed intimately connected to our scene since. Whether it was playing DJ sets, promoting his Juicy or Church parties, creating event flyers or stickers with Hot Cards Columbus, running Melt magazine, or starting Spin Cycle DJ Academy, Kevy Kev has been always been in some way involved in the artistic conversation in our city through its many ebs and flows. This makes an interview with him an extremely worthwhile endeavor. We certainly can learn a lot about where we have been and where we are going by drawing on his insights. Hope you enjoy.

LA: You have been involved in the Columbus Dance Music Scene and dance music in general since 1984. Was there a track, show, or experience that started it all for you?
KK: Hmmmmm, probably the first time I stepped foot into Mean Mr Mustard’s (one of the ORIGINAL campus bars where the Gateway lives now). I’d always been into ALL kinds of music (Progressive/Alternative, Disco, Rock/Metal, Rap, Pop and pretty much ANYthing/band/song that used a synth). MTV was THE source for new music back then and did NOT differentiate genres at the time. Mean Mr Mustard’s was the first place on campus the open it’s doors playing MTV on the screens inside (which seems like no big deal today, but was HUGE back then), then they made the transition into a REAL nightclub playing stuff you couldnt hear ANYwhere else. The first time i walked the the doors I was hooked.

LA: Having such a depth of year after year commitment to the scene is truly commendable. What is it about this music and this community that keeps you coming back and wanting to put your time and energy into it?
KK: Truthfully it’s the energy that a well-tuned crowd gives back when you’ve really got a hold on them. It’s VERY addictive. Further truth is – it doesn’t really matter WHAT kind of music you’re playing (I mean as long as it’s not making you personally MISERABLE to play it), the feeling is the same when you control the feeling in the room. ‚that being said, it doesn’t hurt if you’re getting off on what you’re playing just as much as the crowd, and they’ll CAN tell if you’re bullshitting or not. I’ve been fortunate enough to have been allowed to play music I love (which is A LOT) for people that dig it as much as I do. Doing this for a JOB can work, but anyone that stays in the game long enough will tell you that it’s the love of rocking a floor, like the FIRST time it ever happens, that keeps them in it.

LA: You discussed the importance of that first phase of DJs that arose in the mid to late 70s to Columbus Dance Music History to teach you and your contemporaries. What is the importance of people Like Mike Swaggerty and the rest of the members of that first school of DJing to the development of dance music in Columbus?
KK: Welp, As far as the FIRST school of DJs on Columbus, and the people that I’ve known personally, Mike was IT. He dj’ed at a place called Streamers back in the day (like late-70s back-in-the-day) that I never even WENT to, but had MAJOR influence in club culture around here. Seems like when I was starting out almost every club owner (straight, gay, campus, downtown, suburban, whatEVER) I became involved with used to hang out there. I didn’t actually meet Mike until a couple of years after I got started (mostly because I was living in the campus/Mean Mr Mustard’s bubble). I’d heard of him and his name was always orbiting around me, but it wasn’t until he threw the first ever Columbus DJ competition, around 1989-90 or so that I met him. You’d never meet a cooler, more-supportive and less-egotistical guy in your life, and his musical knowledge was BIBLICAL. He dj’ed all over the place and was ALWAYS an influential presence on me just because of how all-around awesome he was. But his having started the FIRST on-air radio show of dance music (All Mixed Up on the original CD101), truly cemented him as a legend. There was no internet radio, no do-it-yourself podcasts and streaming soundcloud pages, he did it ALL himself. He busted his butt to strike a deal that had him on the airwaves, doing what we do in the clubs, EVERY week. VERY Sadly, Mike got ill and passed a few months back, but he’s kept his showing going this WHOLE time – and it carries on today on WCBE, now headed up by my buddy James Brown. Not the Godfather of soul, but just as funktastic 😉

LA: What about clubs like Mean Mr. Mustards and Maxwells? What was there importance in the development of dance music in Columbus?
KK: Well like I said before, Mustard’s was the place that started it all for me. Earl “Skully” Webb (yeah THAT Skully) was the head DJ and Music Director there and really SHAPED the dance club sound that everyone around us tried to emulate. Mustard’s was the club that leaned a little more alternative playing everything from Prince and Madonna to New Order and Depeche Mode. But Skully kept things constantly fresh you never knew when he’d drop in an AC/DC track or Run DMC or something darker like Sisters Of Mercy or something straight from the NYC dancefloors like Magazine 60. “Nobody EVER complained about “oh god, this music doesn’t fit the night” or “This doesnt go together” because it ALL went together. The club was TRULY a melting pot of musical styles and a complete cross-section of people.” The only thing we really DIDN’T play there was totally poppy bubblegum stuff like Tiffany and Debbie Gibson. Skully was REALLY on top of what was going on GLOBALLY on the dancefloor, not an easy task in an age of no internet and being landlocked in the midwest – think about it. Maxwells’ was also important because we really started showcasing the NEXT groups of jocks that came up after us there. It was owned by the same guys as Mustard’s, and my old roomie and Mustard’s co-DJ Chuck Fay (DJ Chuckstar – the guy that DJs for Skully at Ladies 80s to this day) and myself headed up some Sunday night showcases of rotating local/regional DJ talent that usually included several of the ele_mental crew (ie Titonton, Todd Sines, Charles Noel (aka Monochrome), Doughboy and others). It was the beginning of things like that taking place in Columbus.

LA: The more I learn about the development of Columbus Dance Music the more I see how the Underground and Club Scenes speak to one another. How would you define “the underground” and “the club” scenes and how have they interacted with one another?
KK: Well, in MY experience they’re really one and the same. I worked at the “underground” club and everything started THERE for me. I suppose if you look at the history of another campus-club DJ from that time it might be a different story though. For instance – Mike Gallicchio (aka Mike G), now an owner of the Park Street and Long Street Complex group of clubs ALSO came from those same bars on High St back-in-the-day. His history was firmly rooted in the New York house music and early hip-hop scene and the club he played at back then had a different vibe AND group of people that went to it, albeit STILL underground in it’s own right. He and I BOTH went on to play the major Columbus clubs in the 90s, and then he eventually took the ownership route – but it’s the similar passion for what made music you couldn’t hear ANYwhere else but the clubs that shaped where we’ve both gone. Ya know it’s funny, back then (and when we were all competing in that first DJ competition that Mike Swaggerty threw), we made up shirts that said “No Weak Beats” on one side and “Fuck You We’re From DOWNTOWN” on the back‚ partially because we were smug motherfuckers, but MOSTLY because we KNEW everyone Djing on the outskirts WANTED to be US. Truthfully – we we’re the ONLY ones keepin’ it real.

LA: You are firm believer in teaching aspiring djs the importance of programming in your Spin Cycle DJ Academy. What is programming and why do you think it is the most important skill for a DJ to have?
KK: The first Dj lesson I ever got was from Skully. I bugged the CRAP out of him until he invited me into the booth at Mustard’s at like 8pm on a Tuesday night and showed me the BASICS of cueing, volume control, track-end anticipation and how to work the lights (LOL) He was a master. But it wasn’t until the 2nd-in-command-DJ at Mustard’s, a guy name Bryant Johnson let me sit in the booth ALL NIGHT and allowed me to learn – if by no other means than osmosis, HOW TO CONTROL A CROWD, that things REALLY started to become more clear to me. When you get in front of a crowd, and I mean ANY crowd, you’d better know what to play. Mixing, scratching, looping, effects, mashing and whatever other trick you want to learn will ALWAYS be secondary to programming (WHAT you play). It’s soooo much easier today than it was back then because by-and-large you don’t have to really pay a bunch for music. It’s easier (and cheaper) to try stuff out. But remember when (I) learned, 12″ singles were $5.99/piece and imports were $12.99/piece. I’ve got the wasted student loans and a sky-high stack of vinyl to prove it. So mastering your craft meant FIRST being able to afford your own copies of the records to play with at home. If you were a bedroom DJ that learned how to mix these 20-50 records that you owned and couldn’t vary from those selections if you started clearing a dancefloor you were SUNK. You needed to make SURE you owned what was going to rock the crowd. After THAT point blending different styles and sounds becomes more important. You have to have skills (and the playlist) to recover in case the crowd isn’t in tune with what you’re doing.

LA: You are a firm believer in “Violent Format Shifts” in mix work and live sets. What is it about presenting an expansive, diverse sonic palette that is so important to you?
KK: Hmmm, well it’s partially because of the initial environment (Mustard’s) that I learned to love dance music being so cross-genre oriented and partially because I suffer from a pretty vicious case of musical ADHD I guess. I’ve always LIKED so many different things that I get up in front of people and want to play them ALL at once. But thankfully I’m not alone. There are plenty of DJs and music-makers out there that have always done a great job of mixing genres. Take BT or Celdweller and you have guys doing SUCH a great job of integrating awesome electronics with a sometime heavy rock vibe. That stuff is incredible! But I’ve always loved shaking up the crowd a bit. Whether is dropping in some industrial on an electro crowd, or old-school hip-hop in the middle of a jungle set, it just FEELS right to throw ’em a curve ball every once in a while‚ My partner in my industrial night Travis Boggs (aka broken boy) drops in a dubsteppy version of Katy Perry’s E.T. on the goth kids every once in a while, and at FIRST they used to stare at the booth like, “huh?!”‚ now they just keep on goin’ – i love that.

LA: You have played the role of promoter and DJ in our scene. Over the last few years, you have increasingly played the role of promoting shows like Juicy and Church. What are some of the lessons you have learned over the last few years as you been doing more of the behind the scenes work to put on a show?
KK: Biggest thing I’ve learned is that if the promoters cant coordinate and cooperate with each that you’re starting off in a sinking ship. Anytime ANYone sees something successful going off they ALWAYS think they can do it and it’d be easy to pull it off. Because of that you end up having WAAAAAY too many events (some of them fully professional and some of them half-assed) trying to pop off at the same time. it ends up splitting the crowds and hurting all the events involved. I’ve ALWAYS been a champion of trying to make things gel TOGETHER.

LA: We spoke about the differences in dance music crowds and goth/industrial crowds. What are the differences between the two crowds and how does that impact how you play or who you choose to play your shows?
KK: It’s not really JUST the goth/industrial crowd vs the EDM crowd. It’s actually almost ANY other crowd vs. the EDM crowd when it comes down to it. Basically, the dance music/dj culture explosion has created a new subsection of club patrons that get off on a sound more than they do being able to sing-along to their favorite tracks. This probably started around the time of disco, but has been constantly evolving ever since. This is HEAVILY where my placing an extra importance on programming comes into play. I mean unless you’re Skrillex or Rusko or Paul Van Dyk, if you’re approaching a crowd you MUST do your homework on what goes down in that club. The thing is that indigenously, people like to dance to stuff that they know. There are ways of getting them to go to stuff that they don’t, but they STILL need to be sprinkled with the dust of familiarity or they’ll loose interest. That is EXCEPT for the EDM crowd. As long as you’re dropping something that SOUNDS like they want it to, is produced well enough to push the system to the limits, and can be manipulated in a way to which they are accustomed , you’re golden. So much of that music doesn’t have lyrics anyway that the familiarity-factor doesn’t hold as much weight.

LA: We discussed your desire to stay alternative and always connect with the younger generation. What drives you to embrace the alternative and new in dance music?
KK: I’d like to steal a line as quoted recently in Columbus Alive by my buddy Adrain “X” Spillman, “I like bad music”. I mean – that’s kinda true I guess. I’ve always been kind of an “alt” kid, I like punk-rock, metal, industrial, heavy beats, almost all rap music pre-DMX, electroclash, mash-ups, wearing black, being juvenile and stupid‚ Anything dirty is always good – what did Blank 182 say in their liner notes from Dude Ranch?‚ “masturbate everyday and anything with poop is funny”. I’m all in. Once club kids reach the age of say 27 (they magic age where ALL the coolest people have died ya know), they still go to clubs‚ but they’re, enh‚ more “adult”. it’s hard to describe but jazzy-house? – not a fan. I’d rather bathe in the insanity of a raging room of dubstep ANY day over that crap. Once you’ve hung up the Adidas in favor of some “Fluevogs for men” and start hanging out at Eleven – I just see it as you’ve cashed in. I live in the dark.

LA: You are instrumental in putting out a free music publication called MELT that has released 72 editions and running HotCards Columbus. I feel it harkens back to an age when flyers and printed zines were incredibly important for show promotion. In our age of social media, what is the importance of the printed press, stickers, and show flyers to scene building?
KK: Still super important. Let’s answer that in 2 parts‚ 1) Event flyer printing: A few years back when Facebook really blew up and Myspace staring feeling like a deflated balloon, if your party wasn’t online, it’s likely it was going to be empty. The social media sites changed party promotion FORever, and the good ‘ol print standbys sat idly by waiting to return. We’re seeing more and more back out there now, mostly because there are so many event invites online that people almost see them as white-noise. And where a passive-aggressive invite to a stockpile of Facebook friends worked for like a few months, to get the job done now you got to sew it ALL together. It’s like you STILL have to keep up the online presence, and in some cases almost to an annoying level to really stand out at all. But you’ve GOT to back it up with the old school methods of not JUST getting flyers made, but being OUT, being SOCIAL (like in-person social) and glad handing (genuinely) your potential attendees. With my Juicy parties it’s a MAJOR reason I teamed up with James Castrillo (DJ Kingpin). On top of being a MAJOR dude, he’s completely amped-into the current EDM social scene which is AWESOME. I still try and make it out in-person as often as possible for the stuff all through the week that goes on, but with having to be up at the buttcrack of dawn to get to HotcardsColumbus coupled with the fact I’m old and crusty plus have a DVR full of Storage Wars episodes, it can be tough. He is almost completely the in-person promotional arm of our night, an AWESOME DJ in his own right, and a super-suave dresser ‚and I love him VERY dearly for all of those things. AND‚ 2) As far as Melt goes, welp – people just seem to like it. I’m not sure if it’s the compact size, or the massive graphic feel, the over-the-top opinionated writing or the never-ending typos we leave in the copy, but we never get ANY back. We produced the magazine EVERY month for seven years straight and people just dig it. But it’s a HUGE undertaking, make no mistake. From rounding up writers to getting ad space filled to punching out mind-blowing layouts, the entire staff has never been more than 4-5 people strong at a time including interns, and usually just 2-3. THAT being said, in November 2011 The mag went on temporary hiatus as I’ve committed fully to my business-partner that I’d focus completely on getting the hotcardscolumbus.com website updated and redesigned before I’d TOUCH the keyboard for Melt again. But don’t despair! We’re coming out of the weeds here soon and we should return to full production later this summer/autumn sometime, and Melt will be back to annoy and amuse everyone once again.

LA: You are in a unique position to offer a retrospective on the ebs and flows of the scene historically. How would you assess the impact you and your contemporaries have had on the dance music scene in scene over the last almost thirty years?
KK: Hmmmm‚ well as we’ve gone along each DJ has effected the next, and hopefully in a positive way. I mean as long has you’re staying in touch with what’s going on DJing is something you can do as long as it still holds your interest. I found early inspiration in what Skully and BJ were doing at Mustard’s, then new inspiration the first time I walked into Nine Of Clubs in Cleveland and heard Angela play there and then later at Aquilon with Rob Sherwood. Hearing Pat Finn at the old Garage downtown for the first time blew me away‚ and I never stop having new heroes. I believe thoroughly as soon as you think you’re the shit, you stop developing your craft. Each of us has been inspired by another at one time or another and I for one still find inspiration in the guys coming up today. Matt and Bryan from networkEDM BLOW IT UP – there might not be more bangin BANGERS out here. Basillio Santiago (DJ Egotronic) freaks me out with his diversity (sometimes daily as he constantly drops new stuff on my Facebook inbox). Watching Greg and Zach from Digiraatii work the mixer and decks is like watching some open heart surgery show on the Discovery Channel!‚ and roeVy?!‚ it’s almost like they are not even in the same category as all of us! Their shows are a meticulously woven web of sound and visuals that EASILY rival the biggest production rock tours I’ve EVER seen. These ARE the music makers‚ These are the dreamers of dreams 😉

LA: We discussed our common belief in the specialness of Columbus. Do you think Columbus could be the austin, TX or Seattle Washington of DJ’ing?
KK: I think without question that we kind of already are. There is such a massive pool of performing talent here in Columbus that it’s easy to take it for granted, but all you’ve got to do is look around. And I think that part of it is the city itself – the fact that Columbus is kind of like a large “SMALL city”. Because we have such an enormous school here, everything that goes on is kind of centralized in and around the campus area, and goes out in concentric waves from there (Campus, Short North, Downtown, Clintonville, Grandview, Old Town, etc). Sure there are things going on out on the perimeter of the city, but by-and-large our enormous pool of talent, and the events that they all carry are right on top of each other. It forces us to all KNOW each other, be aware of one another, and be inspired by one another. Sometimes it gets a little incestuous and sparks some uncomfortable competition – but it leaves us with an open create environment we can all draw from – and it shows. You can go to other bigger cities that also have great DJs and electronic producers, but you’ll find the bigger the place, the more fragmented the scene(s). It’s almost like we’re living in a hippy commune for DJs, it’s REALLY cool and I think SIGNIFICANTLY important to our place in the advancement of dance music culture. You can find guys that play ANYthing here – Hip Hop, Electro, Goth, Disco, 80s, Techno, Breaks, Minimal, Funk – you name it. It’s awesome and I’d put us up against ANYwhere else that thinks they do it better.

I am back with an exclusive transmission from sKewn this week for the Our Scene | Our Sound | Our City Mix Series. You all know much about sKewn due to his interview with me a month or two ago. (READ THAT HERE). Yet, I don’t think you have heard this version of sKewn. He can throw down a hard mix like the best of them with smatterings of jungle, drum n’ bass, and other bass sounds, but have you been listening to his recent mix work? It certainly goes in a very patient, somber direction with some very beautiful moments and careful track selection that makes for wonderful listening. I could make this out to be some big shift that marks the dawning of a new epoch in his work, but that wouldn’t make any sense. sKewn has been listening to the wide gamut of tracks coming from all styles of music since he was young. It just so happens that now he wants to play it in his mix work more.

Isn’t that true for all of us? I mean its not like we were born and then our parents had us listening to Detroit techno, Chicago House, etc. No, we all had a distinct musical trajectory that brought us to this place we are at now. We all had to discover electronic music. On sKewn’s recent mixtape done for the Push Productions Just For Me Mix Project he adroitly fused techno and dub sounds to achieve a smooth, subtly mutating mix that slowly washes over you. (Download that Mix HERE). Like that mix, The sounds in the Transmission mix aren’t usually spun on dance floors, but nonetheless still hold much power to take you to a different place.

Yet, I cannot do justice to the sounds in this mix with words. To do so would only be to force my opinion on you, which I already do on a regular basis. I would rather you just take my word that this is a pretty amazing piece of mix work. I have listened to it over 25 times (not an exaggeration) since sKewn placed it in my possession. Why not just press play and listen with an open mind.

sKewn – “Transmissions”

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