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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.

Sound Of Plaid - large

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

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

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 This is obviously not exhaustive, but consider this a first attempt to update the sorely outdated archive.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

1.) 9star: “Tangible Thoughts”

2.) Aaron Austen: Promo Mix

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

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

5.) B-Funk: Thump Show

6.)  Bohno: Sink Deep

7.) Burgle: Jack Shack TV Mix

Burgle 53 Min Jack Shack DJ Set by Jackshacktv on Mixcloud

8.) Conner Campassi: GRVTY

9.) Creamz: Basement Sessions 002

10.) Crucial Taunt: Frito Flip

11.) Dave Espionage: Jack Shack TV Mix

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

12.) DJ Push: There Was Sun

13.) Doctor Zapata: Promo Mix Enero 2013

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

15.) Druid Cloak: The Groove EP

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

17.) The Fallen: “Live at BLUR”

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

19.) FBK: “In This Deadly Light”

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

21.) FUNERALS: Vessel Mix 2012

22.) George Brazil: Jack Shack TV Mix

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

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

24.) jMac: January Promo Mix

25.) Kevin Parrish: Squared Online Podcast

26.) Lower Frequency: Squared Online Podcast

27.) Midislut:

28.) Mike Shiflet: “Secret Thirteen Mix”

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

30.) NetworkEDM: Post Day-Glow Hangover Mix

31.) Ohioan: “Buoy”

32.) Plural: “The Beatings Continue”

33.) Quality: February Live Recording

34.) roeVy: PROXY – Raw (roeVy remix)

35.) Self Help: Jack Shack TV Mix

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

36.) Single Action: Bus Bass Mix 55

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

38.) Tactil Vision: “savage”

39.) Titonton Duvanté: Live Mix 2012

40.) Todd Sines: Live at Mister H

41.) Tony Fairchild: February Jack Trax

Unsatisfied with charging the barricades of the techno establishment alone, Columbus based artists FBK and Plural have merged into a musical juggernaut called The Fallen. Their collective assault on our eardrums and dance floors worldwide begins today with the release of their first EP Abrasive Technology on E8P Records. The Fallen was created out of the common ambition both these artist share to constantly push the envelope in their music. Abrasive Technology may be just the first release of this new techno leviathan, but this group already shows the development of a distinctive sound that features driving, aggressive rhythms pulsating over densely layered atmospheres. As such, this release sees The Fallen building tracks that give new life to normally sharp, discordant sounds by synthesizing them into new sonorous melodies. Such a task shows that these two production veterans have already reached a very evolved state in their collaborations and stand poised to make a significant contribution to the development of dance music in 2012. A closer look at this partnership reveals the uniqueness of this artistic project and the aspirations these two DJs have in their music.

Many dance music artists would be content with the achievements that FBK and Plural have compiled in the last year, and would not dare push the envelope by trying something new. FBK is fresh of the release of his Abandonmental EP on his taste-expanding Absoloop label and his track “Nanomal” was recently included in Marcel Dettmann’s seminal Conducted compilation.

“Nanomal”

Plural too has been pumping out release after release. He just put out his Lost In Thought EP on Orange82 Records and is slated to release his System Corrupt EP on Audio Textures Recordings March 20th.

“Destroying Anger”

Despite this prolific output, FBK & Plural are never ones to just rest on their laurels and be content status quo. Rather than continue their artistic journey alone, the two DJs merged their strengths and went out in a new direction to see what their collaboration could yield. This speaks volumes about both of these artists. It would have been easier to just keep going down this road alone. It obviously had been working for them, as they are both getting increasing attention from all over the globe on their releases. Yet, these two artists took the road less traveled, and decided to see what experimentation and collaboration could produce for them. This type of maverick activity is exactly what put Midwest Techno on the map. Whether it’s the founders in Detroit or the foundational members of Columbus’ ele_mental crew, techno artists in the Midwest have always pushed the boundaries of techno to find new means of expression.  The Fallen is just the most recent manifestation of such an ethos, and their Abrasive Technology EP is a verification of the fruits that come from taking a chance.

Not only is the Abrasive Technology EP evidence of artistic ethos, but also presents the technical skill of these two DJs. Lush, swirling walls of noise bombard your speakers, as the beginning swells of bass lunge forward at you with the first track “Focused Intensity”. With such intricate detail presented in the track, it is difficult to even begin to understand how these seemingly cacophonous noises could work as one harmonious melody. Yet, track after track on the Abrasive Technology EP reaffirms The Fallen’s unique talent at creating beautiful techno out of noise easily discarded by other artists. The highlight of this approach comes through on their track “Turning Back To Me” where The Fallen showcase their ability to build a melodic anthem that grips the strings of your heart and makes you understand how enriching music is to daily life. Such a track makes me so excited for what is too come from The Fallen in the future. No doubt, the Abrasive Technology EP showcases this technical skill, but also shows these producers are adept in merging sounds that evoke equal doses of aggression, futurism, and sentimentality in techno tracks that will destroy clubs and underground parties everywhere. Don’t take my word for it! Check out the tracks “Without Wires” and the video for Focused Intesnity from the EP and decide for yourself! EP IS HUGE!!! Cannot Stress this enough!

“Focused Intesnity”

“Without Wires”

Buy the album at this fine outlet:

Beatport

If it isn’t obvious yet then it is worth reminding you that the Abrasive Technology EP was just the beginning. The Fallen aim to continue their collective assault of dance floors everywhere in future releases, as they use their dense, deep style to decimate your notion of what dance music is. Both as a unit and individually, Plural and FBK are going continue to put Columbus and Midwest techno on the map through innovative releases. So you best be on the look out in the next few months for future releases from The Fallen, as these two techno heavy weights continue to push the agenda of what directions techno should go in.

The Fallen on Soundcloud

FBK on Soundcloud

Plural on Soundcloud

(Note: This was the official promotional copy I wrote to accompany the release for The Fallen.)

After an amazing year in 2011, the release of FBK’s Absoloop 002 – Abandonmental EP today finds the Columbus based artist reaching new heights of creativity in his production work. 2011 was a monumental year for FBK. With the inclusion of his track “Nanomal” in Marcel Dettmann’s highly acclaimed mix Conducted, a string of successful for EP releases like his The Moment Before I Snap EP, and the starting of his Absoloop record label, FBK reinforced his reputation as a top flight producer devoted to pushing the boundaries of dance music. Building off this success, FBK stomps into 2012 with the release of the Absoloop 002 – Abandonmental EP. Not only does this new EP highlight FBK’s characteristic aggressive, hypnotic sound, but also finds FBK reaching new heights in creative expression. Each track highlights FBK’s ability to find different pathways to crafting an infectious, undeniable rhythm, while exploring new realms of sonic innovation. Few artists are able to couple rhythm and sonic innovation in such a sonically pleasing manner as FBK has done in this release. No doubt, this marks another monumental step forward in FBK’s artistic development, and sets the artist up for another very successful year. Yet, there are numerous other points to this release, which reveal the road ahead for FBK. Don’t believe me? Check this video FBK himself created for his track “An End and Beginning” off the AB 002 release:

The cohesiveness of FBK’s Abandonmental EP reveals key clues as why FBK’s artistic work will be so exciting in the next year. This release isn’t just composed of four separate tracks put together randomly. FBK carefully curated the Abandonmental EP to express his take on the various soundscapes that exist on the edges of society. Though each track diverges in its individual expression, they all are united by a common theme of articulating the sounds characteristic of long abandoned locales or mindsets. I can just hear each one of these tracks telling the story of a different lost idea or factory from our past industrial age. This type of conceptualization shows the mark of a fully matured artistic force that only has amazing things ahead of him as he continues to release unique works of art into 2012.

Beyond these reasons, FBK has deep roots in the midwest techno music scene and understands the need to make and release music that stands the test of time. FBK has been a foundational force in Columbus and Midwest dance music since the 1990’s. Growing up in the heyday of dance music in the Midwest, FBK was a member of the foundational Columbus based ele_mental crew and has gained support from the likes of the legendary Claude Young. From these experiences, FBK has learned to create his own artistic voice and release music he believes will endure well beyond the fades of the moment. This motivation to create and release the timeless drives FBK’s production work on the Abandonmental EP and the music he releases on his record label Absoloop. For this reason, its important to not just pass up what FBK is doing with this release or any of the music he intends on releasing in the future. This is the year FBK & Absoloop put Columbus techno back on the map, as one of the strongest scenes in the U.S.

Make sure to stay up to date on all the happenings with FBK and Absoloop records by liking FBK on his facebook page and following him on soundcloud. Did you know FBK’s first release on his record label Absoloop 001: Adventures into the Loop was just as epic as this most recent installment? Well, pick it up at his bandcamp site HERE. The Abandonmental EP will be followed up very briskly by the third installment of the Absoloop series within the next few months, so keep your ears open for updates on release info.

Buy the Abandonmental EP today on any of these fine outlets. Its a Monster. You will not be dissappointed.

Juno

itunes

7digital

Amazon

1/26/12 — Plural — Lost In Thought EP — Orange 82 (UK)

1/27/12 — Roevy — Demons Remix EP — Kiez Beats

1/31/12 — Hot Mess — No Requests EP — Heavy Artillery

2/1/12 — Dunjinz — Anowara/Albion EP — THaF Records

2/14/12 — FBK — Absoloop002 Abandonmental

Got a Release Coming up. Let me know and I will Put it up.

In the Queue:

February/March — Fayban — TITLE TBD

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