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Kon Summer[Photos Courtesy of LeanRock]

Its been at a clear and present DEFCON 5 status in the Loc Aut offices here for the last month since I emerged from my hiatus! The scene has been bumping with a diversity of sounds that would make anyone proud to call this city their home. ( I don’t care what all you haters say about Columbus, you should be proud of this city.)  I have been pouring my thoughts down on this page just trying to capture something of my excitement I feel of being part of our community. This weekend is no exception.  Not only do we got a open format noise, techno, experimental show, but DJ Kon is coming through with Jason Allen [Squared] to play the 2 year anniversary of Musicalityat Double Happiness tomorrow Friday, September 26. [Event Details HERE]

What? You haven’t heard of Kon. Well, you best do some digging to update yourself on who this artist is. [Good places to start are his interviews with Resident Advisor & LeanRock.] He is a one of those rare renaissance artists that has spent time building his skills writing, composing, dancing, graffiti writing, digging, and DJing. There are few cats that I know that have developed such a broad array of means of communicating and learning about music, art, and history. The only way I can describe him to folks is that he is dangerous. He is someone who will defy all means of placing him in a box. he understands what the real is and doesn’t deviate from this path. He doesn’t get bogged down in genre. He doesn’t play that game. Like any artists that is conversant in the vocabularies of sound, he spins what he feels. He spins the truth. He spins a historical tapestry that weaves a thread of emotion and soul through the past and present showing the interconnections of all our efforts to express ourselves through music. He spins up, down, around, and in back of all definitions you had for his art. This is why he is dangerous. He breaks down barriers. He breaks down our mental crutches that prevent us from communing with the sound and soul of the music. He comes to us as a humble, wise artist that is trying to share a message with us. Will we open ourselves up to what he wants to teach us?

I hope you do. You can catch him at Double Happiness with Jason Allen and the Musicality crew of Dedikate, Trueskills, and Craig Huckaby this Friday [Yes, that is tomorrow]. In the mean time, check out an example of his mix work and read the interview he was kind enough to do with me.

Mix Work:

Interview:

Local Autonomy: You have been involved with spinning, collecting, and producing music for 20-30 years. What does music and sound more broadly mean to the way you live and experience life?

Kon: Music is emotion manifested through sound, I am.. like many others a sponge. It chose me.

Local Autonomy: I am deeply interested in the history of music, and the role DJs and producers played as messengers or teachers. So you can imagine I was amp’d when I happened upon your interview with Lean and you said, “We are messengers, period.” What messages are you trying to pass on to people with your art?

Kon: Well, I am known to have some rather loud opinions.. and can be very outspoken, certainly passionate for sure. That said I am a student 1st, always learning. My brain is saturated with music and sounds, titles, pictures and years. Basically… if what I play or make resonates with people… cool, get on this ride with me, my story, my view, it consists of many styles, many sounds and I would hope at the very least brings other open minded, like minded folks together, if not thats cool too.. the door is open, you always have a choice.

Kon in the stacks[Photo Courtesy of LeanRock]

Local Autonomy: You have spent a lot of time digging through bins for records. I too really love just clearing my head and taking a walk through the bins to see where they take me. What have you learned about music and yourself taking the time to look through crates of vinyl?

Kon: As for hitting spots for records, I’ve learned to always eat and be on a full stomach, have a bottle of water with you, a portable is a plus…. and never judge a record by its cover. As for the music itself, its all about mood. Some records I got 20 years ago hit me in a different way now, that song I liked most may not even be my go to jam on that record anymore.

Local Autonomy: Listening to your productions, mixes, and edits, it is obvious that you are able to integrate the musical vocabularies of so many forms of music into your work. What role do you think learning and understanding the music vocabularies of disco, soul, funk, hip hop, and house has had in how you approach DJ’ing and producing?

Kon: Luckily for me I am a 70s baby. The singer song writer era. Politically charged times and the music showed us that. I was exposed to a vast amount of genres of music as a boy. Rock, pop, r&b, soul, new wave, punk… I always found authenticity within every one of those genres, be it the 1st B-52s, The Pretenders, Tom Petty, Prince, Cameo, Souxie & The Banshees, The Clash, Chic, Stevie, etc, etc.
Disco came to be popular in the late 70s and early 80s. Most times I never fit in with the rest of the kids as they were into things for their own age so to speak. I was hanging out with adults and my musical palette was a direct reflection of it.
As for hip hop tho….it showed me how to put it all together, make sense of it all.
The 1st rap records are disco records. The 80s came and the advent of sampling came into play. Things have never been the same. I combine all that I have soaked up, and I dunno… I guess it just it what it is. No rules, and if there are any break them.

Kon Tag[Photos Courtesy of LeanRock]

Kon on Twitter

Kon Blog

Kon Mixwork on Soul Clap

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Blue Fallen

[Photo by Dezi Magby]

There is something magical about going to see live music. There is a buzz in the air and a sort of excitement for what is to come. Whether I was going to see a rock, punk, experimental, jazz, or dance music show, I still felt that same excitement. That feeling was always waiting for me as the date of the show came closer. I would sit throughout the week and daydream about what I would hear, what the crowd would be like, and what I would learn about myself and the world around me by going to the show. This excitement became in those moments a close friend that I came to know well. It amplified and rendered meaningful my love of live music.

The shows I have always been most excited about and learned the most from are those where improvised instrumentation is going to occur. I spent a good part of my teenage years following and listening to bands that fused jazz, progressive rock, dub, hip hop, and psychedelia into dynamic live and studio performances. When experiencing this music live, I often had no idea where it would go and what boundaries would be crossed. This performances became a space where genre’s became nothing but toolboxes to tell stories and to take the listener on a journey. I gravitated toward dance music, because it has much those same qualities.

Much like free jazz, experimental, or “fusion” music of different types, I feel dance music performances have the power to re-write the vocabularies of genres. The vocabularies of House, Techno, Ambient, Trip Hop, Jungle, Drum & Bass, Dubstep, Glitch, IDM, Industrial, and Hardcore were made by people to render that section of the musical universe knowable and understandable. These genre are not mythical giants in far away dark mountains. We do not need to make offerings before the genre gods. Genre’s are false idols. They are sets of rules and norms we forgot we created to streamline listening and creating. Dance music performers that recognize this are able to wield these vocabularies as a starting point for crafting their own voice. They see these vocabularies not as a box they have to fit themselves in, but as the blueprint for breaking down the box and fashioning their own house out of it.  In such instances, records and a mixer or a live P.A. set up become the instruments through which we advance our dance music culture and express what it means to be a living, breathing artist in Columbus.

I feel the live P.A. work of THE FALLEN (And FBK & Plural Individually) has attained this level of genre bending and subversion. When Plural & FBK started playing sets of fully improvised material about a year and half ago, I really did not know what to expect. I came to understand the only way to approach these performances was to expect the unexpected. Every time I saw them play live, all my preconceptions of what I thought would happen were broken. I was slapped across the head, knocked on my face, and then picked up again by the beat.  Little prepared me for when FBK used a clandestine recording of a friend discussing women earlier in the day as a perfect vocal sample to accompany a performance of dark, funky dance music (WHILE THE FRIEND WAS IN THE ROOM). I was also not ready to see Plural craft and unleash crystalline gems of pulsing, beeping techno in just a few moments; his creations materializing out of the ether as sophisticated pieces of some futuristic dance floor armory.

Fallen at blur

My favorite moment of seeing them live was when they played together at my BLUR show last November. For 45 minutes, they took us down a cascading staircase into the heart of the molten core of their sound universe. They poured over their instruments creating walls of sound that flowed out of the speakers as hot, molten magma. It was like we were watching them crafting their own tectonic plates of sound that would be used as the crust of a sound world upon which we would all stand. The old brick walls of that former factory space melted away, and we were left exposed in the cavernous expanse of sound; standing on the ground that had been crafting for us.  We truly were on some sort of frontier.

In this moment, THE FALLEN had subverted the rules of genre and created music that told a story rather than fulfilled a checklist. In this moment, THE FALLEN crafted their own code and shared it with us as a cipher to work through the morass of commodified sounds pushed on us everyday. In this moment, THE FALLEN found those mythical genre giants cowering together out in those dark mountains and told them that they have their own way of creating sound and won’t be needing their services any longer. In this moment, THE FALLEN set out on their own, without the comfort of the crowd, to burrow deeper into their own sound world to tweak the tectonic plates of a sound universe of their own making.

Luckily, they will be playing live again next Friday as THE FALLEN at Future Maudit at Cafe Burboun Street. You can get more details about that event HERE and read about one of the other performers Tyrant Manque in an interview I posted up last week HEREFor now, enjoy the interview I did with FBK & Plural, as they discuss broadly what lived improvised sound means to them and why they think it is important for people in our community to appreciate the Live P.A. performance.

Fallen

Interview:

Local Autonomy: Both of you have been playing live P.A. sets individually and together as The Fallen around the city for the last year and half. What is it about performing live that you both enjoy so much?

FBK: I always enjoyed playing live because of the serious disaster that can happen when everything doesn’t go as planned. There is a thrill that cannot be replaced when ANYTHING can happen. I’ve spent 25 years on stage now, and the randomness, fear, excitement and overwhelming joy cannot be replaced. DJing is similar for both me and James (only because we’re both risk takers whilst playing with records)…but playing live adds in so many elements that something can go wrong in a near instant.
If I knew that our live set would sound exactly a certain way, I don’t think I’d have any fun.

Plural: Performing live is fun because you have that element of disaster that could happen. You could loose sync or a piece of equipment could freeze up.(Just to name a few things that could go wrong) I have to say Kevin and I are quiet the risk takers even when we DJ. Everything relies on timing as well so we have to pay attention when things are going on because one mistake equals off time and a clashing of sounds we don’t want to hear. We don’t really practice much either which my shock some people, we go on pure feeling. So yes usually when you hear us and your like damn thats dope! We are right there thinking the same thing lol.

Local Autonomy: How does playing live differ from DJ’ing? Are there unique challenges and rewards that come with making stuff up on the fly?

FBK: When I play records (or CD, Mp3s, Edison Cylinders…whatever)…there’s far too often a knowledge that I have built over time-for instance, beatmatching as a skill is now like a base element. I know most of my music inside and out (only because I make it), my memory of tracks borders sometimes on obsession. I know while playing music for a crowd (pre-recorded music mind you) what is going to happen (though I pick my tracks at random, go into sets without any plan what so ever, and barely ever ‘organize’ my music…this keeps me interested in what I’m doing).
Live performances are more fun because…oddly, I do LESS planning for live shows than anything else. I love to create on-the-fly, working without a net on a tightrope…it’s an old analogy, but it works here. James and I rarely practice-we’ll talk about what equipment we’ll use, talk about routing, setup, things we’d like to hear…but we don’t usually do a ton of ‘run-through’ sessions or ‘practice because this one’s important’ (shit, they are ALL important!!!!)
Every show we do is different. The week or two before, I usually figure out what 3-6 preconceived things I’ll do…but I leave myself so much room for add-ons later. The last show we did @ Social room? We improvised the last hour or so…and it was the best part of the show!

Plural: Djing is different than Live because when your DJing you are not creating anything new, these are prerecorded tracks you are playing with and you are mixing them an a way to make it continuous. While as Live you are making the tracks right then and there tweaking and freaking the whole sound at your command. They are all new material that know one has heard yet until that moment.

Local Autonomy: How does playing together live as the fallen change the dynamic of your live performances from when you play solo?

FBK: James and I have some common ground, but we go about doing music rather differently…we both have parts of music production that we think one is better at in some way shape or form (actually, I take that back-I suck at most parts of this production thing…I’m the extra set of hands;)
Ok…seriously? If you mix a Plural track and an FBK track together-they tend to fill in the spaces that one leaves by itself. That’s the reason for The Fallen.

Plural: When we perform as The Fallen you are getting basically Plural and FBK just Meshed together our tracks fit so well together its weird, but it works.

Local Autonomy: There is a rich history of people playing live P.A. sets in dance music. Why do each of you think its important for people in our community to consider playing live themselves or appreciate those who do?

FBK: (Soapbox and rant time): For this crowd now, who are getting into this music mostly from being deluged by the glossy, polished giant marketing game called EDM (WHICH IS A TERM I FU#K!NG DESPISE)…There is a gap in the understanding of how this music not only came to be, but what the process of creating this music we love REALLY is. I have been asked several times about a DJ and his music…and many believe that we all just buy or steal music from somewhere and then bring out a computer and the computer does all the ‘hard work’ (unless there are records-then the DJ is ‘doing something’)…because many fans of this ‘new’ (old) form of music come from watching traditional instruments being played (rock, country, folk, what have you), there is a disconnect between what is REALLY happening with a DJ set, and what constitutes a LIVE PERFORMANCE.
Many have been tricked into believing that there is no difference, and that electronic music should be free (because the DJs and Producers don’t have to pay for the music, buy guitar strings or amplifiers, y’know…they just all have computers and the computer just creates what they want to play-because internet!)
Part of it is a sign of the times. Technology is FANTASTIC and it allows me to do things that I’d never be able to do when I had my old studio (which took up a 25 X 25 room and was filled with literally 1 mile of cable). My laptop has the ability to replicate all of that gear times two now with only two cables or so being needed.
I say all of that to explain this: A live performance should, and I say SHOULD, be an experience that isn’t pre-recorded, pre-determined or just mailed in by someone who spends the entire set looking at his computer and simultaneously checking their Facebook account. The crowd should be able to ‘see’ and ‘hear’ the process, warts and all. This to me means allowing for mistakes. I believe that so many people now hear live performance and expect that they’ll hear something akin to everything they’ve heard before, performed by someone else. That’s not what you’ll get with FBK, Plural or The Fallen. If we don’t know ‘exactly’ what it’s going to sound like…you shouldn’t either.
Last point and I’ll end my rant…To all the crowds and fans of dance music in Columbus-IF YOU WANT SOMETHING DIFFERENT-DEMAND DIFFERENT! If you keep showing up to the same event with the same 4 people each and every time, the promoter has no need to change what he’s doing. McDonald’s doesn’t change the Big Mac for this very same reason. If you continue to go out and hear the same music over and over, let the same rotation of DJs occur and do the very same thing-you’ll get no more than that. Comfort is BORING. SAFETY IS BORING. Adventure awaits…but you have to find the adventurous ones-VOTE WITH YOUR FEET AND YOUR WALLET. If you want bigger acts to come to town, PAY FOR THEM WHEN THEY COME! If you want different DJs to play, TAKE A RISK AND SPEND $5-10 on seeing something DIFFERENT!
Most of you reading this will pay $20 to go to a movie based on a TV show that you watched as a kid, or a rehashed version of a movie that was done a decade earlier….yet you’ll not spend even $5 to see a DJ or performer who comes from 3 hours away to play in our fine city. It wasn’t always like this-Many of the ‘old guard’ remember a time when there were events every weekend filled with local talent playing alongside international DJs and producers-some who are legendary now. It can happen, but the CROWD has to support it! If not, you’ll never see anything but locals on the stages, playing the same things you heard them play a month or a week before. SHAKE THINGS UP FOR FUCK’S SAKE!!!!!

Plural:Good question,There are people out there like ourselves who would rather be the reason people have music to play that just be the DJ whos playing these tracks. Lets face it anyone can DJ but not everyone has the creativity or the push to make tracks. So yes I think there should be a level of appreciation that should go out to the people that make records and mp3s.You know? Without the producers making the music there would be no DJ.

Local Autonomy: Thinking broadly to the history of music, do you see your live performances as connected to the work of improvising jazz, blues, noise, or rock musicians?

FBK: Live performances are a bridge to understanding that this music does NOT exist in a vacuum. Neither does DJing…but during a live show, everything you’re hearing isn’t something that you can just buy or download on an mp3-it’s something much more organic-and it’s happening in front of you! It’s like going to see a Jazz concert in this way: You may even know the song the band is playing, but every night it sounds different. Live performances should be the same way…they aren’t always-but for us? They are!
Many people speak ill of the Greatful Dead (because of their fans?)…As musicians, they were all very gifted and talented. Dance music producers broadly have some of the same talents as well…some are great drum programmers, some create great atmospheres with samples, some are great at composition and structure. Doing anything that is free-form is a nod to all styles of performed music…not just jazz, rock, blues or noise. Dance music (Disco) was played on instruments at one time by groups of people (like 16 people on one stage!)…every part of the performance was organic in this way..because each had an independent mind and could find new ways to express themselves. This tradition is still around even in the computer age-you just have to realize the computer is an instrument if used correctly-it’s not just a crutch.
Recently, both of us have been getting away from the computer and beginning to focus on ‘hardware’ or ‘things outside of the box’…and the results have been fantastic. We sound different and we’re even MORE engaged than we were before. There’s no one way. And doing a Live PA is far more interesting when you have several boxes to control…with two hands…we’re both going to be busy as hell on Sept. 27th…

Plural: My homie FBK said it all in his rant at the end of his interview.Thats just how we see it read it and learn.

THE FALLEN

In the Booth

[Photo Courtesy of Carlos Bell Photography]

Introduction:

We are lucky to have Atlanta based DJ, producer, ndatl label label founder Kai Alcé coming to Columbus to perform this Friday (8/2) at Big Bar alongside many other amazing artists (Event details HERE). Alcé has been in the thick of U.S. dance music for over twenty plus years and has used this pedigree to craft his own and Atlanta’s distinctive house sound. He has his roots sunk deep in numerous cultures and communities, as he came of age in what he termed the Golden Age of dance culture in New York, Detroit, and Chicago. Alcé talked about how he got his grassroots education in sound immersing himself in the dance cultures of these cities in a recent interview with Juno: “Well in New York I grew up in the midst of disco and the emergence of hip-hop, then in my pre-teen years I moved to Detroit and got into the high school party scene. I linked with Chez Damier, we were hangin’ out at the KMS/Transmat/Metroplex building and eventually worked at the Music Institute. I was also travelling back to New York and also checking out Chicago, so I saw the main three breeding grounds of this sound during their golden years. I was seeing Ron Hardy in Chicago one weekend, the heading back to Detroit and checking the MI, and going to New York places like MK’s Red Zone Mars.” It is evident from this statement that Alcé got much more than lessons in dance music. He garnered a PhD in the chemistry of sound, as from an early age he was influenced to synthesize diverse musical sounds and ideas. As he traveled from city to city, his was immersed in teachings on the fundamental elements that each city drew on to create his own distinctive voice and sound. These lessons would serve him well once he moved to Atlanta, as he was able to refashion these building blocks he learned across the country to help build a community and sound that would cement Atlanta’s reputation as a house music destination.

This deep appreciation for synthesizing diverse elements into his mixing and production has never left his work. All of Alcé’s mixes, that are readily available for listening, reveal this fact . Take the mix he did for vice magazine [more mixes of his are available connected to his Juno and Little White Ear Buds interviews]:

Thirty-five minutes or so in, Alcé weaves together tracks from Detroit’s past and present by playing Rhythm is Rhythm right alongside Kyle Hall. Such programming/selection creates a rich historical conversation between two records separated by decades of time. However, rather than showing some stark juxtaposition between the two records, this programming reveals the commonalities that Hall’s music still shares with the founders of the Detroit sound. Not content to end this strain of sound exploration right then, he tops it off with a sizzling track called “On It” from his new ep World Causes [previews here]. You can feel the same energy and ethos coming out of Alcé’s track. Just like Rhythm is Rhythm and Kyle Hall, Alcé lets the track run wild in a sort of controlled creative chaos that tips his hat to Detroit, but carves out propulsive properties all its own.

On the street

[Photo Courtesy of Carlos Bell Photography]

Above the nods to Detroit, his technical chops, his musical pedigree, the real magic I find in Alcé’s music is in his belief and use of the power of music to heal and uplift people. Throughout all his mixes, there are inspiring messages to help us get over in our daily lives. Let’s be honest, life is beautiful, but the obstacles we all face can at times feel insurmountable. When I listen to Alcé’s mixes, the sun starts to crack through the clouds, and I get back some courage to take that next step to just keep going. I can take refuge in his mixes and let them fill me back up with the love and patience I need to go back out in the world and try to make a difference.  However, this isn’t just secluded to his mix work. In his productions like “feeding” or “Willow,” he has created works of art that call on us to think deeply about how we can make ourselves and other people better. What a special quality! I am truly inspired by Alcé’s emphasis on taking the power he has as an artist to share a positive message with other people seriously. I think he  really prompts us to ask a few questions to ourselves: What messages are we sharing with the world? How are we treating one another? Are we a force for peace and love in the world or are we just continuing to perpetuate cycles of fear, hate, and greed?

I think a fitting way to close this introduction is to take an excerpt of the lyrics from the closing track in his Vice mix, Romanthony’s “Hold On”:


“So your thinking that its over. You coming off another put down. Your feeling life is on your shoulders, No love around. You say your in for stormy weather. The sun ducked away behind the clouds. Can’t seem to get your thing together. Can’t get turned around. There is a reason for the madness. Someone got to tell you “It seems all hope is Gone.” There is one thing you might miss “Hold On.” You never know what’s in store for you. You never know what dreams might come true. Hold on you’ll see a brighter day. Hold on and I will show you the way. Hold On.”

Hopefully, this message helps you get through your Wednesday. Just Hold On Ya’ll help is on the way. Friday will be here soon enough and we can all convene at Big Bar and recharge together with Kai Alcé, Jay Daniel, Seth Dedikate Carter, Craig Huckaby, Toby Tope, Aaron Austen, Tony Fairchild, True Skills, George Brazil, Ginsu, Bombay, Jenny Arcade, and Fran Fiction. All the details you need are available by clicking right HERE. In the mean time, check out Alcé’s exclusive interview below.

flyer

Interview:

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

Kai Alcé: It’s probably more the other way around, my life and experiences influence my sound. Hence the name of my label NDATL which stands for New York, Detroit & Atlanta the 3 places I’ve lived (with heavy influence from Chicago as well), have curated the sounds you’ll hear from me & the label.

Local Autonomy: Your track “Feeding” has this amazing spoken word poetry in it. I love the whole thing, but especially this section:
“Who’s feeding the children? Who’s feeding them? Who’s feeding them knowledge and freedom? Feeding them. Who’s feeding them that we are a part of the whole? Feeding them. Who’s feeding them purpose? Feeding them. Who’s feeding them that revolution revolves around itself and evolution is change? Feeding them. Who’s feeding them be yourself? Feeding them. Who’s Feeding them diversity? Feeding them. Who’s feeding them faith? Feeding them. Who’s feeding them spirituality? Feeding them. Who’s feeding them differences and preferences? Feeding them. Who’s feeding them culture? Feeding them. Who’s nurturing what they begin to feed themselves? Freedom. Feeding them. Seeding them as a root of their own.”
These sorts of questions seem so important in our day and age. Do you think House music and music more broadly can provide that sort of nourishment, insight, and courage the next generation needs to survive the world we live in?

[Kai Alcé’s “Feeding”]

Kai Alcé: Those great words are from Kemi Bennings a talented poet/activist here in Atlanta. Good House music by nature should make you feel better so when it’s also accompanied with inspiring lyrics it’s all the better. Something that I would like to see more of not only in dance but in commercial music in general, when you have a voice such as music you shouldn’t take that power & influence for granted.

Local Autonomy: You have been doing a lot of community building in Atlanta around house music with the House in the Park & Distinctive events and your NDATL label. In past interviews, you have discussed how it was special for you to help shape the Atlanta sound. I can only imagine how fun that was to be a part of that. What prompted you to want to help build the house music community and help shape its sound in Atlanta?

[Footage from House in the Park 7 from deephouseatl.]

Kai Alcé: It really came out of necessity, shortly after I moved to Atlanta the only two guys that were playing dance music Ron Pullman & Tedd Patterson moved away & so the an empty slot that need to be filled and so I did, & I also worked at Satellite records store for about 10 years furthering the deep sound.

Local Autonomy: In many of your interviews (Such as the ones with Juno,  We Dig and Little White Ear Buds), you discussed how vital it is for you to connect with the music you play and the crowd around you are playing for. Why is getting lost in the music and connecting with the crowd important to you when you play live?

Kai Alcé: It’s just what you’re supposed to do as DJ is to connect. U have to pay attention to the energy in the room, many DJ’s get caught up in the mix u have to be aware, one eye on your floor at all times. I usually take a stroll on dancefloor while I’m DJ’ng just to really feel what they feel.

Nob Level

[Photo Courtesy of Carlos Bell Photography]

Local Autonomy: You have been creating art with music for some time now with your DJ’ing, Producing, and community building. What do you think you have learned about living life from these artistic practices?

Kai Alcé: That nothing is given you must work for it all.

Lookout for the latest NDATL release “World Causes EP” by Kai “KZR” Alce OUT NOW!

World Causes EP

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!

Introduction: Connections to the Past 

For those that pay attention to this humble little outpost, it may be obvious that I am much more interested in hearing and sharing other peoples ideas than in invoking my own voice.  I rarely ever post my thoughts on our community and my relation to it. I am much more comfortable being the learner and the sharer than being the “voice” of our community. I have too much respect for the music, the listeners, and the community to pretend I speak for all of us. However, every six months or so, I come to a point where my conversations with people from our community prompt me to want to discuss a topic that lies right beneath the surface of all our actions. You all have indulged me in the past as I have explored how I re-found my romanticism for the music in a disenchanted age of fabricated authenticity (Read That Essay Here) and how I believe our scene will live on long beyond the boom and bust cycles of dance music popularity due to the traditions, sounds, and norms that create our common cultural infrastructure (Read That Essay Here). Well, It seems my experiences have come to a head once again, and I am ready to share some more of the ideas floating around our community.

Over the past few months, I have been fortunate enough to speak to some very special people with beautiful, powerful ideas about the SOUL of music and community. These conversations have had a profound influence on me not only as a listener, but also a human being. These ideas of the soul of the music have re-calibrated and fine tuned how I approach this local autonomy project. They have prompted me to move away from discussions of our community infrastructure and our fights with media hype. I am not moving toward a new direction; our collective soul.

When I say I am seeking out our collective soul, I am talking about trying to pinpoint some of the common ideas and values that we all believe in, use to guide our action, and make our attempts to build and protect a community meaningful. A simpler way to think about the collective soul is to consider it as a sort of guiding philosophy that is filled with all the values and attitudes we use to relate to each other, the music, and the rituals in our community. I believe that it is only though the collective soul that we are ever able to get in touch with the the very heart-strings of our community to see the deep meaning in all our actions together. I believe it is only through the collective soul that we are ever able to truly understand the importance of building a thriving, creative community full of sound producers, synthesizers, and listeners. I believe that it is only through the collective soul that we are ever able to understand our community as a sacred privilege to never be taken for granted.   This essay attempts to point out three of the broad values that I believe make up our collective soul in Columbus. It is my hope that by putting these values into works we can get more in touch with the deep beauty and significance of our common action in our city.

One: Mutual Obligation

One key value that unites many people within our community is a sort of mutual obligation and trust between people. There is an unspoken rule in our community that one needs to help and support the other people working within our community if they want to expect that help in turn.  Its not just our common love of a set of frequencies and vibrations that fosters this sort of outward-focused love and loyalty to the person next to us. This does establish a shared vocabulary we all speak, but it goes deeper than this. This mutual obligation and trust is hardwired into us through the fact that in our small community we know we need that person next to us if we are to share the messages and emotions that the music has to offer. As a result, most everything we do to build our community is not for us. It is all centered around a focus on helping others and spreading the message of the music.

Now some of you may scoff at this characterization, but you need to hold up a second. Its too easy to explain this away by saying that people are only rationally motivated and only do things that will help themselves in the long run. This is, in effect, making the argument that all our entire community is held together by a ceaseless stream of ego plays for status, prestige, and money. I am not prepared to make such a statement, because there is not much ego, prestige, and money to be made in what we are doing. Rather, I think we have quite different motivations for doing what we do in Columbus. The value we place on mutual obligation creates a community that transcends these rational concerns alone and instills in all of us an altruistic, love-based motivation to act. It is this altruism that has us asking: “What can we do for our community?” and not “what can I do to help myself?”

When I first entered the community, I was quite taken by the level of trust that develops among people in our community. Building and maintaining a community results in the establishment of deep friendship and camaraderie on an artistic and spiritual level that few common activities can match. You can see the results of this trust and loyalty in the massive events thrown by multiple dance music organizations or the events that bring together multiple “electronic” music communities. You can see it in the generous act of all the people that donated performances and sound to the BLUR event I helped throw for the Fuse Factory. You can see it in the time people take to answer questions and make mixes for this humble project. You can see it in the humble act of someone helping move equipment at the end of the night. You can see it in the willingness to pay 5-10 dollars to go to an event to support the artists that performed. In all these acts, we come to know who we are and who others are by giving of ourselves and experiencing the generosity of others. It is through this core value of mutual obligation that we begin to love one another and protect the community that helps us understand more deeply what it means to be human.

Two: Music As A Teacher & The Fellowship of Learners

The second core value that unites us is our orientation toward the music. We all value the messages and teachings that music has to offer us. We are the sort of self-selecting, deep-sea divers that are not content to just passively listen to music. We have a burning desire to tunnel deeply into the machinations and history of the sound to understand how and why it was created. Through this orientation, music becomes more than just a good beat and collection of synth pops. It takes on a quasi-magical quality that propels our bodies and minds out of  the mundane into the interconnection of history, place, and vibrating sound waves. It becomes a teacher about the human experience and our place in the universe. It becomes a spiritual repository where we look to learn lessons about how to love, rise above, and celebrate being alive. Viewed through this orientation, music is no longer just a hobby for us. It becomes a blueprint for engaged living.

Above our common approach to music as a teacher, we are all united in a fellowship of learning on the path to musical discovery. When we open ourselves to understanding what music can teach us, we are embracing a common path of learning and curiosity. This is a vital commonality, because it shows that we are not just united by what we listen to and are interested in. No, it is much deeper than that. We are unified by our common love of learning and being willing to continually change how we think the world in line with our interactions with others. This is something I have witnessed directly in myself and others. My love of learning overlaps fundamentally with all the other people in this community. How else would I be able to talk to complete strangers about the fundamental importance of music for 2-3 hours if we did not share some fundamental curiosity and membership in the fellowship of learning? How else would a project like mine even be able to get one reader if people were not curious and wanted to learn how other artists in their community approached learning and working with sound? How else would countless others in our community with seemingly different tastes and interests be willing to collaborate and appreciate each others work? Yes, we do share a fundamental belief in music as a teacher, but above all, we also share the fact that we are all but humble learners on this common path of life trying to live an engaged and worthwhile existence.

Three: The Sacred Rituals of our Community

The final core value that I feel unites us is our orientation toward all the practices associated with being a part of our community. Whether we consciously know it or not, we all approach listening, spinning, creating, dancing, and curating events as sacred acts of self expression. We all exude a humble reverence while doing them that shows our deep appreciation for being able to express our singularity and experience others expressions. This appreciation has profoundly altered how many of us approach the world around us. We have let our respect and reverence flow freely into our actions and it has transformed mundane acts in nightclubs into spiritual technologies that help us transcend this world of flesh and bone and burn wildly on fire in the Churches of Soul around our city. Through this perspective, our practices of creating and listening become our common instruments to sing the triumphs and sorrows of living in this imperfect world that is so immensely gorgeous in its flawed condition. What else is there to being human than humbling yourself before a practice that lets you express deeply these fundamental truths of our world.

Beyond the power of self expression, we are all united by approaching these sacred practices as parts of rituals of renewal, healing, and rites of passage. We do not hold these spiritual technologies in such a high regard just because they allow us to express ourselves. This is obviously an important part of it, but they also satisfy a much more fundamental need. We all continually re-use the solemn rites of the dancefloor every weekend with its practices of dancing, mixing, creating, and listening because it nourishes our soul with reminders of the love and beauty that surrounds us and heals our wounds inflicted in the dramas of life.  Even further, these rituals in the Church of Soul help us get over and symbolize us making our transition toward love, generosity, and humble learning. Viewed through this perspectives, each of these practices is nothing more than one star in the constellation of the services of the Church of Soul that we all continually draw on in order to re-fill our hearts for dealing with the troubles of our times. I have felt the power of these rituals in every room and show that I have gone to in our city. I know you have felt it to. Why else would we smile at complete strangers and be willing to trust them to share a very intimate experience of expressing the core of oneself? Why else does time seem to slow and space seem to fall away as we get in touch with that rhythm? Why else would all colors, smells, and sound seem to be more vivid in these moments of ceremonial connection? Why else would getting little sleep and dancing till the middle of the night leave you feeling fully charged and ready to love again? No matter if you are religious or not, we are all united in seeking out the sacred and beauty of life through the rituals of the dancefloor. We are all united in continually seeking out healing and nourishment in these solemn rites.

Conclusion: Breaking Down Division In These Rationalized, Categorical Times

I feel that pointing to and celebrating our unity through the collective soul is an incredibly important act in these rational, categorical times. “Dance music” in our city and all over the world has to some degree fragmented into infinitesimally small groups of people all exploring their own highly specialized category (genre) of music. When we break off into these small nodes and define ourself through sounds we are really closing ourselves off to all that the music and the community can teach us. We are allowing powerful organizations, whose goal is profit, to dictate to us how we will run and act in our community. It was these large-scale promotional groups, blogs, and recording companies that have always saw a potential pay day in twisting very loose, local definitions for genres [which were nothing more than ambiguous labels for people to use to understand the music anyways] into a rigid moral universe of Right|Wrong, Good|Bad, Cool|Uncool to sell us music, experiences, and identities.  When we continue to divide ourselves off by genre, we are allowing these organizations to trap our communities and ourselves in iron cages of genrification and monetization that suck the soul out of the music and community.  Luckily, these iron cages are never welded shut and can be sold for scrap metal if we have the desire.

Our collective soul lies right beneath the surface of most of what we do. Some individuals may be more intentional about how it guides their action, but we are all guided by forces outside the world constructed by blogs, promotional grops, and record companies. We all crave to learn about and get in touch with the ancient traditions that naturally emerged from the foundational moments of our community. We all crave to unify our community and be more in touch with the sacredness of our common practices and rituals. I think the road we can use to get there is a more intentional inclusion of the very values highlighted in our collective soul. Let’s stop falling into the trap of talking about how we are going to push the scene to get bigger and continue to think and talk about how we can all come together better and help each other (Mutual Obligation).   Let’s continue to talk about what we can learn from the music, events, and each other and not just how we can throw a well attended party (Music as a teacher; Fellowship of learners). Let’s continue to use a different metric of success for our community. One that keeps in mind that success can be measured in the degree to which we humbled ourselves before the practices and rituals of our community. One that takes seriously self-expression and finding healing in ritual as key indicators of a good event, production, or set.  It is only then that we can step out of the iron cage and allow ourselves to full express our collective soul. It is only then that we truly embrace the humanity behind all that we do in this city and take back our community for ourselves and no one else.

Musicality flyer

Stop. For real. Just hold up a second. Now Click HERE to go to Whodat’s Mixcloud and press play on her “No Requests Mix” from June 5th. After that, navigate back here and get the full experience of Whodat’s wonderful art. I want you to hear her mixing while you are reading her thoughts and words, because you got to feel her music if you want to feel her words

Whodat is a detroit-based DJ, producer, record store owner of Ya Digg Records that specializes in tapping into the heart of the rhythms and grooves that propel us all forward and give us a reason to live. Sure, that seems like a high billing, and I am sure you want me to tell you what “genres” she spins. But that does not matter. She spins music. She spins hope, love, and an assortment of all the emotions that we all experience in our lives. Just listen to this No Requests Mix I told you to listen to above. Like Jaco Pastorius with the fretless bass during the Jazz Fusion era, she steps right into the pocket and bends these disparate bits of vinyl into an ever-unfolding groove that just grips you and compels you to move, feel, and be human. Her production work is no different. This past March she got her first vinyl release on London based Uzuri Recordsand it shows her incorporating key elements from all those hours listening to and spinning vinyl into new works of art that show her finding her own way to speak to and build on those jazz, house, soul, disco, pop, etc. recordings.

I obviously feel her music is on point, but her art transcends it being just a musical experience. What oozes out of everything she does is a love and reverence for the dance music community, vinyl, and music in general. Now I am being purposeful in the use of the word reverence, because I feel she does more than just enjoy and live her art.  It goes deeper than that. She has a deep respect for the rituals of finding records, mixing vinyl, and creating music, which reveals how she thinks that all these practices are incredibly sacred and deserve to be respected and honored.  What an important and thought-provoking idea to think of all of the actions we take to build our dance communities, share our art, and create as sacred acts that get us in touch directly with what it means to be a living, breathing human on this planet. Are we treating our listening, dancing, mixing, community building as sacred? Are we protecting these practices and teaching others how to do them? These are important questions that whodat’s approach and thoughts bring up for me, and I was struck by how they got me to see the deep beauty in all that we do.

Whodat will be bringing all this goodness to Musicality this coming Friday (6/28) at Double Happiness and I hope you can attend. I know I will be there with everyone else trying to find a little bit about the world and myself in the sacred practices of dancing with others to the same beat. The show is $5 at the door. Support your scene, by paying for the artistic and musical experiences you go to! Event Details can be found on the Facebook. In the meantime, enjoy her thoughts and check out more of her mix work and her originals on Soundcloud.

Interview:

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

Whodat: Music and sound influences everything in my life. While I’m cooking, washing dishes, driving, walking, reading, resting, doing laundry, everything. (LOL) I can even hear sounds while I’m sleeping. I don’t dream much but there are a lot of soundscapes going on. It’s what keeps me going. I don’t know what I would do without it. Music has saved my life. I think music keeps me in sync. When I feel off balance or out of sorts, I just listen to something that will get me back on track.

On decks 2

LA: How did you get into “dance music” (house/techno/etc.)?

Whodat: The Electrifying Mojo, The Wizard and The Scene.

On the decks

LA: I have been listening to the products of your 303030 project on Mixcloud where you did one thirty minute mix a day for thirty days. How has that experience shaped your music production and mixing over the last 1-2 years?

Whodat: The 303030 project helped me learn my strengths and weaknesses. Showed me where I needed to expand my record collection. I found out what tracks I zone out to. I like most of the stuff I have but there are some that just make me lose it. The 303030 Project also let me know there are some tracks that I need to know more deeply because even if I’m not feeling it a certain way, I can hear them in certain way.I would like to understand those tracks better, which just means I need to study andlisten more closely. Also, how putting all of my records and feelings together is going to be lifelong process. (SMH, LOL) As far as production goes, I did not remember anything after I had surgery. So I had to start over. It was extremely frustrating at first because I could remember that I used to do it but could not remember how to do anything. Which turned out to be a good thing, cause I relearned what I use to know even better and picked up somenew things along the way.

Ya Digg

LA: You own a record store called Ya Digg. You spin records. What does vinyl mean to you and the art you create?

Whodat: Vinyl is a treasure. You are always on the hunt for it. It’s played with diamonds and made from petroleum. Vinyl is the longest existing medium for recordings. The frequencies and vibrations that come from the cut grooves of vinyl encompasses you when you hear it. The warmth of it is incredible. Being able to touch what you are hearing. Being able to see that break coming up. Sensing how much time is left on the track just by looking at the grooves. The challenge of mixing, blending or just bringing in a track at the right time every time you put on a record. Sometimes you win, sometimes you lose. (LOL) There is a ritual for everything that has to do with vinyl. The process of making vinyl is a sacred ritual. Digging, listening, selecting, carrying and playing vinyl are all sacred rituals. When creating art, you should consider your talent as a blessing and develop a sacred ritual for producing your art. Never take it for granted and don’t allow others to take it for granted either.

Personal collection

LA: You live in Detroit, a city steeped in musical history. Now the simple question would be to ask how that city has influenced you, but I want to ask a different question. How do you think the music you and your contemporaries make influences the city of Detroit?

Whodat: Honestly, I’m not sure if it is or how much it is. It’s not very visible in Detroit, you have to look for it. I can see our music influencing people on the outside of the city, state, country but not as much the in city. I see it influencing people that already know about our music. So I guess we have to work on changing that. There have been a lot changes over the years with the decline of radio, record stores and the pressing of vinyl. But I think artists from Detroit need to work more collectively to have our music influence people in Detroit. We need more record stores, venues, workshops and lectures that specialize in what we do. Not just events and parties. We still need those too but there needs to be more than just that.

Restart 3[Photo Courtesy of Ray Of Hope Arts]

Got a treat for all ya’ll today. It is a long awaited interview with three of the core members of the long running Restart House Music crew that has been keeping house music pumping in our city and providing a place for up and coming DJs to play for almost a decade. It seems apropos that this interview come after the interview with Seth Carter a few weeks back, as these folks have been pushing the soul and funk of dance music along in our city for some time. This sort of longevity is vital for our scene as it provides a bridge for individuals from past iterations of the scene to dance and perform alongside newer members. No doubt, such bridges are vital as they allow those seeking to learn more about the history and sounds of our community a conduit where they can learn about the soul of the music and our community’s history.

Soul & historical considerations aside, their devotion to keeping the event alive is truly inspiring. They have helped build the infrastructure for dance music in our city and because of their efforts in the early 2000s they helped keep the scene afloat in a time when the popularity of the music was starting to wane. True, they weren’t the first EDM/dance/etc. event of the early 2000s, nor were they the only show taking place in town. However, their show was an integral part of keeping the scene alive by providing a place to keep house music playing. Its even more remarkable that Sparrow, ORORO, and DiNGO8 have been able to keep it afloat for all this time.  I hope you enjoy their responses and make sure to check out the ReStart House Show tonight (Monday, June 10th) at 8pm at Brothers Drake Meadery in the Short North. 26 E. 5th Ave. (just east of 5th and High) Event Details and Lineup HERE.

June 10 Flyer

Sparrow’s Responses:

Nathan[Photo Courtesy of Ray Of Hope Arts]

LA: How did you get into spinning and creating dance music.

SPARROW: I got into spinning about a year or so after my first Rave in ’99 when I really heard House music for the first time. The first mix tape I ever bought at a party was Terry Mullen live in Toronto, and I played the fuck out of it. It drove me crazy that I loved this music but didn’t know who any of the artists or song titles were. So I started buying records from the local store and a friend of mine let me practice on his turntables. I bought my own decks shortly after that and had my first public performance after two months.

LA: What is it about Dance Music that has kept you so interested over the years?

SPARROW: House music has just never stopped being a source of happiness for me. I couldn’t tell you a specific thing about it that has made it stick. I like that it’s this under-the-radar source of positivity in a world that’s mostly dominated by superficial commercial music made for the lowest common denominator. Good House feels like a genuine celebration of living that’s not driven by any kind of selfishness.

Restart Imagery

LA: When and why did you start ReStart?

SPARROW: Me and Ororo started Restart because we weren’t seeing that many House weeklies any more. When I first started going to parties there was a house night at Northberg Tavern, there was Clockwork Sundays at Red Zone. But by the time me and her met and started doing tag-team sets, you really didn’t see those weeklies anymore so we weren’t really getting a chance to play as often as we wanted to. Drum and Bass was getting really popular around that time and most of the weeklies you’d see were for that. If you wanted to hear House you had to find flier for a party somewhere outside of town. So we were drinking beer together on my front porch one night talking about how we should bring that back again and I said we should call it Restart. We actually picked Northberg Tavern as our spot when we started.

LA: ReStart is credited by many to be the 1st EDM night that existed in the early 2000’s, when there weren’t many clubs nights in town. In such a context, what role do you think the event has played in the Columbus Dance Community?

SPARROW: We were definitely not the first EDM night, but I think you could say we were the most resilient. I don’t know of any other night that’s lasted as long and kept the same level of heart. We never charged a cover and we always did it for the love of the music.

LA: How has ReStart changed or shifted over the years?

SPARROW: While I was still in Columbus the only thing that really changed was our location. Apparently after I left Brian added a shitload of sound equipment. I’ve never seen that many speakers in one car. Jesus.

LA: Where do you see ReSTART in the future?

Sparrow: Hopefully still in smaller dimly lit venues with no cover.

ORORO’s Responses:

Chris[Photos Courtesy of Ray Of Hope Arts]

LA: How did you get into spinning and creating dance music?

ORORO: First, let me say, I don’t create dance music, I just pick the types of music that I like and play it out for people, lol. I got into DJ’ing about 2 years after I got out the Army. I was stationed in Germany for 6 years and that’s where I first heard house music and fell in love with it. The clubs over there didn’t play too much Top 40 (thank God) and house was played there 24/7, clubs, radio, just all over the place. When my time with the Army was over with and I came back home, I didn’t like the music that was being played in the clubs here and a friend of mine (shout out to Fabyan) said I should start Dj’ing. I bought my 1st table from Doughboy, who was doing really dope house nights at RedZone on Fridays, and the rest is history.

LA: What is it about Dance Music that has kept you so interested over the years?

ORORO: LOL…That’s easy to answer. For me, what’s kept me interested in the type of Dance Music that I play are two things…FUNK & SOUL. I guess I’m kind of an elitist when it comes to what I play and what I like to hear, but no matter what style it is, I want to hear either FUNK or SOUL in what’s being played. That could mean a really nice bouncy bass line in a DnB track, that makes me want do, what I call the “giddy up” dance, or a Jazzy jungle track that has a nice flute or Spanish guitar in it, that turns my moves to “fluid”…where on the down side of the music spectrum, the new music craze DUBSTEP, has no feeling or soul at all, and is nothing but noise to me, so I can’t stand it and for me it rates up there with other “top40 noise music” that seems to be really big now days. Something about a really great house beat just gets me moving like nothing else.

LA: When and why did you start ReStart?

ORORO: Sparrow (Nate Rouke) and myself, started ReStart around 2001-02. We were introduced to each other at a party we were on the line up for, noticed that the styles we played worked well with each other and that we had a lot in common. We became friends and started playing out together. One of the main reasons we started this night was because, at the time, we weren’t getting gigs and we really just wanted to play out. What better way to do that than to just start our own night! And because of the problem we had getting gigs because we weren’t established, we wanted to have a place where beginner DJ’s could have a place to come and pay and get used to playing out. We also just wanted a night that was focused on just house music.

LA: ReStart is credited by many to be the 1st EDM night that existed in the early 2000’s, when there weren’t many clubs nights in town. In such a context, what role do you think the event has played in the Columbus Dance Community?

ORORO: LOL….I can’t say that we were the 1st EDM night in the city..lol…I would think that, that title goes to the DJ’s who were doing the Friday nights at RedZone, in the 2000’s..talking about Doughboy, Lyman, Titonton and all those heads. But, I think the role that we’ve played in the community was having a place where you could go and hear great house music and be with great people and not have that “Club” feeling. We created an environment in which you didn’t have to get all dress up in order to get your boogie on. It’s almost a Cheers atmosphere, where everyone knows your name and that’s what we’re going for.

LA: How has ReStart changed or shifted over the years?

ORORO: I don’t think ReStart has really changed, we’re still all about HOUSE music, but we’ve had to shift our stance on a few things. We’re vinyl DJ’s, we don’t use computers or laptops and rarely use cdjs, and we (I) really wanted to promote vinyl dj’s only, but because almost all the dj’s we knew moved to digital, and the DJ pool shrunk, and as much as I wanted to, we couldn’t exclude the laptop dj’s. Luckily, the new DJ’s that we’ve had play out, who don’t use tables, have seen us play, and a few of them have even bought tables and wax of their own and are learning the “ole’skool” way of DJing, which I think is awesome. We’ve also relaxed the “HOUSE MUSIC ONLY” rule, but not by much..lol.

DiNGO8’s Responses:

Brian Sayler[Photo Courtesy of Ray Of Hope Arts]

LA: How did you get into spinning and creating dance music.

DiNGO8: I got into making electronic music out of the frustration of dealing with being in a band. I asked a friend of mine who was into computers (big ups to Marshal Hackworth!) to show me how to use a computer to make music. I started making a punk/trip-hop hybrid, influenced by Portishead and Chemical Brothers. I went to a party and heard House Music and fell in love. I poured myself into learning everything about producing house. Learning about disco, funk and soul records (the source of house grooves). Then I got into spinning as a way to play my tracks to a larger audience. I’m still learning all of the subtle nuances of mixing. I love it.

LA: What is it about Dance Music that has kept you so interested over the years?

DiNGO8: The thing i love about dance music is the lack of pop style vocals. Boy meets girl, break-up, relationship drama junk. Dance music avoids this and gives your mind a better place to be. The vocals are more positive and empowering. Sure there are drama filled songs. “I will survive” is a classic anthem. But it is ultimately about self empowerment and a positive outlook. Nothing gets me going like a jack beat with a cowbell and a polka baseline. it’s so infectious. I also like the aspect of D.I.Y. that electronic music encourages. The future of technology will give kids tools to make some amazing things. I can’t wait to hear it.

LA: When and why did you start ReStart?
DiNGO8: I’m not responsible for starting it. i just can’t let a great thing die. Restart to me is constant undercurrent of what’s really going on in the scene. We don’t play what is popular. We just play good music. Period.

LA: ReStart is credited by many to be the 1st EDM night that existed in the early 2000’s, when there weren’t many clubs nights in town. In such a context, what role do you think the event has played in the Columbus Dance Community?

DiNGO8: ReStart has always been a welcoming place for a dj fresh off the bedroom/house party circuit. That place where you could see dj’s really get into the mix and experience the give and take of the crowd. Especially in the round orange booth (BENTO dayz). We still get kids coming in with demos asking to play.

LA: How has ReStart changed or shifted over the years?

DiNGO8: Over the years ReStart has been through a lot of changes. From the concept of Sparrow and ORORO and their venue change-ups. Then Cut Culprit came on board. Then he moved away and I got the honor of pushing it along. ORORO has been the constant tho. She’s amazing. A naturally talented dj and consistent voice for the underground heads. Plus we had help from Aria and Dr.Spilkus. We’re basically a little family, pushing our child along. Hoping for the best.

LA: Where do you see ReSTART in the future?

DiNGO8: The future… Hmmm. Well we just changed venues. AGAIN. lol. We’re at Brothers Drake. Between osu campus and the short north. It’s a great location and should be a good fit for us. Our opening night was Monday, May 13th, 2013. We’re all really excited to be blessed with another opportunity to continue doing what we do. Bringing Columbus the finest in underground electronic dance music.

Make sure to join their Restart Group on Facebook for all the updates and Be sure to check out their show tonight at Brothers Drake Meadery [EVENT DETAILS HERE].

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