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We can all see the patchwork of floorboards above our heads, as we carry on our lives outside and underneath of the mainsteam monoculture. Those rickety oak 2×4’s arrayed in a weathered blanket over our heads have become our only separation from that poisonous barrage of noise and inconsequential fears that so accompany life on the surface now. Used to be that we didn’t fear being on the surface at all, but that changed some time ago. The incessant ramblings of the decaying, post-industrial society obsessed with inconsequential simulation used to stay out on the edges of our community in Columbus. It was as if those sentient swarms of ideas, sounds, and desires were fearful of entering into a space in our city where its constituent knowledge had been rejected and left for dead. We did not have to hide as much then. The noise remained much like the white noise of electricity; a sort of comforting hum of harnessed power. On the fringes of the city, we did not see this cultural cloud unleash its power on the Columbus metropolitan area with its full force. We mistook that low hum as apprehension and fear when the cloud was just leaving our isolated space for later.

However, like all sentient beings in the age of speed, this swarm of commodified simulations used its intelligence and the vast information tools at its disposal to overrun the barricades of our community. No, it wasn’t the robots or artificial intelligence. It was the very culture we have created to entertain ourselves to death that overran our free zones and made commodities out of our every thought and mode of musical expression.  Its was an ugly swarm of noise and ideas. A yellow, spectral cloud that fed off our need to be visible and be heard. Like a jackal, it stalked across our bombed out backwater seeking the diffuse strivings of human emotion it needed to survive. Unable to move in the presence of this entity, we turned subterranean. We turned to the underground.

Sitting in the fractured light in a dirty, dark space, the sounds of this culture were no longer like white noise. They became a deafening drone of diffuse status updates. Never letting up, the wood ceiling above our heads shook with the information of the 24 hour cycle of self-expression. It was in this hopeless place that we found our remedy to the digital tidal wave. Seeking to clean out our new hallow, we came across a box of unknown records. The only information we had on the music was a strange, earthly iconography shown below, an email address for Labelless Records, and a statement that the label was based in Columbus, OH.

Labelless Logo

What was this unlabeled music from our community? Who was it from? How did it get here?  It was in those initial moments of curiosity that we learned the power of those records. We started to play the records on a tired tech 1200. The music gave us the power to drown out the noise of the information cycle and got us in touch with authentic artistic creation. The music helped us forget about the lost world above our tiny hollow. The music sent us messages about babylon and the promise of tomorrow. The music gave us the power to push back and fight for our space free of speed, noise, and fear. The music called itself jungle. IT WAS JUNGLE THAT CHANGED IT ALL.

Day and night, we played the records. We let the sounds that flowed from the needle of our old Tech 1200 wash over us. Finding a safe space outside of the droning monoculture, we were able to rest in the jungle. With each revolution, we grew more brave as the records sang directly into our hearts and minds. Pretty soon, we no longer felt the vibrations of the monoculture of the surface on the floorboard above. It was a special moment when we all placed our hands on the boards and didn’t feel the unique vibration signature of the spectral cloud. We had replaced it with a rhythm of our own–with the Jungle Rhythm. We found a way out of our nightmare, and wanted to reach out to the members of our Columbus community that helped deliver us from the menace of the cloud; the Labelless Records Crew.  We sent the labelless e-mail address a string of questions to learn more about the music they release in Columbus and its power for our community. Late one night, we received a powerful, inspiring transmission back from them. The answers taught us about jungle music, the labelless records ethos, and the power of vinyl. It spoke of the history of the label runners, their ties to the music, and its importance for Columbus.  I wanted to share this transmission in the hopes that these ideas too can help set you free from the speed, noise, and fear of the times we live in.

Interview:

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

Labelless: Music is a big center for me personally. I have been spinning jungle/ dnb since 1998 and that has encompassed half of my life now. Before I got turntables at the age of 14, I had an Aleis drum machine, a Boss Dr. Groove sequencer, a bass guitar and some foot-pedal effects… I eventually sold all of that for turntables and was forever on the path into the “dj” culture, especially Hip Hop influenced breaks and jungle primarily… Turntablism was a huge impact on me as well, and scratching became a passion I perfected for myself, and continue to push myself with up into this day. Around 2005-2006, I bought an MPC 2500 and began producing again. I haven’t looked back since. Now I own two more samplers, synths etc and try all the time to learn new methods to produce breakbeat dominated tunes ranging from hiphop, triphop/downtempo, jungle, dnb, hardcore breaks etc…. Music is very much a part of me, as well as my lovely fiancee and label mate Jah Killin, who also touches down on the production tip and has been spinning jungle/dnb for a decade plus as well. We even try to get our kids interested. Music is a core to our structure as a family.

Local Autonomy: I cannot help but be attracted to the legacy and continued relevance of jungle. Why do you think jungle is still important?

Labelless: I feel jungle is important and holds such a legacy worldwide and historically in EDM culture, because it is one of the purest forms of old school, loop oriented music. By this I refer especially to the fact it encompasses all of the same exact breaks made famous in early hiphop culture. Jungle just double times them to be faster paced, so as to be geared towards the hardcore raver heads. Therefore, I feel jungle’s affinity to hiphop culture is nearly unparalleled from one sub-genre to another. Not only all the old soul, funk, and jazz breaks made famous by hiphop, but huge amounts of riddims and vocals made big by Dancehall, Reggae, Dub etc. all are just as much a part of jungle as all other elements (and not to mention ALL the countless samples from R&B and HipHop included that jungle works in so extraordinarily well). BUT- this does not stop here, nor does it hardly even begin to elaborate either… The core behind jungle in my mind is essentially old skool UK hardcore breakbeats. This sound is what eventually emerged into Happy Hardcore / Gabber and early jungle / dnb in the early 1990’s. Without those hyper, pitched-up, female vocal tracks, the hardcore techno synth lines, and mentazm stabs, then the earliest sound of Darkside / Darkcore jungle would of never emerged (or whatever names people have referred to the earliest jungle sounds to when it was still in its prototype phases).

All of these factors combines to form the legacy that is Jungle. Because all of these forms of music touched and molded so many different people globally. And years later when they hear it all mashed so seamlessly and sporadically perfect in the form of syncopated beats and bass that is the sound of jungle, they remember that feeling they felt from the original vibes. And so the snake eats itself and the circle continues. Jungle is the natural recycling unit of ALL music! Just like hiphop and house before it.

And this is not to say jungle is reliant on other songs, and doesn’t have its slew of great and original tunes out there. On the contrary however. Because, in my opinion ALL of the best jungle tunes are original creations not reliant on a riddim or hiphop loop; just a phat chopped up break and some vision, style and precision. It is an unstoppable force and a culture that I envision will forever be followed,for I believe it produces a frequency that elevates the mind.

Logo Graf

Local Autonomy: You recently started a record label called Labelless Records devoted to jungle. What does Labelless stand for and what is your vision for the label?

Labelless: When one thinks of labels, it automatically puts a containment on a concept. To me, the jungle sound and culture is something that can never be contained. its constantly expanding, evolving, and recreating itself, synonymous with the ever changing universe. As well, Labels in society cause nothing but segregation, and to me Jungle has always stood for a unification. Its one of the only Genres that call the people who represent themselves in the jungle culture as “Junglists”…for example, you dont see people who rep house music call themselves “housers”…or trance ,trancers…lol… but junglists transcend from a ‘certain sound’ into a way of thinking…. So, in a way, my concept of a music label for the coveted jungle sound and culture surpasses that of just a music ‘label’- but a statement that it needs no label– it grows wild and roughly unconfined just like the depths of any natural jungle…

Labelless doesn’t necessarily stand for anything in the literal sense; it’s not even a legitimate word to be honest. It is a name I have been thinking up for quite some years, and it just sounded very catchy as a label name so it stuck. And after Jah started making all her designs that were so phat, I def had to keep with the name! Because, I know I couldn’t do the caliber of artwork she does, and her designs and creative ideas were so sound and cohesive with the concept of the all jungle label I was envisioning, that the name Labelless just fit. The anonymity of the things I liked about jungle music were all present in her designs, and more things I hadn’t even thought about, that the word Labelless really fit that meaning for jungle music as a whole in my mind. Then, she just went with it and like 20 different designs just poured out of her photoshop files and I gave all creative control of the labels designs up to her. Now I just sort of look over them and give any general ideas I may think of at that time. So, really it all came together like Voltron or something.. Haha, my Wu-Tang joke.. But Labelless is ultimately designed as a label to help ANYONE who makes dope jungle beats get heard. If you make phat jungle tunes that deserve to be on wax, then I would def be interested to hear that music. So, if an artist were to be “label-less”, per say, in the terms that they had good jungle music with seemingly no outlet for it to be distributed, then I suppose that would serve as a good meaning for the word!

Local Autonomy: Though vinyl has enjoyed a little bit of a resurgence of late, it seems that so much of music sales have gone digital. Why did you want your releases only pressed on vinyl?

Labelless: Labelless is a means for all the dope producers of jungle music to get heard and to have their music documented in the proper format. To me that is vinyl format. Music, good music anyhow, should always be cataloged and saved on shelves like books are in a library. Musical history owes a lot to the vinyl record. So, I feel jungle should never go away from that format, as that was its birth format and what made it nostalgic and appealing to begin with.
Back in the day, a dj was a labels proper outlet for the music to be heard. And djs back in the day were not a dime a dozen like they are today. I feel the digital era really opened the door for just anyone to be a “dj” (and in return it now also seems that most “dj”s nowadays have never touched vinyl to mix it, thus not technically being a Disc Jockey as the term DJ states). Therefore, labels that once ran the industry go defunct. It’s a shame in my opinion, as I owe much of my youth and happiness to jungle / drum and bass music; vinyl especially. In light of all that had came before me, and the similar path I was beginning to tread, I wanted to do it right and proper like all the great jungle labels of the golden era, so I had to keep Labelless all vinyl and no digital. For if no real definitive reason but nostalgia and respect for my cultures roots. I don’t verge towards vinyl because I feel this “outdated” vibe about it nowadays is catchy, more so, because I feel the best sound quality to be heard is on a vinyl record. It cannot be duplicated in my opinion, and many music connoisseurs feel the same in regards to this. Of course formats like DAT, reel-to-reel tape recorders, and being heard straight from the source equipment are both formats that parallel, and even excel vinyl a bit in terms of sound quality and that warm, analog feel; yet, those formats are not accessible by everyone and quite expensive. Lastly, and most importantly for this question, I am just here doing this with Labelless to prove that vinyl is important for jungle, and all dance music for that matter. Even if it falls on deaf ears.

Local Autonomy:Your label has been going for some time now. What has the experience been like? Do you have any favorite moments?

Labelless: Wow. Great question. So many different experiences and answers to give. Where to begin? Firstly, being able to get into contact and personally meeting some of the artists featured has been an experience in itself. That to me is one of the most satisfying feelings. I realize everyone is a person just the same as anyone else, but to be understood and even feel akin to some of these guys, people I have personally looked up to on a musical front, is a feeling of self-assurance that what i am doing is being done correctly, and how it is expected to be done. To a big degree I am certain there is much to be learned still as is a trait with any business, yet I still feel that my concept and dream for this music is also the same feeling, even up to the dudes who really run this scene with the music they are making. A big experience that stemmed from these contacts with certain artists was a trip that Jah Killin and I took to Toronto to meet up with sixteenarmedjack/16AJ to celebrate he and I’s birthdays, and all 3 of us played a show as well. It was a really fun trip and he took us in as fam and cooked for us, and showed us a nice time altogether. Big up Odie, one love bro. 😉 Also a big shout out to all the artists I’ve met / talked with / become friends with along the way: Bay B Kane, Default, Dub-Liner, Nickynutz, Dj L.A.B. and Junglord all you guys are my homies for sure. More shouts to the boys of Tactical Aspect, Vinny (Pastaman) @ Satta, Warped Dynamics/ Beat Lab Recs., Vocoda, RickyForce, and all others that I have crossed paths or talked with.

Another moment that has stood out among it all is just before everything was produced onto vinyl I had contacted one of my favorite mastering engineers and made my order. A few days later he personally called my telephone and we had a talk for quite a bit and for me it was like meeting/ talking to a rock star to a degree. He said he was interested in the label and thought the direction and the music involved was quite intriguing to him as he has mastered for the jungle/dnb culture since it has been mastered for vinyl. Those were definitely words of encouragement for the momentum of the label. It has really shaped the way I will approach getting my music manufactured. I will never cut corners, and will always opt for the quality over the quantity philosophy. Especially in terms of mastering.

And to add to this phone call experiences as well, I literally today, was just called by the new engineer whom I am a HUGE fan of his jungle work he used to do in the early nineties under some of the guises such as Intense & Babylon Timewarp. His wife and he run the new mastering studio 1087, and both say they are really interested and happy to hear the music on Labelless I just had mastered there. They called me personally to talk over a few details as well as let me know what they thought etc of the label. It is a great feeling to be reached out to in such ways by people that one admires so much. So i had to let it be known how much of a HUGE fan of his I am. For all others looking for vinyl mastering needs 1087 is a great place to start your search.

More experiences definitely include all the support through bookings, record sales, distribution companies , and especially all the positive feedback from an otherwise unknown fan base. And for that we thank all those people immensely, as they are on a worldwide front, and that means a lot in terms of why Jah & I want to pursue this. In my opinion without the worldwide jungle massive’s approval, interest and support, then a meaning of something like Labelless Records to the jungle community would be moot. That acceptance is key and I feel a sense of pride in knowing that. I am definitely a Junglist for life.

And as I mentioned before, the contacts made between the artists, to the supportive junglist massive as a whole, are all the defining moments as well as the continuing momentum to pursue this endeavor. But the people I have came up with in Columbus are who have intrigued me to go this far in the first place. 614 MASSIVE, we all have the same strive and go for the same feel. I appreciate that; and Columbus has an extraordinary underground scene. Its vibrant, has an extensive history, and tons of talented people within it. I say that humbly and with awe for the city that has bred me. Dj’s like Verge, Caedo, Hawstyle, Shinma, Arkova, Carma, Alina, Gl!tch, Aria, Titonton, Monochrome , Konkey Dong, R-Type, my old school retiree partner ADizzle my nizzle 😉 You helped me learn the scratch tactics for sure bro :), Drastic, Jeff Trasin, John Hammond, and Cliff LeFevre of TGP, Jed, KGB, Baynes, Revolver (or just old school Jimmy Gates as I recall it!!!), Shapeshifter/ Wraith/ or Mister Shifter you still killin it Jack, Rumble, Spastik, What the Bleep , foi oi oi, ALL the mid-late 90’s DNB / house party kids of the ‘BUS, that shit was unforgettable and will never be the same…. Be thankful we were there for it all. Fidgit, Cathexis, Andrew, Brian and the rest of the URU kids, you all keep a constant going, that is quality in its most underground sense. And all others in my hometown, Big up and keep it going for sure! 9Star & DX3 you two gave me and my homies our first taste of playing underground parties, as well as the rest of the Malfunction crew Ryan & Rory. Khaki and Sunnydaze @ All City Beats, you guys were the very first people to book me for an actual show / club event in Columbus and support me as resident for your weekly. And you also paid me for these gigs!!! Every time! In either merchandise from the record store or cash… great way to make the proper impression on how a performing dj should be treated. Dingo 8 & Aurora as well with the Restart night that has been on for a grip. And last but certainly not least… my lovely Jah Killin, I absolutely love rockin’ the decks with you at the shows, clubs, and home especially. I admire you infinitely and am beyond lucky to have you beside me.

Local Autonomy: It seems to me that having local record labels like yours is really important for our scene. What do you think your record label adds to our community?

Labelless: I suppose I am not sure what a record label adds to my community here in Columbus, Ohio. Labelless is certainly not the first or only vinyl jungle label to emerge from Columbus. First on the vinyl label front was the label 21/22 Corp. which had its first two releases in 1994 by Fuzzy Logic aka Monochrome from Columbus and part of the original CBUS raver crew, ELEMENTAL. Both releases were all jungle and the label later verged towards minimal techno, house, acid sounds. Then, for several years local DNB/Jungle – dj’s / producers, Aria & Makku-Da-Kutta operated Clandestine Audio Agents Records with 3 or 4 vinyl releases still available. All productions were by them, which is stellar in my opinion and deserves all sorts of recognition. This was nearly a decade ago. Random Movement is also from Columbus, and as a producer he is pretty huge in the liquid DNB scene worldwide, with releases on a ton of different labels. Also, around the same time as I began with Labelless in late 2011, early 2012, another local vinyl jungle label was starting called Dublinquents, which is operated/owned by local junglist, and a personal friend of mine, Arkova. I think he has an outstanding eye and ear for quality so I am a huge fan and supporter of all that Rick is currently doing! Big up Arkova!!!

As for Labelless’s impact locally, I would really have to say ask the general 614 public, especially the junglists of CBUS, I can only judge myself on how I am judged by my peers. As for the importance of Labelless to our scene as a whole, in terms of worldwide jungle music, then I sincerely hope the Labelless message has been received and accepted. Because like I said, that acceptance is what this is all about. I feel that my intentions are to make people (fans, supporters, customers) satisfied, and for the artists to feel respect from the massive they represent. Its all about the massive, that is what ALL of this EDM music has been about since its inception. A collective of people unified and uplifted by a love for music. I hope all who run record labels devoted to a sound like jungle feel a similar way in the way their label is absorbed by the general public. Just bring a quality sound and approach towards the music you endorse and I feel that is the right path. Thanks also to you Local Autonomy for this chance to express the labels stance.

Also, Labelless is due to release 7 more vinyls by Christmas 2013- New Years 2014 timeframe so be on the lookout for round 2!!! We are having them mastered as we speak by a new engineer to work with the label as well!!! I am extremely excited to announce that I went to Ten Eight Seven Mastering, and am having Beau Thomas engineer these cuts!!! He is a LEGEND in the jungle scene to anyone that cares and I am greatly anticipating to hear the recorded wavs of the masters off each lacquer !!!

Lastly ,if anyone is interested in ordering vinyl we have 7 Labelless vinyls for sale and the entire catalog of Jungle Cat Recordings as well. Also available soon will be a limited edition series of slip mats for all the junglist vinyl junkies!!! There are also stickers, patches, t-shirts, and even more hoodies in the works for the future in the Labelless sales department.

E-Mail contact@labellessrecords.com for orders.

and for my personal productions & dj mixes visit my soundcloud

and for mixes and productions from Jah Killin go to her Soundcloud

Thanks to all, and big love to all the junglists and junglettes worldwide! BOH!

 Labelless Soundcloud

Labelless Bandcamp

Labelless Facebook

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

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.

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