By electronicbeats.com

Electronic Beats sat down and had the opportunity to interview a Detroit Techno Pioneer, Derrick May. Derrick speaks about todays Electronic Music scene, how DJ’s come and go, Who’s responsible for todays “Circus”, and how he still active in the Club scene.

“Wherever the music comes from, if there is no focus behind it then it’s just noise” – Derrick May

Derrick recalls when two men confronting him asking “Ya man your into a Dubstep? So happy to see you play this shit man” and let’s them and everyone know he doesn’t stand behind no particular genre. “It’s Music man, i just dig it. I don’t know where the fuck it comes from. It’s just cool shit” and goes on by saying “It’s cool, i like it, i play it. I don’t care where it comes from. Im happy it is part of some particular movement and Im able to jump on board but i didn’t mean to, I just like Music”. [Read More]

By Jose Luis Benavides (Gozamos)

Thanks for your time Antonio. If you don’t mind I’d like to start off by getting to know you. Where you from? How old are you? and what’s one of your first memories of music?
I’m Puerto Rican. Born in “El Barrio”, NYC and raised in the South Bronx.

First memories of music were in my home and from neighbors and the community as a whole.  There was always music playing in my home.  My mother played records while she cooked, cleaned and even when we were just lounging.  She mostly played traditional Puerto Rican music, Classic Salsa, Boleros (Daniel Santo, Los Angeles Negro, etc)  and what I call ‘Jibaro’ music which is played by a guitar called a Cuatro (4 string guitar – I love the sound of it).  In Puerto Rico, back in the day, they’d used these songs to tell stories of events that were happening in other villages.  My brother used to also play all of the cool stuff like Osibisa, War, etc and some Rock including Santana when he first came out.

[Read More]

Check out his Wepa! Party Mix
Wepa!

By ~n2j3

[KDJ]Ok..You got a stool or somethin’?

[GP]Yeah

[GP]Do you feel it important Kenny to sort of cover yourself up and to play records behind screens and..

[KDJ] Yeah yeah yeah , most definitely

[GP]Wear masks and stuff

[KDJ] Yeah yeah yeah…

[GP] Why’s that?

[KDJ] Well people pay too much attention to the damn DJ , you know , the talent is sitting on the turntables , you know. My attitude used to be that so yeah.. I’m not there to put on no little bit of dancing – indecipherable] I’m there to present some talents on the turntable, not , you know, the cat behind the turntable.

[GP] So you’re kinda reluctant celebrity DJ, you’re just a selecta

[KDJ] Maybe take celebrity out..and you pretty much got it right.. You know, I’m doing my thing if you’re looking for a hot DJ I’m probably the wrong person to call. There so many hot dj’s , there’s so much talent out there. I didn’t get into all of this to do all that. But it’s a blessing at the same time, you got the opportunity to share to much with so many people at one time. [Read More]

by Alex R. Mayer - EDGE 

“I never thought of myself as just playing records, but creating atmosphere.” – Nicky Siano

Think of today’s biggest DJs, the ones that everyone watches and listens to; the DJs of DJing if you will. Think about their tricks and techniques, the way they select and mix their records, and the energy and atmosphere they create on their dancefloors. Now, think about the DJs who came before them, such as Frankie Knuckles and Larry Levan. Those DJs who influenced today’s
spinners, were guided musically and philosophically by a man who pioneered the art of mixing on three turntables, who first got audiences to sing records back to the DJ and who made everyone stop dancing and look up at the DJ booth of Studio 54.

Nicky Siano heard and saw something in the music and nightlife of the early 1970s that transcended the accepted norms of that time. The dance music community had come together out of a need for expression, and a declaration of their rights. The music reflected the many intense social and political issues of the time, including the Vietnam War and the Stonewall uprising. When people came together to dance, it was a safe haven, if only for the night. It was also a way to communicate collectively, something which DJs such as Siano and David Mancuso realized early on. [Read More]

By Bianca Von Baum- Halcyon

Aaron Davis (aka VDRK) and Joel Fowler (aka Free Magic), the team behind New York’s successful party Discovery, are obsessed with music. Barely two minutes into meeting the duo for a tête-à-tête, they’re already talking shop, dropping names like Chez Damier and M.K., humming tunes and playfully bargaining over a Kerri Chandler record. With this kind of banter going on, you know you’re in the company of good taste. Their shared love for quality Disco and House, combined with their strong bond and passion for DJing are the essential ingredients that have attributed to the party’s success. Currently a monthly affair, Discovery takes place in the Soho basement of Santos Party House where they pack out the place with an enthusiastic, and fun-loving crowd. The event boasts a history of strong headliners, from Detroit’s Deep House maestros, Norm Talley and Scott Grooves to Metro Area, Trus’me and San Soda. With their second anniversary coming up this September, the team is showing no signs of slowing down. Ahead of their monthly hoedown this weekend with headliner Eddie C, we caught up with the team and chatted about Discovery’s early beginnings, party monkeys, and dreaming of Disco palaces. [Read More]

DISCOVERY 2YEAR ANNIVERSARY W/DJHARVEY&KYLE HALL
Discovry Mix
SESSION 1035: EVENT SESSION 08.20.11 DISCOVERY
SESSION 1034: EVENT SESSION 08.20.11 DISCOVERY

By Albert Freeman – Halcyon

While the global view on Detroit within the dance music community retains its emphasis on Techno, Detroit has been one of the most important historical cradles for development of all genres of black urban American music that have enjoyed deep interest and popularity in the city. The city’s influence on Blues, Jazz, Soul, Funk, Disco, House, Hip-Hop, Electro, and Techno stands unchallenged but the global focus on the most avant garde of the city’s electronic artists has always come at some cost to those working in areas that place more emphasis on the continuity of the city’s music culture. House has also been central to the city’s music and been present here almost since its original rise in Chicago, and the transition that led from Disco to House was played out here in nearly equal measure to the nearby Illinois metropolis. Thus figures like Norm Talley and his Beatdown Brotherscrew should be looked upon not as outliers, but as a truly central and essential part of a diverse musical culture. Since the mid 1980s, he and friends Mike “Agent X” Clark and Delano Smith have been pushing a brand of DJing and production that fluidly integrates the Disco, House, and Techno cultures of Motown and has been far too often ignored by the music press at large. In spite of respect earned from people like Eddie Fowlkes, for a long time their profile remained relatively low as the word on Detroit’s unique and diverse House sound was slow to leak out.[Read More]

Click HERE for the Mix by Norm Talley

by Bianca Von Baum – Halcyon

Every disco generation has their hero, and UK’s DJ Harvey is one of today’s most revered musical icons from Honolulu to Sendai. A veteran of the scene for over twenty years, Harvey has taken the worldwide stage by storm from the get-go. Known for being the first to bring NY’s late hero Larry Levan to the UK, Harvey is considered one of the leading figures at the forefront of the country’s Disco revival movement.

Founder of the Sarcastic Disco parties in Hawaii and label boss of the former Black Cock Records edits imprint (serious collectors drop up to $300 on these babies), Harvey is one of today’s most sought-after producers and DJs. His name alone connotes a certain adventurism, interchangeable with words like eclectic, fearless, obscureand open-minded. Not only do these attributes shine through his music but they are what makes Harvey one of the most favored DJs to see play out. Full of energy and positive spirit, Harvey is known for his infectious vigor behind the decks – go hear him play and you’ll find nothing less than a grinning frenzy of head bobbing and body shaking manning the ones and twos. He is the wild child of today’s Disco movement, a genuinely fun-loving DJ with a true love for the craft, wholly dedicated to sharing his music far and wide through multiple collaborations, both musical and charitable. We could go on and on…

Come this weekend, DJ Harvey will be gracing the main stage at this year’s Movement Festival in Detroit – a huge honor indeed. Days ahead of his performance, we reached out to the man, the myth, and the legend and chatted about his band, spreading love in Japan and the Rwanda Ice Cream Project.[Read More]

by TheBoogielady21 - 1200Dreams

1200Dreams caught up with Nutritious, one of the most appetizing DJ’s on the scene, to delve deep into his thoughts on the DJ experience and what he is up to now.

By The Boogielady… always in the boogie.
He goes by the name Nutritious, sans DJ, and has been one of the most appetizing DJ’s in the New York scene for quite some time. Now, he’s spreading his wings and from the East to the West Coast, he has played at well known events like Jam Cruise Disco, Ultra’s UMF Radio Stage, and WMC, all the while proving himself to be quite the crowd pleaser.

Born in New York to a music loving family, you can say Nutritious was more than immersed in the art form. By 16 he was skipping class playing drums in a band and gigging locally, having to sneak in to venues such as CBGB because he was underage. [Read More]

BY ELEANOR CHUNG - Halcyon

A DJ/producer from Okinawa, Japan, Iori Asano is famed in Japan and seen on stages around the world. Deeply influenced by Depeche Mode, Carl Craig, Moritz Von Oswald, and Basic Channel, Iori does not only present sets ranging from House to Techno but is also proficient in alternative deep terrain. Miss Eleanor of WNYU-FM’s Bentwave radio show got a chance to chat with the man from the land of the rising sun about his music and surroundings…

You can hear Iori Asano’s exclusive Bentwave set here

Miss Eleanor: What influences you and your music?

Iori Asano: I’ve been listening to many kind of music. That and nature make up all my influences.

[Read More]

By Halcyon

In the minds of many, the name Carl Craig epitomizes Detroit Techno. Although he was neither the first nor the flashiest of the original Detroit innovators, his 20-plus year production and club career can boast of nearly no wrong turns nor wanderings into inconsistency. If Juan Atkins is credited with the initial push over the top andDerrick May distinguished himself as the best DJ of the famous quartet, from nearly the beginning Craig was present in the background quietly pushing the developments that would lead into the second wave of Detroit music and its spread to the furthest corners of the globe. Although the exact extent of his work behind the scenes will likely never be known, as label aide to both KMS and Transmat he adeptly learned the business end of the trade, and early studio help he received from Derrick May was returned in spades as he joined his older predecessors on their groundbreaking European tours and also for their recording sessions. If early efforts asPsyche, BFC, and 69 revealed a creative mind rapidly progressing and moving through ideas faster than most ever get them, by 1995 his name was synonymous with the best and most bracing Techno the Motor City had to offer that combined deepness, hardness, and a restless futuristic and experimental aesthetic that plowed down everything in its path. [Read More]

Interviewee – Elbin Reyes
Interviewer – Sean Bee

Interviewee – Linda Perrone
Interviewer – Sean Bee

Interviewee – Joe D’Espinosa
Interviewer – Sean Bee

Interviewee – Charlie Grappone
Interviewer – Sean Bee

By  leader of Halcyon

Although hardly a household name amongst Techno heads as of yet, with his Perc Trax debut “Tarantula” out this week, Oktave’s Jeff Derringer is heading into 2011 with the afterburners on full. A former indie rock drummer who made the jump to producing and eventually DJing Techno some six years ago, Jeff, along with Oktave partner Kevin Gregor, has immersed himself fully in multiple facets of the scene. With his move from NYC back to his hometown of Chicago, he’s taken up the mission of spreading American Techno through education, promotion, marketing and networking… but mostly through making and playing quality music and putting on great artistically uncompromising events. halcyon’s Techno beat reporter Albert Freeman took some time to chat with Jeff about the long, hard road, its twists and turns, and what the crystal ball has in store…

halcyon: So let’s start at the beginning Jeff. How and when did you become interested in DJing and especially production?

JD: I’ve been interested in production for a lot longer than DJing. I’ve been making and recording music for about 20 years. It’s only in the last 6 years or so that I’ve been interested in producing dance music, and in particular Techno. I was originally a drummer, so you could call that my native instrument. I think that makes me a better producer, it gives me a feel for rhythm and polyrhythm, but I’m basically a writer at heart. I’ve only been doing Techno for 6 years, and since then I’ve been getting into DJing. [Read More]

The real deal finally arrives! Marcus Visionary’s latest album, released on his own Liondub International imprint, serves as a rich tapestry weaving together the Toronto native’s musical influences, which range from jungle and drum and bass to reggae and dub. Featuring guest appearance from the likes of  the legendary Sugar Minott, Johnny Osbourne, Kandiman, Bunny General, Jahdan and Messenger Selah, there is plenty of old school, dub heavy jungle fire brought to the table here, all mixed down impeccably and presented in an original groundbreaking style.

PURCHASE THE HUMBLE LP AND GET A FREE 28 TRACK MIX BY MARCUS VISIONARY INCLUDING EXCLUSIVES, DUBPLATES, REMIXES AND UPCOMING RELEASES FROM LIONDUB INTERNATIONAL at   HERE

MARCUS VISIONARY’S INTERVIEW

Born and raised in the city of Toronto, Marcus Visionary has helped shape the city’s scene and sound since the early 90s. His first love is jungle / drum & bass but he has deep roots in reggae, dub and bass music in general. With a new album out combining all his musical loves, we got in touch to find out all about it.

Tell us about Liondub International, the NYC based ragga label, and the Humble album you’re releasing on it?

I co-run Liondub International with Eric Wise, aka DJ Liondub, out of Brooklyn NYC. We feature all styles of bass culture music but focus mainly on jungle and dubstep. We also have Liondub 45 which is a reggae / dub label.

I met Liondub a few years back when he came to Toronto to DJ. He told me about his links to Jamaican artists and we set a plan in order to create a label that works directly with Jamaican artists.

Humble is the first reggae / dub / dancehall influenced jungle LP we’ll be putting out. We decided to put out two EPs spread over five or six months in order to promote the LP which will be dropping January 3rd 2011.

The music on this album project as very dancefloor friendly and heavily influenced by Jamaican dancehall and soundsystem vibes, but how do you describe your own tracks, and what kind of “genres” would you say they belong to?

The Humble LP is a tribute to reggae / dancehall and dub influenced jungle. When I first heard jungle in 91/92 I was drawn to the reggae and dub influences in the music.  I had always hoped to one day work with original Jamaican singers and deejays without having to sample them illegally.  This LP is the first step in that direction. [Read More]

By James Wells – Waxpoetics.com

Is New York still a good place to buy records? Jonny Sklute (alternatively known under the handle Jonny Paycheck), owner, clerk, and CEO of Good Records NYC, would like to think that it remains a great place to sell them. A risk management broker turned record dealer, Sklute launched his storefront venture in 2005, right alongside the storied and busy market of East Village/Lower East Side record stores: A-1, the Sound Library, Gimme Gimme. I caught up with Sklute to see how the market was doing.[Read More]

François Kevorkian Audio Interview 20.08.09 by djmixes

Paul Morley speaks to Francois Kevorkian, legendary DJ at New York’s Paradise Garage and Studio 54, about the emergence of disco, it’s continuing influence, and how he remixed the Smiths…

François Kevorkian, alias François K, (born January 10, 1954) is a French DJ, remixer, producer and record label owner of Armenian descent living in the US. Having started his career in renowned clubs such as the Paradise Garage and Studio 54, the NYC-resident is widely considered as one of the forefathers of house music.

Born and raised in France, Kevorkian’s passion for music led to playing the drums during his teen years. He moved to the United States in 1975, where he hoped to find more challenging situations than those back home. Due to the heavy competition for any gig as a drummer in those days, he instead tried his hand at becoming a DJ in underground New York City clubs, around 1976. His career then skyrocketed, and he quickly made this his full-time occupation, although some work was at more commercial venues such as the club New York, New York in 1977. He taught himself tape editing and started making disco medleys, some of which are still popular to this day, such as Rare Earth’s “Happy Song”. He was offered a position doing A&R for a nascent dance indie record label, Prelude Records, which allowed to him to go into the studio and do remixes. His first remix, of a Patrick Adams production, “In The Bush” by Musique became a wild success both in clubs and on the radio. It was the first of many remixes that helped Prelude define the sound of New York’s dance music, including many memorable songs, including “You’re The One For Me’ and “Keep On” by D-Train, and “Beat The Street” by Sharon Redd. His stint at Prelude ended in 1982, the same year where he had the most number one singles in Billboard’s Dance Music Chart, which included his remixes of now-classic songs such as “Situation” by Yazoo, and “Go Bang” by Dinosaur L. [Read More]

By Albert Freeman – halcyonline.com

Timo Maas is a consummate professional DJ. After getting his start in the ’80s DJing records in top 40 clubs, Maas made the transition to Techno sometime in early ’90s and hasn’t looked back since. After quickly becoming a fixture on the European club scene, it was just a short time before his fame obliged him to enter the studio to put his own name on things. Never one to work alone, Maas enlisted the help of a series of collaborators to steer him on his path towards DJ super-stardom, peaking in the mid-2000s with Martin Buttrich who soon after launched on his own path to stardom. Changes were in the works however. Following the music industry’s near-total breakdown at the beginning of the decade and also changing fortunes in Maas’ own releases, not to mention Maas’ own desires to start a family and change his lifestyle, he took some time off between 2006 and 2007 to reconstruct his life, both professionally and personally, breaking his longtime relationship with Buttrich and moving to a country house to raise his new daughter while releasing only a few remixes to keep his name current. [Read More]

Timo Maas on dailysession.com SESSION 673: GUEST SESSION 11.12.10

In 2004, Dennis Kane and Darshan Jesrani met during a sound check. A friendship and creative bond grew from that moment and Adult Section and Strobe Lodge eventually began. June 4th will be the next installment of the Strobe Lodge, and DailySession recently sent Darshan and Dennis some questions, via email, to get a better look at what pushes them and delivers such solid parties.

01. How did the two of you meet and begin playing records together?

DJ: I think the first time we met was at a sound check downstairs at APT on west 13th st. This was probably back in 2004-5.. Not too long after we did our first Adult Section night at a short-lived place called Opus 22, which was near the West Side Highway, an ill-fated venue which ended up closing because one of the bouncers shot someone right outside. That one good night we did there was enough though, to set the tone for what was to come.

DK: We went in together to preview and EQ the new funktion 1 system at APT, I think in 2004, shortly after that we did a party at Opus 22, it was a one off really, but we had a great time and thought – why not do it again.

2. What bonds you both creatively when it comes to playing events together?

DJ: Probably just that we both aspire to play with the most feeling we can, and that we try to play up to people and make the place happen in the best way we know how at the moment. We try to employ some thought, and overall desire to see something different happen each time, each in our own way.

DK: Well different but sympathetic approaches, but ultimately the desire to make the night as enjoyable as possible while exploring whatever genres of dance music that inspire us. Drive the bus up the hill, and then floor it down the hill! Seriously the idea of a crazed bus trip sounds like an apt description. The nights have always been full on, and there has been an offhanded and easy rapport with a really great crowd of people.

3. When and how did Strobe Lodge come about?

DJ: The first Strobe Lodge parties we did at Love, I believe in late 2006/early 2007, on West 8th & McDougal. The club is still running, though in a slightly different form than it was when we were there. The sound system and booth in the place were unrivaled, but there were other factors that kept us from setting down roots. On we went… To a loft on Canal St. where we brought our own sound, staffed the place with our friends — Dennis even installed a huge A/C in the front window. Valiant as that was, the place still ended up being an utter sweatbox. Needless to say, this was encouraging.

DK: Well the first one we did at Love – summer of 06′ I believe, Love had the new GSA sound system and it was a joy to play on it, Gary did an amazing job, the booth really set the standard. We screened the Barbet Schroder film “More” to start out the night. It was a great way to open a party. Aside from the exemplary sound not much else about the venue was right. I played with Harvey on his last night there, last July…by then the system suffered from lack of upkeep and shortly after it changed ownership. We went next to this loft on Canal street, Anthony and I installed the largest AC we could get, Dar was finding home delivery port-a-johns, Tino from RTS hooked up the sound, and it was a crazy sweaty night, the walls were perspiring.

4. What is the idea behind Strobe Lodge’s party and theme? Are there any policies or select musical styles?

DJ: While I’d stop pretty short of calling our style of playing “eclectic” I’d say that we dip into a whole range of stuff to try and serve a singular feeling. In the middle of our nights the music centers in and around different styles of 4/4, new and old, disco, house, euro/imports, R&B, all kinds of stuff. On the edges things get fuzzy…

DK: One thing for sure – we take some time to warm it up, build the vibe, and then also go as late as one possibly can! Make sure the energy is good and people are getting down and while doing that try to avoid habit or cliché, play those records that you really want to hear, do it with fervor….as my son would say; “Correct styles!”

5. How many people were behind the start of Strobe Lodge, and how many are working on it now?

DJ: In the beginning I guess it was Dennis, myself, our friend Anthony on the street promo, SPAM at the bar, SPAM’s sister and some security connects on the door. That was really it. Now we’ve got some more great people involved, and we plan on solidifying what we’ve already built and taking it farther.

DK: In the beginning it was the two of us, with our pal Anthony on street promo, Spam and his sister Kiera holding down the bar and door respectively. Now Len Wiggins from coolinthepool.com partners with us and was a huge help with the last one, Sean B is in full effect as well, there is always a crew of people who come and help us pull it off, we are so fortunate to have the support.

6. What is the difference between Strobe Lodge and Adult Section?

DJ: Strobe Lodge is something we do which is completely our own. We find a space, bring in our own sound, bar staff, door and security help. We set the mood, we sound check carefully, we use a Urei and isolator from Dennis’ studio, we run a film silently — something provocative and pretty to look at. From here we build a vibe very slowly from 10pm onward with the music we’re most into at the time. Stuff for the people and for ourselves simultaneously.
Adult Section is a night we do at more-or-less established club venues where we try our best to convey our vibe and ideas about playing records to a mixture of our crowd and the built-in crowd of the place itself. There have been some great nights and places. Opus 22, Table 50, most recently Cielo.

DK: Strobe Lodge is a labor of love, we trick out a space and build a vibe, our staff, lights, imagery, etc….
Adult Section is where we try to bring the vibe to a commercial venue, the sound system at Cielo has made it easy. We always have a ball there and we will be celebrating our second anniversary on the 18th of June (special guest Morgan Geist).

7. What inspired the both of you to begin DJ’ing?

DJ: I don’t know, I guess it was inevitable. I have been into records and music technology forever, since I was 8 or so. There has always been a certain quality to songs I love, which I feel like I need to broadcast to others. As I get older and wiser I’m peeling back and understanding the layers of what it means to play music for people at a nightspot, or anywhere really. I’ve also been fortunate enough to partner with some very talented people who contribute to my growth.

DK: As a kid I collected and played records, I had a mini turntable and was always into getting new stuff, but also checking out what friends had and going to their house to dance, it was such a great social thing. A total ballast to the misery of the mundane. As I grew older it was a habit that stayed. I recently DJ’ed my sons 4th birthday it was so much fun seeing these kids go off… (well once they got over the oddity of seeing actual records) It is still such a powerful gesture sharing the music you love.

8. How do you feel about NYC’s DJ and Club Scene today compared to the past?

DJ: Since I started going out in NY in the mid 90s I can only refer to that far back. I know that the city hadn’t yet started its massive turnover of real estate and everything that came along with it, including tougher nightlife regulations, impossible rents and unavailability of space. This is sort of where we are now. I’d read that in the 70s there were literally thousands of cabaret and liquor-licensed venues in the city. Now there are like 300.

DK: Things have changed a great deal, the real estate industry has done so much damage to the idea of a “downtown”, that one no longer exists, Brooklyn seems to be the future. Also concurrent with that, the marketing of “youth culture” has made DJ’ing a social trope… it’s bizarre really, but you can’t let it get you down, entitled networking socialite, fake bearded hipster, whatevs. Just connect to the music, and try to remember the joy that got you going in the first place.

9. Are there any new releases that you’re excited about?

DJ: Mostly the stuff I’m working on, forthcoming Metro Area album, etc.

DK: The new Disques Sinthomme “Ledger”, a new Ghost Town edit in a few weeks, The Idjuts did a great remix of a track from the Cantoma album, Gerry(Rooney) & Joel(Martin) have some new stuff coming out, there is always a counter force.

10. Can you tell us how you came up with the name Strobe Lodge and it’s meaning?

DJ: We were trying to come up with something kind of playful that has a few different connotations having to do with our ideal of a night, without actually saying it outright.

DK: Obviously we watched the Flinstones! We wanted something that was occlusive and fun, something that was emblematic… now if we can just get some crazy hats.