San Francisco This Weekend!

I just watered the plants & got a ride to the airport with Apt One (Every man has a price & his is an order of tacos al pastor). Now I'm off to San Francisco, home of proper sourdough & the birthplace of HI-NRG! I'm looking forward to a busy weekend of DJing, digging with old friends and drinking with even older ones. 

The main event is a Go Bang! at Deco Lounge on Saturday night! All disco classics all night! Plus on Friday I'm playing at White Label at Showdown, then a whacked out opening set at BODY//CURRENT AFTER\\HOURS. Bay Area Jammers, get off the internet and come out! Also, check out this rad interview I did for SF Weekly's Hey DJ! Blog! 

Now for the music, here's a Philadelphia International jam I packed for Saturday:

Dee Dee Sharp Gamble - Breaking And Entering

Mediafire • YSI • 1980

Miracles Club This Friday

Miracles Club is a new Portland dance band featuring singer Honey Owens (Valet, Jackie-O Motherfucker), knob-tweaker Rafael Fauria, and dancer Ryan Boyle. Combining elements of Chicago and acid house, experimental pop, and contemporary dance music, Miracles Club has added a vibrant, creative energy to the West Coast club scene over the past year. Tracks from their latest EP, Light of Love, were recently remixed by Cut Copy and release on their fittingly-titled Cutters imprint in April. In advance of their performance this Friday at KFN, our friend and co-conspirator, Andrew Clapper did a little Q&A with them.


To start, could you talk about how the Miracles Club came together in the context of the Portland scene?

Portland has always had a small dance scene. In the 80's, there was a RnB boogie/funk scene; in the 90's, the rave/techno and electronica scene started; and then in the 2000's, there was an underground disco/punk scene that sprung up. More recently, in the last 3 years or so, lots of underground house parties started happening. Promoters started bringing international DJs and live acts to town. Around that time, we started writing our first tracks and playing out. It was harmonious with what was going on.

Musically, how did you arrived back at an early house sound? And what inspired cover versions of classics like "Can You Feel It" and "Jack Your Body"?

Since we've started, we've always focused on being a live band. We wanted to pay homage to the classics in a similar fashion as, say, a punk band would play "Louie Louie" at a house party. So, we would play "Jack Your Body" at a house party, or "Can You Feel It," etc. It was also a way for us to understand how house music was written and experienced.

The video for Church Song is, in a sense, a "cover" of dance shows like Detroit's "The Scene." What was the aim behind recreating that aesthetic?

We were just really loving the old dance shows and the positive energy of the people putting them on. With "Church Song," we were just sort of wanting to perpetuate that vibe, get people into the playfulness of house music and dancing family-style. We have a lot of dancer friends (and a goat) in Portland that we collaborate and just hang at the clubs with. It was funny to see them dance in this particular video because they were so toned down (due to it being Sunday morning), civilian style. [Laughs] The whole video was totally improvised. The only thing we brought aesthetically was some foil fringe and balloons. It was shot at the local cable access TV center, where we had literally two takes, and it ended up pretty much capturing the energy and aesthetic of our small scene.

How do you mediate performance in a club setting? Traditionally, the club mentality is that music is played, not performed. The DJ is not (necessarily) the focus, it's the music and the dancers. What does the spectacle of performance bring back to the dance floor?

One of the members of the group, Ryan, is a dancer/performance artist who, I guess, you could say does the mediating. We don't necessarily want to be the focus of the show, that is why it was important for us to have someone interact with the audience on a physical level. We are pretty much there to guide the trip, like a DJ. Our hope is that there is a deeper connection with the music, being able to see how it is created. Sometimes it works, and sometimes it doesn't.

Do you think live performance is something that has been, perhaps, overlooked in club culture until recently?

House music hasn't had a strong tradition of being played with live instruments, though it was not unheard of. We got the chance to meet Larry Heard recently, and I asked him about playing live. He said that he used to play keys over a DAT tape in the late 80's/early 90's with Robert Owens. Also, some of the first house trax were live drum machine sequences with tiny loops or MCing over top. So, there are roots. I think it is easier now, and you are starting to see live productions more and more because the technology is there and more accessible. When we first started, we were using older technology like drum machine triggers, CV, and Din Sync, along with live looping and playing. It was fun, but chaotic. Since then, we have been using an MPC to manage the old equipment that, in our opinion, is essential to the sound.

In your experience, what sets a great performance apart from a good performance?

It's really all about a connection between the music and the audience. If we give it everything we have, and the audience is open and the environment is there, that's pretty much the combo. Honestly, it's hard to pinpoint because energy is so ambiguous, yet so crucial. When it happens, it's almost like magic. And when it doesn't… tragic. [Laughs]


Listen to Cut Copy's remix of their recent single, Light of Love...

The Miracles Club - Light of Love (Cut Copy Re-vision) by cutcopymusic


And for those of you in Philadelphia...

Miracles Club (Cutters/Portland) performs live this Friday (7/22) at Keep It Casual, along with DJs Jeffrey (The Magic Message) & Dave Tidey (Fish N' Chips). Click here to view the Facebook event.

My Cousin Roy Interview

This Saturday at Hurrah, we are excited to host NYC's My Cousin Roy. His label, Wurst Edits, has been releasing creative new takes on vintage dance music for the past couple years. Not a typical disco edit label, Wurst uncovers and updates dance music from across genres. In addition to his own releases, Wurst has worked with Runaway, Lee Douglas & Eamon Harkin. This week Dollar Bin Jams conducted the following interview with Roy. Also, we have one of his edits below for your listening pleasure. See you Saturday!

When did you first start DJing, and how did you get into it?

1996, following a semester abroad in London. Fell in love with clubbing in the Summer and Fall of '95, and started collecting dance music 12s shortly that Fall. Had been a big music head since my uncle gave me his old turntable when I was just 5 and spent my weekly allowance on LPs, and then eventually cassette tapes, throughout my childhood.

How did you end up collaborating with the group Mathematics in 2004 and 2005?

I was a drum & bass DJ/producer and one of the members of Mathematics in a former life. Left the "group" in 2004 in favor of playing my record collection instead of just one tempo/style.

Aside from the obvious play on words, is there any other meaning behind the name Wurst Edits?

Does there need to be? Heh. Just thought it was a funny and clever name, and yes, I'm a fan of ground meat squeezed into casings. Mmmmm, sausage.


What motivates you to do edits? What elements in the music do you hope to emphasize or eliminate through the process?

It all started with this Ruts DC jam I loved, but it was too short to play out. I went into the studio with the intention of extending all of the best bits and then had a lot of fun making little loops. Next thing I knew I was doing this to all of these songs I found that I wanted to put my personal stamp on, and Wurst Edits was born. I think the edits thing has gone a bit overboard, with too many folks editing the same songs, or those that just don't need editing. I only want to put edits out that bring something new to the table, whether it's Marcos and Jacques from Runaway adding instrumentation of their own, or Doug chopping things up a significant amount, or Eamon locking in on his favorite grooves within the broader context of a song. Wow, I really went overboard on that question, didn't I?

What is your favorite city to play in and why?

New York, New York. Nothing like the energy of a party going off here. Horsemeat Disco in London, the I'm A Cliché night in Paris, Too Much Joy in Minneapolis, and the Gomma night at Erste Liga in Munich were all pretty slammin'.

What new releases have you been enjoying recently?

Terje's mix of Jose Gonzelez is beautiful. Gorgeous, in fact. Laughing Light of Plenty's "The Rose" is incredible as well. Go Thom!

What can we expect from you and Wurst iin the future?

The triumphant return of Runaway in a few weeks! "Use Me" and "Just Got Paid" are the boy's finest work to date, in my extremely biased opinion. Doug (Lee Douglas/Douglas Sound) is working on some new ones as is Eamon and some other buds of mine.

What's the best dollar bin jam you've ever scored?

Robert Gorl: Darling Don't Leave Me - several times over. I always pick it up when I see it to give to friends. Also gotta mention Miss Nicky Trax: Acid In The House, but that was 99¢.


My Cousin Roy - In For It | Zshare | YSI | 128 kbps

Baltimore's Finest: Mark Brown

Baltimore's Mark Brown was kind enough to give DBJ an interview & a new mix to warm us up for his Hurrah appearance tonight at Medusa Lounge:

Mark Brown - Infinite Whave

1) Ttwance Cop - Infinite Rave
2) Double 99 - Rip Groove
3) Richard Dolby - The Anonymous Track
4) Adele - Cold Shoulder (Rusko Rremix)
5) The Prodigy - Out of Space (Celestial Bodies Mix)
6) Snap! - The Power (Kanji Kinetic Remix)
7) Wedlock - Didgeridoo (Pyramoods Nigerian Hair Edit)
8) Kromestar - Quicktime

When and how did you come up with the idea to start AREWENOTMEN?!? Can you describe what you consider the night to be all about, and how that's evolved over the course of its existence? Is it true that the last one ever in Baltimore was on June 1? If so, what was the reason for stopping?

AWNM!? got started in December of 2005 when my friends Taylor Fimbrez, Michelle Nolan and I got the idea to start a queer dance party in Baltimore without the "gay bar" vibe. The party eventually evolved into more of a dance party with bands, hosting The Deathset, Dan Deacon, Girl Talk, The Ed Schrader Show, Ed Schrader, Twance Cop, Shams, Butt Stomach, etc.

Taylor and Michelle moved to Seattle after about a year into the parties lifespan resulting in taking on a lot more stress of organizing and promoting the party than I had anticipated. I've recently shifted my focus towards art making, live performances, and working with more of the underground warehouse / basement spots in Baltimore like SCarey Studios & The Comfort Dome. AWNM?! is definitely over @ The Depot, but the spirit will live on in future endeavors and projects.

Do you currently play out anywhere else on a regular basis? Do you have any plans to curate another night in Baltimore?

Mostly warehouse parties, sometimes @ The Ottobar for Emily Rabbit's world famous Tensday, TaxLo, etc. My friend Adam (DJ Gonzo) and I are working out the details right now of a new monthly at a new spot called the Wind Up Space that's slated to take off in August. I'm also working with Wham City to get a new venue off the ground and will hopefully be doing some form of party / art oriented events there starting this fall.

In an interview with the Baltimore City Paper, you talked about your fondness for the tight-knit music scene in Baltimore, and how that sense of immediacy really drives the people within it to do some pretty creative things...has the scene continued to flourish in that regard? Is there at all a sense (like I get from Philly) that there's an oversaturation of DJ nights (guilty as charged, here), or do you feel that it's basically at an equilibrium?

It seems like Baltimore's been overwhelmed recently with new venues and spaces putting on shows / parties, yet I still feel the scene is just as tight, if not tighter. More people seem to be branching out, crossing over, and working together than before.

You are (or were, not sure if you've graduated) an art student at MICA; what is/was your focus there? Do you see a correlation between your interests and goals as an artist and those as a musician?

I graduated from the Interactive Media department at MICA May of 2007 with a concentration in Video. Definitely a correlation. MICA has quite a strong influence on the music scene in Baltimore, possibly stronger than the influence on the local art scene.

When did you first start DJing, and how did you get into it? What's your personal DJ setup?

The first party I DJd was a house party with my friend Alex Dondero, there were about 60 kids crammed into this tiny living room going insane, I was pretty much hooked from there on. I played mostly warehouse parties until AWNM?! started to take off. I currently use M-Audio's Torq with a mid controller, sometimes using Live. I also do live visuals with early 90s video mixers and a projector while I play.

Have you ever tried your hand at any production? If so, what techniques did you use and what were the results?

I've been making these ambient mixes (BONE TRANCE) using Ableton live which has lead me to producing remixes and a few original tracks. You can check em out on my website, http://www.mcbrown.info

Where is your favorite place to dig for records (that you're willing to reveal)? Do you do a lot of shoping at digital stores (i.e. Beatport, Traxsource, etc)?

Jason Urick (WZT Hearts) used to have a store in Baltimore called Once.Twice.Sound where you could find the most amazing records. When I can afford to buy them, I generally go to Own Guru or True Vine, both excellent shops in Baltimore. I do a lot of blog surfing and will sometimes hit up turntable lab when I find something truly critical.

What are some of your favorite contemporary producers and labels at the moment? Of all time?

I've been getting really into the current bassline scene and have been loving the output of Egyptrixx from Tornonto. There's this guy Etan from Boston who's been killing it recently, be sure to check out his recent Death Set remix. I've always loved the output from Cock Rock Disco, Jason Forrest melts my brain in the best way.

What's the best dollar bin jam you've ever scored?

I recently found two Prodigy singles from 1992 in a box left in the lobby of the space where I live.

-Interview By Dave Tat

Disco Sirens?

Hurrah time again! Saturday, April 5, we are excited to host dancefloor overlord Marcos Cabral. He, along with Jacques Renault, is part of Runaway, a premier disco duo that works with Chinatown Records, Rekids & Wurst Edits. We promise Marcos will bring unquestionably awesome grooves to everyone who can fit into Medusa. Until then, you can prepare yourself with two fresh Runaway mixes and this interview, conducted by our own Dave Tatasciore:


When did you first start DJing, and how did you get into it?

Well...

My father started me off on my record addiction at an early age. He bought me Sugar Hill Gang's "Rapper's Delight" when it originally came out. I was probably around six or seven years old.

I started DJing in the Catskill Resorts (think Dirty Dancing) when I was about fourteen. I would DJ in the "Teen Disco" for hotel guests, playing freestyle, house, and hip-hop. At that time I was listening to Hot 103 on the radio, which broadcasted live from various NYC clubs every Saturday night. Then after I graduated high school I started going to raves and became interested in techno.


You put out a pair of minimal techno records on the Trapez label in 2003 and 2004, respectively. What inspired you to start doing disco music instead? Was your remix of Hansen & DJ Daniel's "Only Love" in 2004, which hints strongly at disco, one of the first steps you took in that direction? Do you think you'll go back to making techno records in the future?

Music in general can become really inbred. As much as I love techno, I think I just needed some new influences. I heard alot of disco in my living room as a child, so for me to feel something for it now as an adult is no surprise. With my Runaway project (Jacques Renault and I), we're looking at dance music as a whole...we want to make house, techno, disco, etc.


What motivates you to do edits? What elements in the music do you hope to emphasize or eliminate through the process?

When I hear part of a record and think, wouldn't it be cool if I could just play that part over and over, maybe I could add some parts, drums, synths, or whatever. Being able to make it my own and alter it to fit in with what I play as a DJ. Sometimes I'll just eliminate a weird key change or sometimes I'll transform the song into something totally different. I'm not looking to make money off creating edits, I just enjoy making new DJ tools.


In your Beats in Space appearance on 10/9/07 you mentioned upcoming Runaway 12"s for both Wurst Edits and Brennan Green's Chinatown Records; can you tell us the status of those releases?

Our next Wurst Edits release should be out this summer. Our upcoming release on Chinatown ("Alberg 30") should be out before the end of April. Also, I should mention we have another record coming out on I'm a Cliche Records within the next few months, as well as a release for Rekids. The Rekids release is going to be called "Brooklyn Club Jam". It will feature remixes by L.S.B., Ame, and others...we're very excited about that one.


What are your Top 5 Desert Island records?

Raze - "Break 4 Love"
Fingers Inc - "Can You Feel it"
wait...I shouldn't list only dance records...
The Beatles - Sgt. Pepper's Lonely Hearts Club Band
Fleetwood Mac - Rumors
Pink Floyd - Dark Side of the Moon
wait...let's make it "6 Desert Island records"...
Runaway "Brooklyn Club Jam" :)


Runaway - Live at A:Kult Boston | Zshare

Runaway - MCDXII | Zshare