Jack The Box

This Saturday (3-6-10), HotDish (1st Saturdays @ BLACK) are back riding the wave created by BASSGASM, Doc Martin (presented by Particle People) and their successful day-after-BASSGASM show with Etones and the Sexbotz. This time HotDish lights the VIP on fire with Jeff Bloom (Chicago – OM, Guesthouse, .dotBleep) and Mike Moilanen (Mpls house DJ master)!

Chicago’s infamous champion…Jeff Bloom (aka Broadway & Wilson…aka PO!NTF!VE) IS IN THE HOUSE! Jeff’s one of the scene’s most amiable dudes and there is no doubt he’s got genius talent to boot. With releases that span an eclectic hodge-podge of sub-genres in house music, there is no doubt surprises are in the stew! His production has gotten him the attention of some of the top labels internationally (including Guesthouse, dotBleep, D’Lectable, Gallery, and big playas OM Records) – to name a few – and he’s rocked the decks all over the USA and as far as Belgium. Most notably is Jeff’s on-going venture at the Uptown Lounge in Chicago where he has continued to build the Midwest scene with some of Chi-Towns most pumpin’ parties. This will be his first venture to Minneapolis so we’re planning on a binge pig-out to welcome him. But, you can’t have your pudding until you eat your meat. Thus…we’re welcoming in hometown homeboy Mike Moilanen to warm up the spot for us. This will be Mike’s first showing at HotDish and we’re looking forward to having this Minneapolis Nightclub Resident DJ – and know he has the right ingredients to set it off. As always…Nate Laurence and J Matthews will be having their typical aneurism behind the decks, mid-spot, because we like when you like when we barf the funk! Naw mean?!!

Nate Laurence caught up with Jeff to discuss his production, residency in Chicago, and the future of house music in Chicago!

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NL: JEFF! We’re stoked to have you play Minneapolis! You’ve built a hell of a discog recently on some really amazing house labels. Talk a little about “Broadway & Wilson” (with Andrew Emil), “Subconscious Collective” (with Mike Payne), and the other cooperative projects you’ve assembled.

JB: The project I’m most stoked about is “Broadway & Wilson,” a collab between myself and Andrew Emil.  We just dropped our “Good Old Daze LP” and it is exclusive right now on Stompy.com and about to hit the rest of the distributors soon.  Andrew and I are really trying to reconnect with the energy that got us our Gallery Music (Records) EP and on OM Records, and right now I think we are really falling into a good groove. Working with other people can be difficult, especially when it comes to staying true to your vision and not compromising.  However, with Andrew, I’m really comfortable with where he comes from and we share a mutual understanding about what we like and what makes the dancefloor move. With the “Good Old Daze LP” we tried to put in something for everyone and add some of the diversity that first started grabbing people’s attention.

NL: I can only image Gene Farris LOVES that LP. Great stuff! Much of your production has been marked as fitting the “jack/funky” genre but I know – from being a fan – that it’s problematic to pigeonhole your style (I’m currently thinking of your work on “Farris Wheel” and “Itch and Sniff” records). Talk a little about your production and the inspiration for your work.

JB: I don’t like genres or labels.  I think It makes it too convenient to just put something in a box.  The difficult thing is making music that is relevant, that people like, and that excites you.  It’s easy to hit just one of those factors, but to get them all is the trifecta.  As far as my inspiration, I draw constant inspiration from the people in the scene all over the world, as well as all of the amazing talent that Chicago has to offer.  There are so many people who have not only paved the way in Chicago, but continue to push the envelope.  I feel the bar is always being pushed so high, I’m just trying to catch a glimpse before it’s out of sight again.

Jeff Bloom Interview and Jackcast

Check out the Jeff Bloom Featured  WNUR Radio Mix

NL: LOL! I’m sure you’re here to stay! All is in sight brother. Regardless, any new goodies coming out? Where, when…we need to know!

JB: Like I said, check out the “Good Old Daze LP” on Farris Wheel Recordings.  There is also a “Broadway & Wilson” remix of Gene Farris classic “Here I Am Baby” coming out on Ken ECB’s Alphabet Music just in time for Winter Music Conference (WMC).  There is also a “Broadway & Wilson” remix of Gene Farris f/J Dub “Back & Forth” that will be out shortly as well.  We also just finished a remix for Bear Who? titled “The Dancer,” but I’m not sure when that will be out.

NL: The Bear Who? track is INSANE! I was also humbled to play your night at Uptown Lounge in Chicago during my Uptown Lounge/Smartbar debauchery a few weeks ago. Had a discharge of fun! I know that Chicago too, is struggling to keep it “underground.” Your night is amassing mucho attention. Tell us about your residency, guest spots, your homey Andrew Emil (a very hospitable young man by the way), and what you’re working so hard to create in your nitch of Chi-Town!

JB: I’m really thankful to have such a great residency in Chicago.  I’ve been doing “PO!NTF!VE Presents…Friday’s” every week now for three and a half years.  It is really nice to have such a great place for people to come hear underground music amongst really wonderful people.  We’ve been able to have some amazing national and international talent like D-t3ch a couple of weeks back, and we also have an incredible upcoming lineup with DJ Heather on 3/19!

NL: Speaking of “building in Chicago”…WNUR (Chicago’s last bastion of dope house music on an FM station) recently had a fundraiser including you, DJ Heather, Santiago, Frankie J, Karl Almaria, Chris Grant, and Audio Soul Project (wowza!)! DJ Sangre at WNUR has amazed me with what he’s done. Talk a little about the community effort to continue to preserve house music in Chicago and your part in that effort.

JB: It is so nice that there is still a place to regularly hear some great house music, I’m really thankful that WNUR is still going strong.  DJ Sangre is really doing his best to help bring some much needed exposure to the current Chicago house scene.  The scene is always changing so much, and it is really important that everyone involved pull together and realize that we are all a part of the same team.  We all have so much to gain by working together, and it is so important now, with the digital revolution in full swing.

NL: You’ve had the opportunity to play all over the states and Europe. Rumor has it you bang heads! LOL! Are there any favorite artists out there that currently move you? What can we expect to hear in the VIP on Saturday?

JB: I do my best to beat it up no matter which border I have crossed to be there!  I love playing music for people all over this wonderful planet and I’m super stoked to put a new city on the resume!  Watch out for some new ones from myself and friends.  I’m sure we’ll be hearing some of the hot stuff Frankie J has been dropping on his labels Spatula City and Flapjack.  Probably going to drop some Wattie Green, and of course your man Nate, Scrubfish!

NL: So, this is your first time in our humble city, no? What are your thoughts about the music that has come out of Minneapolis over the years? Anything you want to say to appease the hometown crowd? Thoughts about the Minneapolis/Chicago intersect in house music?

JB: I would be remiss if I didn’t mention Prince.  He is such a prolific artist and it is hard to think of many who have contributed so greatly to our world of music.  To play at 1st Avenue is such an incredible honor.  I’m really thankful!  I’ve also heard nothing but awesome things about what you guys do at Black and I’m sure Saturday is going to be no different.  In his honor I’m going to bring the heat.  Preparations are underway.  Danger!

NL: We love Prince too! No doubt! And…THANKS Jeff! We’re entirely stoked and humbled to have you this Saturday night in the VIP. Bang it brothren of the funk!

Doc Martin

In the beginning there was Jack, and Jack had a Groove…  Ok, ok,  I know, heard that before but…

I will never forget the first time I heard that played on a big system. When I hear it,  there are a few people that come to mind and Doc Martin is one of them.

To me, Doc Martin has been a musical mentor in a way. I will never forget getting my first Doc Martin tapes after a friend returned home from a visit to California.  The music was soulful, deep and techy at the same time, it really has a taste of everything.

Every time I saw he was in an issue of URB Magazine I would buy on site, anything and everything. If it had Doc Martin on it I would NEED it.  I still do!  I have great memories of buying his mix tapes, as a matter of fact I would obsess over them and call every record store I could find (pre-internetz) out of the back of scene mags and buy all the tracks I could off the track listings. I would even go as far as to play the tracks over the phone to the clerk and say “what is this? I need it!!”

As a matter of fact,  the one time controversial “Flammable Liquid” mix tape I am proud to say I own every track on that tape and cherish everyone of them. Took me years to accomplish this goal, to me, they are not tracks by the artists but “tracks from Doc’s tape” its funny how that works out.

Why Doc Martin at Black???

Doc Martin in his element

I really wanted to get people in our scene to know who Doc is and why he is so important. His professionalism, modesty, and passion for the music are second to none. Hes been rocking the decks since 1986 and shows no sign of slowing down. Rocking some of the worlds best clubs and staying relevant as ever almost 25 years later.

To Round it off Doc left us with a little gift! I recent recording from San Fran. You never know what to expect from Doc Martin Other than quality but here is just a little taste of one of the many sides of Doc Martin, Enjoy!

DIRECT DOWN LOAD

*Doc, you have played a key role in the US scene (and world wide) for close to 25 years. What do you think has been the key to staying relevant especially in a time when so many young artists and DJs are coming up?
I think one of the reasons for that is not to sell your sound out every time a new trend in music comes along. I personally love all kinds of music, if it’s saying something. In a set from me you could hear house, acid, techno, disco, on the new,and old tip. There are many DJ’s coming up who have something to offer. I think that’s a healthy thing.It keeps things interesting.There’s no need for attitude. It’s not a contest,of who’s the best. To me it’s about getting people involved in a groove. I think that’s why I get along with a lot of the new producers, and DJ’s.

*You have seen lots of changes in the music, What are the biggest changes you see recently?
I think one of the biggest things is all this fragmentation amongst types of music. There are so many different types of House, and Techno. To me this is ridiculous, To let things like this divide a dance scene. In EUROPE it’s more about the party. Coming together for the common good of the music. I’m friends with many different type’s of DJ’s. I tend to look at the person first. There are many dj’s in my own genre that I stay clear of, because they are not good people, or always running someone else down.

*What are your thoughts on the American dance scene?
I think there are a lot of people who care again.I see people from all parts of the US. coming together to save, and rebuild their scenes. A lot of clubs who were owned by people who were into the music, are now owned by businessmen. So they look at the top 100 dj’s according to some magazine, and book their clubs accordingly.I’ve seen the return of the massive as well. Big all night dance events, for the 18,and overs. I think for the most part there is no radio support for dance music. There are mix shows for commercial artist with dance remixes. House has been around for over 25 years!
I have never given up on the US scene,and never will!

*Tell us about some of your projects, Sublevel the store, Sublevel the Party and your connection to Stussy..
Sublevel the party has been going strong. Lillia,and I decided on New Years 2001 that I should stay in LA,and do an event. We wanted to something outside the clubs, that would represent the kind of party we would like to go to. So we got a loft in downtown Los Angeles. We went in and fixed the venue to our liking. We brought in the kind of sound ,and light’s we wanted. We created a place you could go in and lose yourself for nine hours , or so. We opened the doors at 10pm,and I put my last record down at 11am. Nine years later we are still going strong. The Stussy Connection came from,someone who used to go to all the shows in the early 90’s. They like the parties, and what we stand for.

*Do you have any current music productions or remixes in the works?
There are a bunch of Sublevel songs coming out this year. We are also going to be releasing tracks through Sublevel Berlin. I’ve been getting hit up for a bunch of remixes as well.

*You also do a live set now with your singer Lillia. What is this project and how is it performed?
Lillia and I have been doing Sublevel Live for 9 years. We’ve performed in the UK, US, DEMF, Japan.Berlin, and everywhere in between. It’s been really good to perform,as well as DJ. We also Performed in Denver for a show after O’bama’s acceptance speech for the democratic national convention. We perform with Live Vocals, Effects, Mackie mixer, CDJ’s, and turntables. There is no stop start between every song.Just a constant flow.

*You have played here in Mpls in the past, usually a much larger venue, We cant tell you how happy we are to have you play for us in a more intimate setting. For an artist that travels as much as you do, can you share some of the pros and cons of both?
For me it makes no difference. The music I play usually translates in both settings. I’ve had amazing experiences in both type’s of settings.For example I played a 12and a half hour set in a small club Osaka Japan , Or at Sublevel with 1000 people for 7 hours that felt like 2 hours. If the crowd is into the music It always goes by to fast.

*There are a few questions I love to ask in all my interviews because I really think it give some insight to the person and their music tastes…

*When your not listening to house and techno, what non-dance music are you listening to?
Reggae, Funk, Rock.

*What are a few new artists that you think are really blowing your mind right now?
The new Freaks stuff(Ouch)  Jamie Jones, Argy ,Peter Kruder(Not new,but a new sound for him),Dixon,Henrick Schwarz, Revenge, Melon, Michel Cleis to name a few.

*What are a few of those artists that seem to always blow your mind after all these years?
Robert Owens, Brothers Vibe, Tyree, Chez Damier, Blake Baxter, Carl Craig, King Britt, and that’s just the tip of the iceberg.

*Gear question:  What are those big knobby things I see in all the youtube videos that you have on your records?
They are record weights. I use them to keep feedback issues down to a minimum. Your records are also less likely to skip with them.

Thanks Doc for the time and thank you for coming to play for us.

Story and interview by Aaron Bliss

KEEP UNDERGROUND

Be sure to Come out to Black Saturday February 27th Located at First Ave’s  VIP Room!

Doc Martin at Black

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JACK THE BOX

I will be sure to share more on them next week as well but just a spoon full for now

AN INTERVIEW WITH VOODEUX --
Tanner Ross and James Watts make up the creepy techno duo called, “Voodeux.” These east coast tech wizards are debuting their first album on mothership this June.

—- Where did you guys meet and how did this project all get started?

JAMES::We met on a forum with musically like-minded folk years ago, and eventually began trading files back and forth to collaborate. I think the first thing we did was a ridiculously bass heavy grimey track. I’m not sure what happened to that, but I think I might laugh if I heard it today.

TANNER::To make a long story short… I stumbled upon a great producer named KiloWatts ( James ) and I contacted him just to say I really enjoyed his music and we built a friendship from there. When I was 20 I felt comfortable enough with my production skill to ask him if he wanted to collaborate on some music for fun. Fast forward 6 years and we put out a track on dirtybird called “Kruger Fingers”. This release is essentially what started the ” Voodeux ” sound. Fast forward a few more years and Mothership was born and we switched rosters and started fresh as Voodeux.

—- How did you come up with the name, Voodeux?

JAMES:: Our sound is focused on the eerie, dark and mysterious. We toyed around with a few names to suit that vibe, but settled on the idea of ‘voodoo’, a religion often based on the belief in mischevious spirits that interact with human affairs. We’re into unexplained paranormal phenomena, and hypnotic trippy techno can often bring about such things in the minds of listeners. So, we changed the spelling a bit, to suit the ‘two’ of us, and Voodeux was born.

TANNER:: We finished “The Curse” (on mothership) and we were trying to come up with a name for our new project. At the time I was watching this crazy ass video of Screaming Jay Hawkins doing “I Put A Spell On You” and he was dressed up in this wild Voodoo type costume and I thought… “THATS IT! VOODOO!”. I searched to see if there was already an artist named that and there was so I was trying to figure out how I could switch it up and have it still sound like Voodoo and I came up with Voodeux…

—- James, you already have an extensive production background with lots of releases under various aliases. Can you tell us about some of the things you have done in the past?

JAMES:: All of my solo material is done under the name KiloWatts, and collaborations usually take another name. Most recently Bil Bless and I have combined forces to create Skeetaz, and I’ve recently finished an album with MC Amagine out of Philly under the name Super Galactic Expansive, which ended up to be some kind of futuristic mind-warping digital hip-hop. For my solo releases, I’m following some sort of evolving path, making whatever seems natural to come next. Most recently is a nearly all-ambient album on Somnia Records.

—- Tanner, you are graduating from music school this summer. Can you tell us a little about the school, what you studied and how it effects your productions?

TANNER:: I study Berklee College of Music in Boston. Basically I study synthesis and sound design through applications like Logic, Prootools, Peak, C-sound, and modular stuff like the Nord G2 and Reaktor.

—- I know you guys produce together over the internet. How does that work?

JAMES:: It’s fairly easy because we can work on stuff without having to coordinate schedules. Tanner usually heads things off with the beats for continuity’s sake, and I’ll start with a bassline or a few loops. Back and forth we go, usually 2 or 3 times, and it’s done. It’s gotten quicker now that we understand each other’s production values and techniques. It’s easy to just roll with it now.

TANNER:: We basically create a project file and pass it back and forth via dropbox or servers until its done.

—- What can we expect form your new live show?

JAMES:: Violence!@

TANNER:: Well the album is very complex and almost song based so for the live show we are going to basically kinda.. make it a bit more underground and stripped down but try to keep some of the more complex elements in there as long as we can do it live.

—- The album is really creepy and moody, almost like a slasher film. Where did this sound come from?

JAMES:: On my end, the sound came from nightmares and bad trips. But there’s also a deeper hypnotic vibe I was trying to tap into that doesn’t necessarily always resonate with ’scary shit’.

TANNER:: Listening to a lot of Wagon Repair, Pokerflat, Nine Inch Nails, and Minilogue records while watching a lot of “Tales From The Darkside” plus David Lynch and Alfred Hitchcock films.

—- What do you think about the state of American techno?

JAMES:: There’s a lot of great music coming out of America. People who are paying attention realize this, even if it seems like everything’s coming out of Germany.

TANNER:: Thats a tough question… there are the American staples that are always contributing to building and keeping the scene fresh in America but labels like Mothership, Wolf + Lamb, Airdrop, Culprit, FXHE and Spectral Sound, which aren’t purely techno label but they are pushing the sound to the next level giving America a brand new super fresh reputation.

DOWNLOAD VOODEUX PROMO MIX HERE

Setlist From Demo Mix
Voodeux, ‘Just A Spoonful’
Rodriguez Jr, ‘Pina Colada’ (Voodeux Brew Mix)
Constar, ‘Sunset Tribe’ (Voodeux Dusk Mix)
Voodeux, ‘Deadend Motel’
Voodeux, ‘The Spell’
Voodeux, ‘The Curse’
Voodeux, ‘Skeleton Key’
Voodeux, ‘Bones’

BLACK VOODEUX

Oliver Ho visited The Particle People recently, and as a special gift he gave us a recording of his live set from the night. A rare treat for most, this is an amazing example  of what he has to offer. Not only a special podcast but also a few questions before and after the visit to Minneapolis.

What are/were your impressions of the Midwest dance music scene? specifically Minneapolis.
Prior to coming to Minneapolis I really hadn’t got a good impression of the Midwest, I had done a few raves in the late 90’s early 2000 which were pretty bad, kiddy ravers who really didn’t give a shit what they were listening to. I always found that quite strange, especially the carpet kids, who were just too high to care, no matter how many drugs I am on I always want quality music. Having said that, I don’t want to say that the Midwest didn’t have something to offer, it was just my personal experience.. Minneapolis was a pleasant surprise, a lovely bunch of enthusiastic people who love music/art and partying. I really enjoyed playing there and I think the Particle People have created something special there, further proof of this comes from the fact that Speedy J. decided to take his Umfeld project there for the Spark Festival, certainly a stamp of approval…

Are you currently working on any new projects?
I am working on new Raudive material, its coming out quite deep and funky at the moment, sometimes bleepy, and sometimes very organic, depending what mood I am in. I would like to record a Raudive album next year, I have an idea of 4 -  15 minute tracks, or 1  – 60 minute track that can be divided into 4, something quite conceptual..
I am also working on Zov Zov, an ambient industrial project. I hope to release some of this in 2010..

What is your current DJ and music production set up?
I use a mix of CDs, vinyl and Ableton live, I think they all have something to offer, I try to accept the technological advances while still retaining what has come before, its all about balance..

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A pre party interview by our own Tanya Norman is available here

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Right Click Here for Direct Download.

Interview By Aaron Bliss Art work by J. Matthews

Oliver Ho: Sign of Tomorrow by Tanya Norman

Any international DJ that plays in Minneapolis for the first time and drops “Sign “☮” the Times ” by Prince into a modern techno set quickly becomes a favorite of mine.  Local event promoters Particle People, (Jesse Jakob and Aaron Bliss) celebrated their one year anniversary by inviting London deejay and music producer, Oliver Ho, to be their guest. Sure enough, I have a new favorite.

As I walked through Gallery 13, admiring colorful oil paintings and striking collages hung on the wall by local artists, I remembered why I enjoy coming to events like this.  Minneapolis has been a favorite spot for many visiting deejays and with the help of several local promoters throughout the years (Hush, Klikmusik, Convergence, Intellephunk) fans have been given a chance to hear a variety of different styles of techno and electronic music.  Watching the colored lights on the  mixer glowing in this dark venue along with the nicely stacked speaker system producing thousands of watts of sound gave the listener the opportunity not only to hear, but to feel the music.  Literally.  And the sounds we heard from veteran producer Oliver Ho that evening gave us a glimpse of the future.

“I always wait to see what the vibe is like, and the atmosphere…I like giving something to people they might not have heard before.”

The advancement of music technology has greatly influenced Oliver’s music.  Being an active Ableton Live user enables him to play very diverse selections of music and to be more in control.  Compared to years past of using DAT, reel to reel machines and outboard gear he currently takes advantage of modern tools to create several styles of music, not just electronic.  “The amazing thing about software is that it has made music very democratic.  Anyone getting into production and using top technology has to have patience and not go too fast. With computers, I like the ability to re-edit music and work on it slowly over a period of time.”

Tracks from his new tech-minimal project, Raudive (pronounced raw-deev), have gotten the attention of other well known artists / deejays, showing up in sets from Daniel Bell to Ricardo Villalobos. Oliver noted, “What was happening a lot in the late nineties was techno music was becoming very narrow minded, so this was a chance for me as an artist and a producer to experiment with different ideas; I thought it was apt to use a different name for that.  It means I can make music inspired by house, experimental, different things..it’s a way for me to be diverse and using a name for that will let people know that there is a change of gear.”

Due in part to the different styles of music Oliver produces, it has worked well for him to collaborate with numerous record labels, such as Blueprint Records, Klang Elektronik and Poker Flat.  Certainly, Oliver has experienced the trials and tribulations of running a record label and found that it can be a difficult task.  His relationships with various labels have afforded him the opportunity to now concentrate solely on his music.  “The biggest challenge of running a label is being on top of it and not allowing people to take advantage of you.  There has to be a balance between making money and making music.”

As I peered over Oliver’s shoulders watching his quick hands mix, equalize and add effects to multiple tracks while he kept a close and engaging bond with the dance floor, I reflected on why I choose to come to these events.  For me its a chance to hear new sounds, have new experiences, and be surrounded by an open minded community of music lovers.  Mission accomplished.

BILL PATRICK

On Saurday October 24th 2009 Bill Patrick gives us a pre-Halloween treat in the VIP room for a special edition of BLACK Saturdays. The Particle People had some time last week to get a few great questions in from Bill. We span the gambit here with stories from secret bromance and spirit horses, to his hatred of Serato (I do not support his hatred of Traktor and a threat was made to edit his comments but I promise his comments were not edited in any way.) *wink* wink*… Be sure to check in next week for a followup to Bills interview with a brand new mix recorded live from the show.

This is your second time in Minneapolis, what excites you most about visiting our city for the second time and what are your impressions of the Mpls scene?
The first time I came to Minneapolis I wasn’t sure what to expect. But I was really blown away by the response and enthusiasm of everyone that showed up. My experience with playing in the states is that the cities you least expect to have a blowout are usually the ones that turn out the best. St Louis is also a good example of that. So I’m expecting this second visit to go even better. Or maybe I should keep my expectations low. What do you suggest?

What are you listening to at the moment (non dance music)
Oh wow. I could go on for days naming bands and artists I am listening to right now. Actually, I hardly listen to any dance music aside from when I am searching for tracks. I just got some new Thom Yorke songs that are obviously amazing. I’ve really been into the band Studio thanks to my friend Sussi. The new Kings of Convenience album has been on repeat as well as Erlend Oye’s other band Whitest Boy Alive. Beirut is also one of my favorite bands at the moment. Blonde Redhead, Bon Iver, Leonard Cohen, Burial, Japan, Hercules and Love Affair, Junior Boys, Brain Eno, Philip Glass to name a few more. Marc Houle recently turned me on to this band Iko one afterhours in Berlin. Super cool 80’s synth pop from Quebec. They put out one album in 1983 under this alias and no one every heard from them again.

Are there any artists you are really fond of at the moment?
Masomenos from Paris are my favorite right now. Their album The Third Eye is easily the best thing I have heard in some time. I passed it along to a bunch of friends and everyone was equally amazed. In fact, the most trainspotted tracks in my set are always theirs. We played together in Romania recently and I was blown away by their DJing as well. They are on fire at the moment and should be booked immediately. Let’s see, who else am I fond of? Well of course all the Wolf + Lamb artists like Deniz Kurtel and No Regular Play. Deniz has lots of goodies coming out on Crosstown Rebels as well. A full length album to be exact. Breaking onto the scene with an album is pretty impressive so be sure to check that out. No Regular Play just did an EP on W+L that I’ve been playing a lot. I would mention Seth Troxler but I don’t think he needs any more press or boosts to his ego. But I love him dearly. He is my spirit horse.

WE ARE ROBOTS

We Are Robots’ and ‘Robots Radio’ seem to be on hiatus at the moment, do you foresee it making a return?
We decided to end things at a good time. I was always a fan of clubs, parties, artists, ending while on top and I can honestly say I think we did that. I made my move to Berlin, Nick moved to London, and it just made sense to wrap it up. I am not sure about any reunion parties at the moment. Perhaps something down the road. RobotRadio however is something I would love to start back up. I am not sure how to go about that though. I get more people asking about that show than anything else. Dennis and I had so much fun doing it and it allowed us to play tons of music we wouldn’t necessarily get to play in a club. If I could start something up in Berlin I would. Something to look out for…

When I was a young raver in NYC I was inspired by a handful of parties that made me want to be a contributing part of the culture….  What was it that influenced you to make the move from fan to DJ/Promoter?
Well, I would have to say the first raves I attended in Brooklyn and Queens and then eventually the parties at Twilo. Those parties completely turned my world inside out. I would show up to Twilo at 11pm on the dot in order to hear the first track played and stay till the last track was dropped. I always had this appreciation for the opening DJ. Guys like Jimmy Van M, Luis Diaz, Sean Cusick, and Danny Howells. So I would say musically speaking, I was mostly inspired by the deep, moody, sexier music they were playing in the beginning of the night. I’ve never been influenced to be a promoter. I wouldn’t call myself a promoter at all. In fact, I hate promoting. It’s the worst job in the world. Sorry. *wink*
There is too much stress to deal with when throwing your own party. Starting with the bullshit you have to go through with the DJ’s and agencies. Add the constant nagging for guestlist that continues well into the night of the party (getting a phone call at 1am asking for guestlist is always fun) and then having to worry about the numbers and whether the bar is making enough money, blah, promoting sucks! haha.

What was your favorite party of the summer?
Probably the Sunwaves Festival in Romania. Seth Troxler, Lee Burridge, and I played one stage. Also Luciano, Richie Hawtin, Marco Carola, and Steve Lawler were on other stages. Oh yeah, and of course, Masomenos! We all partied well into Monday morning and missed our flights back to Berlin. This is common practice in Romania however. It was our fault for even booking our flight to return Monday.  The Black Sea Coast is my favorite place in the world to DJ. The Sunwaves Festivals happen every May and August and I would recommend checking it out if you have a chance. It’s clubbing at it’s finest.

Is it true that Berlin is the new “Greenwich Village” (new Williamsburg )?
Style wise? I guess there are a lot of hipsters in Berlin. Artistic wise? Yeah sure. Lots of galleries opening up. Musically speaking, I would say it compares to Greenwich Village 20 years ago. There are record shops everywhere, flyers and posters for all sorts of shows, mainly rock and punk but of course also house/techno. It has a similar vibe to the Village. I remember walking around Greenwich Village in the early 90’s and feeling like I was a part of something. You could feel that there was a movement happening. The same feeling is going on right now in Berlin. You know people are flocking to the city because there is an opportunity for artists to make something of themselves. There’s a similar creative outlet in Berlin that was in the Village back in the day. So yes, I could see the comparison.

How has the adjustment been going from NYC to Berlin?
Oh it’s been amazing. We have a nice solid group of friends in Berlin. The pace and rhythm is much easier than NY. Plus the cost of living is much much cheaper. So that eliminates a ton of stress. I could do a better job of learning the language though. That would definitely help make things a little bit easier.

What record never leaves your bag or keeps making its way back in time after time?
Notorious B.I.G. “Ready to Die” album, Cevin Fisher “Love You Some More”, and Ricardo Villalobos “808 Bassqueen”

What does your current DJ set up consist of?
2 technic turntables,  2 CDJ 1000’s, 1 Allen and Heath Xone 92 mixer. I really have a profound hatred for Serato and Traktor. I am almost at the point where I refuse to Dj with anyone using it. I can not tell you how many issues I’ve had with it. We were in Zurich last week and I was playing with Ryan Crosson and all of a sudden the stupid shit decided it wanted to play the record in reverse. As I was trying to mix. This type of stuff happens all the time. Not to mention the pain in the ass it is when you are DJing and the guy after you has to set up his Traktor and is all over you trying to plug everything in. I don’t care that you can play your stupid 80’s disco records at the end of your sets because it allows you to carry more music, it’s a pain in the ass and I would love to see it disappear.

You do a fair amount of traveling and get to see quite a few up and coming artists…in your opinion, who are a couple of people to watch out for in the next year?
I think we answered this question already. But I’ll name some more. Well, lets recap. Masomenos, Deniz Kurtel, No Regular Play…oh, the guys in Romania! Praslea, Ali Nasser, Kozo, Prik (yes thats pronounced Prick). These guys are insane Dj’s. Everytime I go there we end up doing some massive afterhours and play for days. Last time I was there Raresh, Praslea, Kozo and I played for around 11 hours at this seedy bar up in the mountains somewhere. It was amazing. These guys would put most of the “big dj’s” to shame.

Your buds with Lee Curtiss…tell us a story about that crazy SOB.
Lee is my JO bud. Did he tell you that? That was suppose to be a secret.

CPR - A Piece of History (Crosson, Patrick, Reeves)

I recently read that you plan to take some time off from your busy DJ schedule to pursue your own productions…can you tell us about your project with Shaun Reeves and Ryan Crosson? Any plans on solo work?
I don’t know about taking time off from Djing. Unless I am playing 8 times a month, I don’t see myself taking a break. I have started a few things with Ryan and Shaun. One that recently came out on Wolf + Lamb. It’s available on their site www.wolflambmusic.com
I don’t know about solo work. I am really bad at finishing stuff. Plus I love having the extra set of ears in the studio. I find myself getting stuck on one sound for too long and it’s good to have someone there who can be like hey, lets move on this sucks, or lets try adding this. This is why I enjoy working with people like Ryan, Shaun, and Seth. We’re all very comfortable with each other. So if something isn’t working we’re not afraid to speak up.

If your a baseball fan….   *Twin/Yankees series is about to begin…We’d like to take the time to apologize in advance for the ass whooping.  : )
I hate the Yankees. I hope the Twins beat them. I don’t see that happening though. I am a Mets fan. Don’t laugh.

For a taste of the past we were given permission to share an extra special mix from Bill. This set was recorded the last time he was her for Eccentric Beats a few years back but hurry, the mix is only available till Friday before the show. A big thanks to Phil Good for the mix. LINK HERE

Thanks go out to Jesse Jakob for help with a few funny-ass questions!  Be sure to visit Bill Patrick’s Myspace for new mixes and be sure to come back here for a recap of bills visit with a recording of the nights shenanigans.

FACEBOOK LINK HERE

interview by Aaron Bliss