We live in an era of information technology; an unrivalled age where music, mail and much, much more, is now accessible at the click of a button. Yet the fundamental role of the Dj has barely shifted throughout the years. Yes, technology has played its part (and while modern day effects can add some gloss to the modern set), it’s still the track selection that remains most pivotal; the primary factor under which we judge a Dj’s merits.

These days however, the discerning jock is having to dig deeper and deeper for music to captivate, (or very occasionally), surprise their audience. It’s an admittedly strange phenomenon: In an age where music and information is more accessible than ever before, how can finding what suits prove so difficult? The answer is half attributable to the sheer volume of releases on offer – the other half attributable to the mostly appalling – and vast – palette of music that’s served up to us all with increasing regularity.

Hard as it is to believe now, there was a time when searching for new records was considered a pleasure as opposed to a chore. In contemporary times though, the best, (or at least), the ‘freshest’ Dj’s, are the ones that do their homework properly: the ones who constantly plough through the rough in the vain hope they’ll discover a diamond. Professional Djs aside , few others have the time to scour the net (or, in increasingly rare instances), a record shop in such fashion, and the labels aren’t helping matters: releasing records every fortnight and playing musical roulette in their quest for a hit.

We’re embroiled then, in a period of instant gratification, a time when the slow-burning, initially difficult-to-appreciate track is relegated to the obscurity of an unloved hard drive if it doesn’t instantly appease. The age of information has also prompted the age of information overload, a culture that obsesses over the latest, one that appeals to short attention spans. Is it really any wonder then, that new tracks are often handed a life span of a month at best?

And what facilitates all this? Well, technology itself. So while the likes of Ableton, Cubase and Logic are used to devastating effect by some, they’ve become so accessible and easy to use that they’ve also facilitated and ushered in an era of mediocrity music wise. Technology has become the double edged sword of the electronic music world: without it, networking with like-minded individuals from far afield would be nigh on impossible, but with it, an age of piracy and substandard music has become the norm. At the epicentre of the whole debate are the so-called ‘Online electronic music websites’ with many – while not without merit – also in ways, the very antithesis of dance music culture. Finding a relatively undiscovered gem on the sites has become a task of gargantuan proportions: one made no easier by the slew of monotonous, unmastered drivel that courses throughout. It’s worth noting that such issues aren’t consigned to the mainstream either – as anyone who’s read the latest ‘tech-house’ charts on the most infamous of these websites can attest.

So despite living during a time when even the most basic laptop comes ready armed with an array of musical tools, the fact that many Dj’s and producers are looking to the past for inspiration is especially symbolic. How ironic too, that this is happening in a genre that prides itself on its futuristic sensibilities. The era of technology has moved too fast, and electronic music’s all-encompassing nature has ensured its swallowed up much of its own character in its wake.

[taken from]

This really isn’t a versus debate, dissecting the merits of the small room versus the big room – everyone has had a big night out – it is part of the experience of being a music fan. Some crave the rush of everything being turned up to 11 and that’s cool, if you’ve got the money. Festivals like the Ultra Festival in Miami provide an economical way for those who can afford the price to see a vast number of new acts at once, which can be extremely thrilling. But the local hole, down the street, offers a more intimate vibe, requires less money to participate, and allows attendees to get more into of a you-are-there moment with the performer. That personal, small room connection is a vital part of the human experience just as much as a night at the big disco and this debate should be framed more about how much of a percentage of each do you prefer in a year, because both are necessary.

Super clubs offer a big night out with a focus on entertaining show. The music may not always be so great but at least it will sound great. Places like the House of Blues offer VIP access to patrons for a more exclusive atmosphere deep in the recesses of the club, a place to chill out and escape the crowded dance floors. It is, of course, spendy, we all know that, so we expect to be entertained in exchange and these big clubs aim to meet that demand. Usually, the types of artists that can headline a festival or big room of any magnitude these days are going to be more pantomime than a crowd-pleasing performance so a total sensory experience is required to fill in those gaps.

Music at this size is stripped of its subtlety, there is a principle focus on more being more, with all its trappings – gleaming polygon stages and garish costumes, Lady Gaga being a perfect example. That’s not to say the Lady doesn’t have a message, performing music strictly for the lobotomized, high profile artists are banking on the fact that in a large group we’d all rather chant our way through “You’ll Never Walk Alone” punter-style than tackle say, “Good Vibrations”.

But these artists are as invested in the medium as they are the music and so at best most artists operating at this level are more like a Michael Bay version of music, filled with titillating thrills and plenty of tension, but lacking serious human character in all the most important spots. Greasy chips passing themselves off as music on occasion is a real treat but, thankfully, there are a handful of artists out there who can play to a room of any size. These elite artists are always the best choice for the money, because a huge crowd sharing the same moment can be a life changing experience. But one person’s Heidi or Josh Wink might be another person’s Robbie Rivera or Daft Punk so be sure to do your homework before going out to a big room event, be kind to your hard earned pay, let it know you care, and spend it on someone who is going to deliver the biggest perceived bang for the buck. Research the artist, the event, and what patrons have to say about it online because in the end, a bad night out at the big room can really sting considering the money you’ve invested in to it, remember that while planning.

In contrast, who hasn’t had the time of their life dancing to a good friend’s music to a sweaty, jam packed small room with folks all on a first name basis recognition with each other? The human element is such an important factor as to whether a night will be successful or not and also a primary motivation for going out in the first place. A good local promoter, room, sound system, and friendly crowd with a popular underground act headlining can often become a permanent memory a devoted clubber will take with them to their deathbed.

Here the music will be focused on the warm, human connection. Don’t expect to drop massive sound system anthems like Paul Kalkbrenner’s remix of “Jet” by Ellen Allien here, otherwise you might earn the unpleasant moniker DJ Vibekiller. The skill lies in being able to play tunes for each individual in the crowd during the course of the night, not just trying to hit them all in one gigantic, crowd sized musical money shot like Daft Punk does at an arena show.

Labels like Crosstown Rebels, Get Physical, and DFA have made a mint creating the soundtrack for these small room events. A more nuanced music reflective of a space filled with cheap booze, knowledgeable crowds, and whatever sound system money can afford. Anything more upscale – such as lighting, décor, and ambiance is probably going to get lost in the stench of bathroom-accented cleaning solvent.

Also, too much of a good time in these small spaces and you get sucked in to the local drama bringing you closer to your friends’ lives than you ever cared to be. It is the delicate balance struck by the professional clubber, one that age and experience fine tunes, until a proper state of equilibrium can be found between big and small room events.

Because, in the end, these two spaces shouldn’t be thought of as adversaries but more like yin and yang – a harmonious balance necessary for our overall enjoyment of the music, whatever your tastes may be.

taken from…

SubBerlin – The Story of Tresor – Official Trailer from Tresor Records on Vimeo.

From Jack to Juke: 25 Years of Ghetto House from Sonali Aggarwal on Vimeo.

Currently all the rage with hipsters worldwide, Chicago Juke music has roots that run deep. The film chronicles the birth and evolution of a genre over 25 years.

Name:
Malik Idbeis

DJ Alias:
Selector Malik

Years behind the decks:
16

What was the first record you purchased:
Ah…tough one. I don’t remember the track, but I’m pretty sure it was some Nervous Record track from a suspect record pool. It may have been “Jilted Generation” by The Prodigy.

What type of platform do you prefer to perform on (ie. Decks, CDs, Serato, Traktor):
I switched from Decks and Serato to Traktor with an S4 about 4 months ago. I still go back and play with vinyl, but having 4 decks with the S4 really opens up a lot of creativity, especially when you throw the effects and a Midi Fighter into the equation. That said, nothing feels like real honest to god vinyl.

What drew you to the type of dance music that you play:
Excellent question! I started off playing whatever I could find. At the time that meant a lot of progressive house and trance. Then a friend of mine from Chicago introduced me to Chicago House. It was sexy as hell. It took me about 3 months to buy everything that Moody Recordings had. I moved from there to Tech House and Techno. On the side I’ve always loved breaks. I played a lot of Nu-school breaks in Denver around 2001. That’s grown into Drum and Bass today. Now, you’ll either hear me drop a Tech House/Techno set or DnB. It Depends on the crowd and my mood. I’ve also been toying around with Glitch-Hop although that’s mostly just a “for me” deal at the moment.

Favorite record label:
I still have a huge crush on Moody Recordings, though they haven’t put out a whole lot lately. That’s probably more of nostalgic thing for me. For Tech stuff, Cr2, Rejected and Intec seem to be pretty prevalent. Drum and Bass…RAM Records, amazing stuff there.

Best place to find new music:
The days of hardcore crate digging are gone, which is a shame. Wasting an afternoon listening to vinyl to find that one record that no one else had and could move a room was amazing. Now…I think my best source is a friend of mine who works in A&R at Warp Records. He’s way ahead of the game. Beyond that, EarMilk, Turntable Lab, HypeEm, and of course, Beatport. I have a few other spots, but I have to have some secrets, right?

Favorite Live Act / DJ to see perform:
Seeing Prodigy perform is still the most defining moment in my electronic career. At the moment, I make sure to go and see Pretty Lights every time he plays Red Rocks. Been there the past two years now, plan on it being 3 next year. If you haven’t seen him live, go, now. Drop everything and go. You can repay me the favor in beer.

Do you produce, if so, where can your original productions be heard:
I try. That’s the best I can say. I need some Ableton lessons. Anyone interested in helping me out?

Besides music, what else do you collect, if anything:
Gadgets! Every time a box shows up at the door my wife rolls her eyes. I’ve been buying a bunch of home brewing equipment, too. That’s a nice hobby. Good excuse to drink beer in the name of quality control. I also play hockey, so I’m always buying new sticks and pads. Apparently I’m incapable of choosing a cheap hobby.

When is the best time to listen to dance music:
I have my car set to Area on Sirius so obviously while I’m driving. Also love it when I need to work. The rhythm seems to push me along. Same goes for the gym. I really don’t think there’s a bad time, just gotta pick the right genre.

What do you order at the bar:
Ketel One and soda with a lime or O’Dell’s EZ Street Wheat depending on my level of intoxication.

High On Hope – documentary trailer from Piers Sanderson on Vimeo.

The documentary feature film a generation has been waiting for. Audience Award winner at Leeds Film Festival and Best International Film at In-Edit Barcelona. Shown in over 30 festivals around the world and to be released on DVD later this year.

highonhope.com
facebook.com/highonhopefilm

Well.. 2011 has came and went. Here is a list of what KCTDC Staff thought were some of the highlights:

Josh C
> Tracks >
1. Daphne – YeYe
2. Eats Everything – Entrance Song
3. Hot Natured – Forward Motion
4. Benoit & Sergio – Walk & Talk
5. Danny Daze feat Louisahhh – Your Everything
> Events >
1. Circo Loco @ TV Bar / Detroit
2. KCTDC 2 Year Anniversary @ The Union / Kansas City
3. Deteksupport @ The Works / Detroit
4. VJ One’s Deep Sea Adventure @ The Union / Kansas City
5. CLR / Detroit

Andrew Boie
> Tracks >
1. Spekter – Pipe Bomb [Sound Signature]
2. Rrose – Pointillism (Variation 1) [Sandwell District]
3. Deadbeat – First Quarter [BLKRTZ]
4. Deepchord – Amsterdam Remnant 3 [Soma]
5. Surgeon – Radiance [Dynamic Tension]
*Best Repress: Drexciya – Journey of the Deep Sea Dweller Vol. I [Clone]
> Events >
1. DEMF / Detroit
2. Amon Tobin @ Decibel / Seattle
3. VJ One’s Deep Sea Adventure @ The Union / Kansas City
4. Claude Young / Portland
5. Tim Xavier / Portland

Todd Howard
> Tracks >
1. DJ T. Feat. James Teej- Sense (Tale Of Us Remix)
2. Benoit & Sergio- Boy Trouble (Visionquest Remix)
3. The Martinez Brothers- Issshhh (Main Mix)
4.Tommy Four Seven- Sevals
5. Cesar Merveille & Guti- Maayancholy
> Events >
1. Need I Say More @ Old Miami, Detroit
2. KCTDC 2 Year Anniversary @ The Union / Kansas City
3. Vibalicious 5 / Nowhere, Missouri
4. Jack & Jill @ Gusto / Kansas City
5. Josh C @ Upstairs Lounge / St. Louis

PK
> Tracks >
1. Alicias Groove – Scott Diaz
2. De Ja Vu – Kinky Movement feat. Benji Smedz
3. Sittin’ On Top – Jorge Watts & The House Inspectors
4. Jamboo – Bryan Dalton
5. Fucking The DJ (Sexual Chocolate Chicago Jack Mix) – Bang Bang
> Events >
1. My Wedding feat Jack & Jill / Kansas City
2. Mr. Nuro’s I Aint 30 Yet Birthday @ The Union / Kansas City
3. KCTDC 2 Year Anniversary @ The Union / Kansas City
4. Frisky w/ Mark Farina @ BLVD Nights / Kansas City
5. Tommy Largo @ Upstairs Lounge / St. Louis

Amjanda
> Tracks >
1. Eats Everything- Entrance Song
2. Cajmere- Let’s Dance
3. Crazy P- Eruption
4. BHQ- Make U Want Me
5. Green Velvet – Harmageddon
> Events >
1. Escape in the Beats / Lake of the Ozarks
2. Derrick Carter @ Blvd Nights / Kansas City
3. KCTDC 2 Year Anniversary @ The Union / Kansas City
4. Jack & Jill @ The Union Patio / Kansas City
5. Jack & Jill + Todd Howard @ Gusto / Kansas City

Z-Sonic
> Tracks >
1. Charles Bradly – The World (Is Going Up In Flames)
2. Blawan – Lavender
3. El Polen – Valicha (Chong X RmX)
4. Will Azada – Like Lovers Do
5. Dubbel Dutch – Mad Loopz
> Events >
1. Hot Natured After-party / Detroit
2. Amon Tobin / Chicago
3. KCTDC 2 Year Anniversary / Kansas City
4. DJ Shadow in the Shadowsphere. / Kansas City
5. The Youth of Today at Motor City Wine / Detroit

Mr. Nuro
> Tracks >
1. A1 Bassline – Falsehood
2. MAM – One Of Them Nights (Alternative Mix)
3. Round Table Knights Feat Orgis Debris – Say What?!
4. Bowski – Leggings
5. Catz ‘N Dogz & Martin Dawson Feat. Nnaji – No Nights
> Events >
1. Dirtybird DEMF Party / Detroit
2. Matthew Dear / St. Louis
3. Peter Gabriel / Kansas City
4. Trentemoller / Lawrence
5. KCTDC 2 Year Anniversary @ The Union / Kansas City

Please also check other Slices features:
www.youtube.com/user/ElectronicBeatsVideo
www.electronicbeats.net/tv

Slices Special DVD about Richie Hawtin is still available at www.eb-slices.net

Slices – Pioneers Of Electronic Music Vol. 1 – Richie Hawtin

The launch of this DVD special series, Slices – Pioneers of Electronic Music celebrates in detail the life and work of prominent artists or “pioneers” in the global electronic music scene. The first edition is a documentary film based on electronic producer, performer and industry icon, Richie Hawtin. The film draws from the important stages and events in Richie Hawtin’s personal and artistic life, revealing the journey of an introverted and transplanted computerminded teen that develops by way of Detroit’s radio and records fueled by pure driven passion into a successful techno-entrepreneur and global DJ entertainer.

A short film directed by Tyler & Jack following Jesse Rose for a month around Europe. The documentary coincides with the double CD compilation released November 28th 2011.

Coming strong in 2011, Matt Veloce is a budding house music producer and DJ in the Minneapolis music scene. With his latest releases on Terrence Parker’s label, Parker MusicWorks, and with a recent Tommy Largo remix on Alphabet Music, things are looking good for Mr Veloce.

In addition to being a DJ and producer, he, along with Aaron Litschke, are Loud + Clear. Together, they run a successful night on Saturdays for First Avenue‘s BLACK in the Record Room, bringing in heavy hitters like Paul Johnson, Gene Farris, Mike Huckaby, Terrence Parker, Terry Mullan, Chuck Love, Drumcell and Pezzner.

Last weekend Matt was able to come down with Aaron to help us celebrate KCT resident Mr. Nuro’s “I Ain’t 30 Yet” Birthday Party at The Union. We’ve had this mix set on the back burner for a few weeks and after his set last Saturday .. it was time to load it up. Check out Matt’s exclusive mix for our More Interest series and catch the words from the interview.

Matt Veloce – KCTDC_MoreInterest_Six by KCTDC

[ CLICK HERE TO DOWNLOAD ]

Name:
Matt Brady

DJ Alias:
Matt Veloce

Years behind the decks:
I’ve been deejaying for about 12 years now. I got my first pair of turntables on Valentine’s Day 1999.

What was the first record you purchased:
My first dance music record was “I Like To Get Down” off of Communique Records, but it was given away during a New Year’s Eve party in Minneapolis called “I Like To Get Down” so I didn’t really purchase it. The first dance music records I ever bought were “Spend the Night” by Danny J Lewis off of Locked On and a used copy of “Guide My Soul” by The Messenger (Todd Edwards) off of Nervous. But the very first record (any type of music) that I ever bought was “Born Annoying” by Helmet.

What type of platform do you prefer to perform on (ie. Decks, CDs, Serato, Traktor):
I started playing on turntables, but in 2008 I switched to CDJs and I fell in love with them. Now, I prefer CDJs over anything else.

What drew you to the type of dance music that you play:
This is a great question. I guess it would be disco. I’ve always felt a strong and natural pull towards funky, soulful music with a strong beat. I remember seeing “Sounds of the 70s” commercials on TV when I was very young and loved the disco on there, especially “Boogie Oogie Oogie” by A Taste of Honey. By the mid 1990s, I had discovered that this music I loved was called “house music” and I was hooked. It’s musical, it’s danceable, and it puts me in a good mood!

Favorite record label:
This is tough! If I had to pick just one, I would say I Records. I’ve been playing their music throughout my entire career (I played UK Garage from 1999 until 2003). Currently, my favorites are Robsoul, Large Music, and Guesthouse.

Best place to find new music:
It might be a little cliche but I like Beatport.

Favorite Live Act / DJ to see perform:
My favorite DJ to see live is Terrence Parker. I’ve seen him do things on the decks that I didn’t think were even possible.

Do you produce, if so, where can your original productions be heard:
I have been producing since 1997, but the world didn’t hear my music for about 12 years. In 2009, my first single, “Let’s Get Some Love,” came out on Terrence Parker’s imprint, Parker Music Works. It was received well and had support from a number of heavy hitters like Tedd Patterson, Luke Solomon and Jimpster. I feel very humbled that a track I made in my bedroom got so much love from so many people who I admired for so long! It’s a great feeling and for me, a dream come true. I followed that up with an EP called “In Memory of Willie” on Parker Music Works in 2010. At the beginning of this year, I did a remix of Tommy Largo’s “At the Beach” for Alphabet Music. I have a forthcoming EP on Alphabet Music called “Rainy Days” which should be out in the next few months and another forthcoming EP on Parker Music Works called “Woman from Moscow.” You can hear a Terrence Parker re-edit of “Woman from Moscow” on Music Works Volume 4, coming out on Friday, November 18. The full EP is due later this year.

Besides music, what else do you collect, if anything:
I like to collect vintage video games, particularly anything having to do with Atari. I have a pretty sweet collection of Ataris: two 7800s, an XE Game System computer, a Lynx and a Jaguar. I also have a Nintendo and a Super Nintendo.

When is the best time to listen to dance music:
The best time to listen to dance music is in the morning. It gets you up and out of bed and it can put you in a good mood while you’re brushing your teeth and getting ready for work. It can start your day on the right track.

What do you order at the bar:
Rum & Diet Coke is a favorite standby, or a Gin & Tonic. If I feel like something sweet, I go for a Tom Collins.

Bristol boy, Eats Everything loves booty-shaking house, basslines and anything beef burger related. Feeding on a fast-rising year of success, Daniel Pearce has set the pace for heavy releases to watch in 2011 with ‘Entrance Song EP’ signed to Pet Recordings, winning massive support from the likes of Seth Troxler, Claude Von Stroke, Pete Tong and Catz & Dogz, as well as remixes on Leftroom and Hypercolour. Shortly after, he was snapped up by Dirtybird’s Worthy to knock heads on the ‘Tric Trac’ track and with his passion for house “with a little more grunt,” big bass and solid beats, its Dirtybird where Daniel has well and truly found his home. With ‘The Size EP’ out tomorrow and a fabric Room One debut next Saturday, we wasted no time in getting all the gossip on why Daniel digs Dirtybird, Bristol and house music. His thoughts come tied together with a groovy, bass licking mix that will have you dancing the fabric birthday blues off in no time at all…

[ READ FULL INTERVIEW HERE ]

For its latest documentary, RA visits techno’s current capital city

Real Scenes is a series of films, supported by and conceived with Bench, in which we explore the musical, cultural and creative climate within electronic music’s key destinations. We’ll look at the role singular figureheads—producers, DJs, promoters—play in making their city’s music scene a point of world-wide interest. We’ll also look at places, spaces and inspirations, seeking out the essence of what gives these hyper-local scenes a truly global resonance.

Berlin has always been a special place, and especially so when it comes to electronic music. When the Berlin Wall came down in 1989, techno became the underground soundtrack to the reunion between East and West. In recent years, it’s become an international destination for ravers—a cheap place to party with clubs that are renowned throughout the world.

Techno has become a business in the meantime. Yet Berlin still maintains a credibility that other cities lack. To understand why, RA and Bench have teamed up for another edition of Real Scenes. We went to the German capital eager to find out about its unique history and the reasons behind its continued relevance.

Real Scenes: Berlin from Resident Advisor on Vimeo.

Foster has been a DJing since 1995 when he bought his first turntables. His sound is a hypnotic blend of techno, tech-house, and minimal with an emphasis on beat-driven tracks for making the dancefloor a moving, living thing. The vibe he sets is reminiscent of those from the glory days of rave; where the beat are the mantra and the sounds are the progression into a dream-state.

The KCTDC team got to meet Foster this past January in St. Louis. He was playing a late night set at for the Matthew Dear after party, opening for KCT resident Josh C. Foster’s selection that night was dark and gritty and was perfect for the after hours location. Shortly after we knew we needed to snag a set from the St. Louis veteran and sit down to do a little Q&A session. For those in the Midwest area make sure to clean your calendar Labor Day weekend, because Foster is also on the bill along side Berlin’s only CHRIS LIEBING (!!!) and KCT residents PK and Todd Howard at Boogie Knight’s Vibalicious 5.

Foster – Music for Imaginary Friends Volume 2 (August 2011) by foster303 [ CLICK TO DOWNLOAD ]

Name:
Justin Foster

DJ Alias:
Foster

Years behind the decks:
Bought my first turntables in 1995 so it’s been 16 years.

What was the first record you purchased:
My first techno record was something mediocre on the Harthouse label. Bill & Ben or something like that.

What type of platform do you prefer to perform on (ie. Decks, CDs, Serato, Traktor):
I played on turntables from 1995 up to about 2008. After holding out as a vinyl purist until then I finally went completely digital and bypassed CDs. Nowadays, I’m using Traktor Scratch Pro on a four channel mixer with a Kontrol X1.

What drew you to the type of dance music that you play:
I remember being a kid in the early 90s in Lake of the Ozarks. We didn’t have a music store besides Wal-Mart until 1994 when I was a teenager. When Music Biz opened up, there were some cool cats who worked there and they had a real good Electronica section full of stuff I sunk my teeth into. I had dozens of those “Best of Rave/Techno” CDs and loved them all. Back then noone knew what a rave was or anything about the music. I loved turning friends on to electronic music and that was what really got me into DJing. To this day it’s still about that, playing music that people have never heard before, never arranged the same way.

Favorite record label:
Plus 8.. Runners up: Minus, Drumcode, Highgrade, Hybrid, MBF, Clink, Resopal Schallware, Soma

Best place to find new music:
Beatport, Resident Advisor, and sometimes shazam or DJ Mix tracklists.

Favorite live act / DJ to see perform:
Richie Hawtin is by far my favorite DJ. It was amazing opening for him in 2001 and watching him use Final Scratch for the first time along with his effects. Last time he was in St. Louis was July 4th, 2009. I was once again amazed watching him, this time rocking four decks on Traktor plus using Maschine as his 909 and it’s 101 other uses. I would LOVE to see the new Plastikman shows. I was also a huge Orbital fan so that’s a duo I’d love to see before I die. I still love to dance to house music so I always get down to the likes of Mark Farina and Derrick Carter. I’m also really excited to see Chris Liebing at Vibalicious 5 this summer!

Do you produce, if so, where can your original productions be heard:
No productions at the moment.

Besides music, what else do you collect, if anything:
I collect spores, molds, and fungus. Actually I’m a big film lover and have a habit of quoting movies all the time. My home collection is 500+ DVDs and climbing.

When is the best time to listen to dance music:
Party time? All the time? Labor Day weekend at Vibalicious 5!!

What do you order at the bar:
Miller High Life, Vodka Tonic, Raspberry Mojito, or Sprite

RA continues its new video series with a trip to the birthplace of techno.

Real Scenes is a series of films, supported by and conceived with Bench, in which they explore the musical, cultural and creative climate within electronic music’s key destinations. They look at the role singular figureheads—producers, DJs, promoters—play in making their city’s music scene a point of world-wide interest. They also look at places, spaces and inspirations, seeking out the essence of what gives these hyper-local scenes a truly global resonance.

You can’t talk about electronic music without mentioning Detroit. The city’s DJs and producers birthed the genre we now call techno. Detroit, however, has always had a creative streak, due in large part to the boom and subsequent bust of the auto industry. Quite simply, Detroit is a city of extremes, and its music reflects that. Detroit’s importance in the global electronic music scenes is often referred to in the past tense. With the recent emergence of Kyle Hall and other young Detroit producers, however, it’s clear that a spark remains. When RA visited, they found a number of artists with their eyes (and ears) firmly set towards the future. After their time there, it’s clear that Detroit will endure and innovate for years to come.

Real Scenes: Detroit from Resident Advisor on Vimeo.

Jon Jon started DJing in 2000. He maxed his credit cards on a pair Technic 1200s, DJM600, and 1000 records. Shortly after he started playing around the region, started producing, and started Deep Fried Gold Records. Under the Deep Fried Gold label he was able to release solo productions as well as work with dj partner Mr. Nuro under the name Shenanigans.  Under the Shenanigans title Jon-Jon and Mr. Nuro created tracks that were charted by the likes of James Amato, Santiago & Bushido, and other merging heads in the Fidget community. After a stint playing Fidget and Electro Jon came back down to a sound that is in between Jackin House and stripped down Techno with that good Ghetto flare. 

Jon has been a long time friend of the KCTDC staff and is currently holding down a Minimal Techno night in Wichita KS called “Three Diminimal” at John Browns Underground Lounge. KCTDC residents Josh C and Mr. Nuro will be paying a visit to ICT to check out the event in Oct. 15th. We recently sat down with Jon-Jon to ask a few questions about his past experience and see what he is up to today (and also to get our grubby hands on one of his new mixsets.)

KCTDCPodcastMixedByJon-Jon by jonjonkershaw

Name:
Jonathan Robert Michael Kershaw

DJ Alias:
Jon-Jon / Jon-Jon Funk Phenomenon

Years behind the decks:
10 years.

What was the first record you purchased:

What type of platform do you prefer to perform on (ie. turntables, CDJ’s, Serato, Traktor):
Technic 1200′s w/Serato, Sony V700DJ Headphones and preferably a Pioneer mixer. Lately I’ve been doing some LivePA so in that case the Akai APC40 with Ableton Live is the way I go.

What drew you to the type of dance music that you play:
In my childhood I spent summer and winter vacations in England and hearing all the music from my older cousins was a big influence. Over my DJing career I’d say the countless trips to Kansas City to hear tons of talent local and import the like. Those two factors pretty much developed my affection for stripped down Jackin Techno with tripped out Ghetto Bass. Also being an English ex-pat I’ve always got to have a name for everything.

Favorite record label(s):
Past: Panhandle/Classic/Relief/Cajual
Present: Get Physical Music/Made To Play/Mothership/Dirtybird

Best place to find new music:
Believe it or not but YouTube and Twitter are great. Also blogs like Discobelle, You Can Call Me Pelski, and Voulez Random. Also of course Soundcloud.

Favorite live act / dj to see perform:
Claude Vonstroke, Justin Long, Heidi, and Derrick Carter. I want to see Jesse Rose, Major Lazer, Martin Brothers, and Flying Lotus

Do you produce, if so, where can your original productions be heard:
I do produce but I’ve been on a hiatus but will be finishing stuff up this summer. Some of my past tracks and mixes can be found at http://www.soundcloud.com/jonjonkershaw

Besides music, what else do you collect, if anything:
Being a Software Developer for my day job, I collect different kinds of software. Anything from iPhone apps to open source Arduino software to VSTs to Kinect Hacks.

When is the best time to listen to dance music:
I have three places. 1) on the dancefloor duh 2) while coding 3) late night with headphones on when no one is around.

What do you order at the bar:
Either a Stoli white russian, Tanqueray/Sapphire and tonic, or PBR.

[ photo: Kevin Heckart ]