Category: Biography

Biography, Education, Information, Japan, Knowledge, Reflections, theshineprjct, Toronto, Travel

travel story – lesson 4

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This is the last and most profound lesson I absorbed during my time in Japan. It’s something that I hadn’t expressed verbally but more so- an observation and a feeling. Whenever I do talk about Japan with folks who’ve never been to Asia, one of the many remarks made is that ‘it must’ve been a cultural shock to live there’ and although it sounds correct it isn’t. The culture shock hit me when I returned to Toronto. It took some time to process the difference and it also took time to flow again with what I’d known my whole life. For example: how to navigate where I was headed (on public transit and professionally) once I got back. I had to learn how to reject what people around me suggested I do.

Let me tell a story as I did with the first 3 travel stories for context. Every morning, when I first arrived to Osaka-I’d take the train to work. When you (a foreigner) arrives to Japan, you stand out (you’re not them.) It takes awhile to get used to, so the people around you seem like a blur because it’s a new environment. I’d head into the office (a whole multimedia centre) to teach English modules by webcam (pretty much what Zoom is like today!) *13 years ago we taught by webcam…..anyway during breaks, between classes, lunch hour, no show classes and finally at the end of the day- I’d sit around the centre talking to other instructors, operations staff and sometimes even the cleaning staff. Lemme focus on the cleaning staff. You know the saying we see often: “speak to everyone in the same way, whether he is the garbage man or the president of the university.” I discovered comes from Albert Einstein. I think about that quote a lot but I think about it in reverse. It’s hard for me to explain this in a way that doesn’t sound short sighted.

As teaching staff in that office we did our best to keep it tidy and clean up after ourselves-it never seemed disrespectful against the cleaning staff. After seeing 2 cleaning staff members almost everyday and talking to them here and there within the office space; there’s an observation I made as I navigated the city for my next 2 years there. Folks in all areas of the society worked hard, happily and with purpose. Please click the link that follows later in this paragraph. I use the term ‘happily’ very carefully. I observed the way different societies placed types of work in categories and then I observed those that actually worked those jobs; they worked with a kind of esteem I’d never seen before. I also looked at (the way workers interacted with each other), the people in the cities they worked for as well as public exchanges and cultural interaction between them) It was different.

One night, I observed two city workers on my way back from a DJ gig, both were bowing to each other after their shifts. It was something I’d never seen before. I looked at the way a city like Toronto places heavy importance on the status of an individual whether it be the ‘look’ and ‘show’ of class, wealth, clout and/or intelligence or the outward keeping of appearances to exude (being worthy of respect solely based on luxury, materialism or race) and then the hush, hush nature of being support staff and/or performing ‘blue collar’ work. Here’s a very unique thing to keep in mind also: the education process is quite intense in Japan- so no matter what your future looks like, by the time you choose a career path (most young people would have studied ALOT.) Everyone is well learned and fierce with the books.

So let’s step away from my intricate observations for a moment. This is the transitional part of myself I want to share here: One morning I was on the train-a few months before I ended my contract and came home. The train was packed. Typically, you will see on TV around the world what Japanese urban centres look like during rush hour. I used to hold the bar tightly preventing myself from tipping over on to other passengers. As I stared out the window on the train I felt someone looking at me. I was so used to it by that time: being taller than most, having dreadlocks and then later a little afro (I chopped them off) and the the obvious just being black…..anyway

I looked to my right and then my left and saw a couple standing together both smiling and waving at me. For a second I thought they looked so familiar. They waved and greeted me. I then realized who they both were, dressed to the nines and headed to work. I didn’t recognize them because I’d only seen them in their work uniforms for almost three years. I didn’t know they were husband and wife-she had a beautiful Prada jacket, handbag and hat-he was decked out in a beautiful and VERY expensive suit. I don’t know why it hit me differently at that moment. But the resonance for me hit in waves and it said ‘it’s necessary to have self esteem with whatever you do-no need to be fake about that shit, provided it’s safe, legit and works for you, NEVER FEEL ASHAMED for where you are NO MATTER WHAT YOU DO.’

I know it sounds like a judgement against them (the cleaning staff couple) for me seeing them dressed up and then later dressed for work-it wasn’t just seeing them at that very moment that made me think like this, but a series of events and observations of them at work that led me to embrace this message strongly. It prepared for the next decade in Toronto with no shortcuts. It was a culmination of things: I was headed back to Toronto with all types of plans for the way I wanted life to go and leaving the Canada I once knew and returning after sometime. This was a very much a ‘from the ground up‘ process. I’ve worked at many places to get by, to get through school again (Humber PR) and to literally, make it! And even when I was made to feel like what I was doing was beneath me at many intervals in the last decade; depending on where I was whether it be around certain groups, environments or classist circles that for some reason attempted to stamp that permanent mark of ‘less than’ on my back or forehead, I constantly reminded myself about what I had come to know after setting foot back in Toronto. I understood a resonance I described to you up top. Teachable moments are often more of a sense than anything else so please excuse how this message rolls out.

Looking back at the last 12-14 years, I realize there’s so much I had to learn by going through all types of experiences to get what I wanted and it wasn’t easy. I don’t think I would’ve had the grit I have today to sustain my goals if I hadn’t been through as much as I did. So after all this extra descriptive language and explanation, I formally re-discovered ikigai a few days ago. I also realized that what I’m trying to carefully explain here is ikigai in action. It’s definitely a strong cultural mindset. Even though I embraced hard work most of my life with diligence. I worked jobs in spaces and places I never thought I should or could do-THAT was my cultural shock. Here’s a paragraph that explains the concept and how it should ideally work:

‘Pride and camaraderie are more difficult to define and obtain. These two values are different in that they depend on each individual person’s character and needs. They are reliant on the relationship between the employee and his or her job (pride) and the relationship between the employee and his or her coworkers (camaraderie). What each person needs to be proud of their job is personal and unique and it’s crucial to ensure that everyone is in a role that satisfies their goals. The quality of relationships between coworkers depends on the personalities and different preferences each person has as well as the ability of the team to match them. Pride and camaraderie can be related back to the concept by ikigai when you think about appreciating others for their personal reason for being whilst valuing yourself for yours. This will create a harmonious work environment composed of successful individuals.’ See more about this concept.

Naturally, it was easier for me to work retail, wash n fold laundry service, cashier, bartending or server jobs after experiencing ikigai. No shame in the game-you learn a multitude of things and are exposed to dynamics you’d never see, know or understand otherwise. It’s humbling yes, it might even feel like punishment. But having a sense of pride, esteem and full comprehension of all angles of work makes you know shit very well. So, this wasn’t something I picked up in one trip-but over the course of my stay in Japan. It’s something that’ll always be a part of me. I know how to put in the elbow grease with no complaints-I know in my mind where I’d like to be. Lastly, I judge no one.

For ambitious folks, this lesson 4 is:

what you do for work isn’t your final destination

Biography, DJ Culture & Music, Music, Toronto

Nicole Chambers Uplifts Us With Take Flight

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Her voice is poignant with a strong and powerful message that speaks to the times we’re currently in. I listened to this song so many times. It’s gorgeous. She channels Sara Vaughn and Erykah Badu can you hear it? She also equally enjoys Ari Lennox and Victoria Monet and Lil’ Wayne. She reaches in from a VERY different angle that not everyone can hear at first listen. I first saw her at The Hustle a late evening showcasing that ran at the Drake Underground for a little while a few years ago.

We met on the West-end before the COVID lockdown of 2020 started and had no idea whether to wear masks or not-but it was like we’d continued where we had left off that night.I met plenty of new folks that night and some old Toronto faves in the crowd that I recognized and with all the folks I saw, I just knew it was gonna be a dope night!

For the record, all the performers that night were amazing and it made me proud to see locals at a series that was so fresh at the time. It was such a proud moment as 20 years prior, I had always wanted to see stuff like this all over the city!

Take Flight slid right into my Spotify Discover Weeklies sometime in February and I wanna add: I really love both my automated music finds as well as the stuff I’ll always pick first…there’s a specific sound and style I like. I’ve been introduced to some really dope artists (through Spotify) and I take more interest in Canadian ones as I love to hear what they’re working with. ‘Take Flight’ is beautiful. The sweetness in her voice makes the message hopeful, full of wonder and discovery.

Ms.Chambers: Writer,Vocalist,Bramptonian,sometimes performing in Toronto,writes her ass off. As always I asked about the process and it’s quite unique.She went from journal entries and reflections with eventually evolving into songs and later feelings…it was never really about writing poetry.For someone like me who notices words-her lyrics sound pretty poetic…

About her latest track Take Flight: How would you (yes reader,you) best describe meeting your true soulmate? Do you know? Are you sure? It feels the way this song sounds. In a world filled with co-dependent lyrics how would you best pick up on lyrics that describe that knowing, that feeling? The elation,the wonder,the peace and the innocence. Listen to this song a few times-once you hear it-if you know, then you’ll know and you’ll appreciate the once in a lifetime experience through this song.

What would you tell artists who are breaking into the scene? In this case brand new like yourself? I’m new right now…..so I’d say keep putting out music. You don’t need to show everyone what you’re doing but it’s great to have a small circle or group of friends that you can present some of your ideas to make sure they’re real ones who’ll give you honest feedback y’know-A small connected circle,start with that. Sign up for different shows in your city. For example I didn’t know about Brampton’s Very Own was being run by Black Women and I’ve gotten a lot of opportunities from taking part in local stuff.

What’s 2020 been like for you so far? It’s harder to find stuff at the moment since things have slowed down and I added in ‘especially with the Coronavirus’…….and she added ‘since local is the focus we can’t go NOWHERE,yup.’

I saw the Hustle Academy-what I really liked is that she sang covers and later her own stuff…..How do you feel about doing covers? Erykah Badu is my favourite,I love Neo Soul covers and TLC especially. WE might have shows again…I’ve got the same guitar player so we’ll definitely do something again….She recalls that night very clearly, she sang something by Summer Walker, she also did one of her own pieces Committed Fool and TLC’s decades old classic No Scrubs. She likes a little bit of a mix of old and new sounds……

Is the vibe different out there? Nicole proudly states ‘I was born and raised in Brampton….and as a brand new artist yes, I feel the big difference. When I do shows in Toronto I’m often asked where I live and new fans and supporters are often shocked….and we laughed hard at this……cuz I’ve lived out there for some time…….’there’s ALOT of talent in Brampton and sometimes we forget how many people have lived at one time or are from Brampton and please give it props….she starts listing them (artists) off Roy Woods,Alessia Cara,Jessie Reyez and also Tory Lanez…….

Around that time I had attended a FACTOR event Women and Inspire Toronto Serial Entrepreneur & Sandbox Studio Owner/Creator Kiana ‘Rookz’ Easmond spoke about her experiences in the industry-she talks about very specific topics women face-from image development to being questioned for their talent and building a viable and memorable career. Rookz talked about one of the issues she felt Toronto had which folks not sticking around long enough to watch artists grow. I turned the question over to Nicole.

TRUE or no? Is that a thing Nicole? Not sticking around to grow? There are so many new people dropping material every month and yes nowadays Toronto is a bit of a hit factory. It can be overwhelming for both the artists and fans….it’s important to have female artists all existing together so that vocalists and writers can all somehow collaborate alongside each other-it’s as if she knew Meg and Cardi B were about to drop something almost 6 months later…!

I was so excited to talk about Take Flight-For those who know, the feature rap artist ‘Stretch’ is from Scarborough his tone, his flow and his writing is stellar. She loved working with him and she announced that they’ll continue working together in the future. And about the message she didn’t think many people would make the connect at first and at the moment this meet up was right after Valentine’s Day she’s so sweet too when she says ‘I’m really into love right now…. and I wrote this song for the person I hope to meet .I haven’t met him but I wrote it as if I had met him already’ (the power of manifestation at work there.)

For someone who doesn’t write poetically….she sounds like poetic justice. Listen to the song a few times…..If you’re on any kind of a soul mate journey-you’ll really get this…I’ve noticed that her voice has gotten stronger over the years since HCIF How Could I Forget (look up this song) She’s been doing intense vocal warm ups before shows and daily (as her body is her temple) and it has made a HUGE difference with her vocals. We talked about Reiki healing and it’s helped her voice.

About your future: Where do you wanna take this? I want to travel-Europe, the states, anywhere my music will take me. As for collabs-more local collabs…Stretch is on the list Mole, Zensoul, Junia T (who was nominated for Polaris Prize Shortlist in 2020) She notes that they are amazing people and excellent artists. She’s working on an album and is due this September..she’s aiming for an RnB album/jazz flavour with a Hip Hop flavour – she really loves a wikked drum pattern. Expect something a little experimental…it’ll be fun! I write all my music but I want to have some poetry in it finally so working with MCs will bring that extra piece to my next album…

If you’d like more nuggets of treasure-check out her beautiful and growing discography.

 

 

Biography, Holistic Health, Knowledge, Reflections, Toronto

New Vibe,Who Dis? (In Remembrance of Who I Am,Do You Know Who Are?)

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What in the self-quarantined absorbed post is this?(It’s an interesting time) This was a use-for-later-affirmative-self-rebuilding exercise I put together about 4-5 years ago! I picked this up the other day while clearing out papers and pieced together why I assembled them this way. I was meant to pick this up for later.‘FOR LATER’ is actually like,right now!

Quarantine is such an ideal time for this kind of exercise. This exercise is used to ‘remember’ who you are. I picked this up the other day forgetting that I even created it and the point of the photos were to imprint our happiest moments along with what was happening at the time and photos of people that exude the energy that is most often always you! (I didn’t have any #essence magazines at the time I’m sorrrry mannn) 😆I combined my photos with things I’m #grateful for-I have jars of these everywhere as well as post it’s and also awesome things people had written about me during a team building exercise …. I got to know many of these people over the course of a few days and these are some of the most heartfelt things I’ve ever read!

I’m pleased with the little pieces I gathered because over time in toxic environments,toxic persons and traumatic events (like COVID) are riddled with projections and may skew how you see yourself in the world. It’s truly a process to rebuild all that. It’s quite easy to lose those some of parts of yourself……

  • Relax…..you can be woke and sexy…..!

I welcomed the positive re-inforcements because I felt open-hearted and comfortable around these people and I got to know them in a way that felt REAL.

The point I’m trying to make:you may not be the person you used to be but some of the core elements will never change and if they’re good-don’t lose ‘em. They’re your most valuable assets (not physical btw) Wherever you go and whoever is chanced to meet you…..those traits do stand out. Don’t let anyone/thing change that about you….and if anyone doesn’t know, it’s okay-you know it for YOU. Super special thanks to Sereda at Naturally High Life for setting me up with this exercise-I created it after completing a few of the modules she created on her site and this was the last item I tucked away!

Keep Growing,

Keep Building,

Be Fierce,

Love Yourself (Wash Your Hands!)

*I never look for external validation BUT I do know what is true about ME…..and that’s pretty valid😎 (Hopefully this downtime helps you realize who you are also!)

Biography, DJ Culture & Music, events, House Music, Movers & Shakers, Music, promoters, Reflections, theshineprjct, Toronto, women & entrepreneurship

DJ Heather – Apollo Records – (APT) Chicago’s – International – House Music – Summer Series 2018 – (Chicago) Pt.1

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With DJ Colette doing a sound check, I sat with DJ Heather instead: Instead, Heather and I had a REAL good chat.We talked about soooo much- from coming of age,to transitioning into motherhood and remaining artistically inspired. I’m glad the interview was split,we had more of a ‘let’s meet for drinks’ kinda chat.She took control of the energy and convo as I’d expected from a DJ and we journeyed through each topic pretty much like her set later on that night at Second City Sessions. Her energy and style are undeniable.

At 20 years in-she’s reflective and is now finally feeling that she is progressing,thriving,comfortable and starting to feel good….she said ‘as an artist you do have moments where you ebb and flow continuously’ So where does this endless motivation come from? ‘There’s an engine inside of you that continues to drive and regardless of what people think about age,gender-all those social mores fall to the wayside’

On coming of age and being a DJ she says one of her greatest moves forward is when she started focusing on herself and all the other chatter just disappeared- it didn’t matter anymore. The people who usually bring up the age or gender thing are those wondering how long its gonna take to achieve a certain status OR they feel that you’re not inspiring as much as you think you are. But along with that-there’s a clichéd phrase that ‘if you’re not inspired you should retire…..’I don’t really feel like I’m at that stage now to do that and there’s been many times through my life as I’ve DJ ‘ed and I remembered that making music hadn’t really been a thing that I grew up with-I never said I’m going to be a DJ, it kinda just happened’

What role has music played for you? Music was always been something that ran parallel with what I was doing with my life. Working for record labels, I was still always in the music industry but not truly focused on the art of DJ’ing. And over time I really enjoyed the element of DJ’ing because of the ability to TRAVEL. There were numerous friends I met and even still today I continue to meet more people and still enjoy what I do. It can be a struggle at times now because I have an added family element to it (just ask Colette) but it still gives me life, it still gives me enjoyment-the literal act of playing music for people is so satisfying but it becomes more of a difficult thing trying to make a living from your art…and I think that doesn’t matter what age you are-whether in your 20s,30s,40s,50s,60s-whatever 70; but in my personal experience I’m a big fan of artists regardless of the medium they choose.

I admire the fact that she has continued with what she does cause you know, it ain’t a regular job. She explains as an artist that ‘the ones who continue to create probably do it because it’s an ever-present thing like a scratch’ and in this case she has to itch……..lol

We are very aware that in accordance to society, even with modernization and some changing values-regardless of what they do,women often take pause from their paths,careers or jobs. Heather re-iterates ‘we do struggle with stuff and even I took time off after he (her son) was born. I was off for five months give or take, maybe three months?…..And my first gig was New Years Eve the following year!’

About how IT (pregnancy) went: I played up until my seventh month- so yeah, I was at the club and my husband was leading me through the venue and I was playing and literally he helped me up onto this stool. But it was a part of my life that I wanted to experience. Being in a relationship with a person (knowing this is the person I’d love to have a child with) and with this  addition it made me change the way I operate in terms of the flexibility of working when I wanted to (that was gone.) Being regimented,being scheduled and disciplined came back-it was like being in college again. (In a strange way.) You still have all this time but you have to learn again how to make that time work for you because you don’t have a lot of it- and between trying to compartmentalize the childcare with everything else, it kind of dampened. I’ve come out of that little ‘baby-ness’ stage. He’s got his own schedule now-he’s got his own feet. He’s in school so that gives me the opportunity to drop him off and I can work as much as I can during the time that he’s at school.

Do you travel with your son yet? He’s yet to come with me on a trip but he’s seen me play at street festivals and stuff. So he feels at home.

Have you noticed his musicality? I see it- but it translates into the fact that he thinks the DJ stuff is cool and he likes to dance. He’s still kind of figuring out what he likes. He’ll pretend to play…We’re just letting him pursue what he wants to pursue and just kinda find his feet. He’s in the studio sometimes, other times he doesn’t want to be in there. Yesterday he came on his own and gave her a sticker installation with labels to be there for her in the room and she put it on a speaker. He left a piece of himself there with her.

How important is it to have a partner that understands what it takes? Has it been easy? It’s been helpful for sure-I wouldn’t say ideal; but it’s great. We’re in total opposite worlds. He’s in corporate construction and I’m in art and music so we’re not really perpetually talking about the same thing. We appreciate each other and we appreciate what we can offer. He’s more in the tactile side of corporate design so he works with colour and fabrics.He’s more on the art side of his business as well. So we still appreciate art in very different ways.

Mind if I ask how you met? He met me as a DJ, he arrived at my show early and met at the booth. And here we are quite a few years later….. 😉

DJ Heather on relationships: As any relationship goes whether it’s a friendship,marriage or partnership (it is work) but if you both know that your end goal is the same and you don’t want to bail and you’re ready to work through it- that’s half the battle and that’s what’s kept us going and it’s just that awareness. It’s difficult when you’re polar opposites.I wanna be able to do my thing and express myself but I’m also a Mommy and if I weren’t doing this I wouldn’t be the mother I am.Being myself means that I won’t ever have a sense of animosity-so there is a lot of freedom I’m given for sure- and I’m very lucky…..

It’s a powerful conversation to have at this time when women are making bold movements to balance work,purpose,entrepreneurship and identity-This had to have been the highlight of our discussion as the theme running globally is women’s empowerment. There’s no direct path…..I explained my level of concern at this juncture in my own life. She admits ‘I never thought I’d be married, I never thought I’d have a child. And both have happened and I’m still maintaining some sort of career that I’m happy with. I’m still always trying to find out methods that feel organic and natural and very honest. And I’m still trying to maintain that honesty, its very difficult to do. She still feels very fortunate to have people that she can still play records for and can share music with them for this long! And I said surprisingly WHY NOT! Fabric 21 and the House of OM Mix CD were stellar projects-Her insightful breaks from my questions had me looking at her role from many angles.

 

She explained this to me: As a DJ you know that the number of DJs-per-capita has grown. There’s the myth about what a DJ does and what a DJ actually does. Many of those who are discovering the art now are finding that there is no way to kind of ‘break in’ to the scene-unless you have a big record or a ‘team’ or unless you have ‘followers’. Now there are all these other things that you don’t have the luxury of cultivating over time. It’s more instantaneous (Where’s the lie? It’s true-this is one of the industry’s biggest changes!) 

Let’s humanize DJ Heather for a moment: She’s grateful for the opportunity to learn a lot of stuff through trial and error. Hopefully she says,’I’ve built a reputation of being a solid DJ but all the other stuff comes with it. The music stuff is great but hopefully being known as a decent human being and the other stuff falls in line. And of course your relationships should be great. I’ve always tried to make life ‘normal’ and not take it as seriously but only take things as serious because its important to me-this is where I’ve found more balance. It’s about balance. Balance is a good thing.’

It’s about the music: I asked her about new Apollo Records track ‘The Acid’ with Berlin based Detroit producer Lauren Flax (June 8). She’s a great producer,Lauren is one of  her fave persons and can produce her butt off. It dropped June 8th and this ‘Acid’ track Heather describes as raw, to the point and machine based. They collaborated on this track and there are remixes out on her label. (partnered with Dann X and Little Mark) At the time, (May 2018) teasers and promo packs had gone out-the single is now available on Traxsource and the acidity is fresh!

Is there a revival of the Acid sound? There’s a kind of revival but just like Nu Jazz it comes in waves. When people say Deep House is back or Acid Jazz is back-it doesn’t really leave. IT sort of appears in waves of consciousness and you hear these records and they’re kind of throwback but they are also sounds that people really love to hear. There’s warmth,grit and depth.

About Blackcherry Recordings, it says House and Downtempo…….is that something you prefer? Do you like that sound? Yeah, as it pertains to Black Cherry I try to have it perpetuate the Chicago sound-It’s more trackier (polished) stuff as well as Downtempo stuff so it’s a kind of homage to Classic House sounds-let’s say upfront tracky stuff (that’s what I tend to focus on with Blackcherry so I was happy to bring it back with that J-Fader EP and I’ve got something coming out with another artist she’s from Chicago T Mixwell….She’s fantastic and she produces lovely music……the track is currently untitled but its’ coming out before the end of the Summer/early Fall.

For artists on the label are you looking for something specific (sound?feel?) When you receive submissions?You know if I feel something, again-its an honesty thing. It’s like this is right..someone’ll send me a track and a few pieces. I might play it out to see or get a sense of where it could go, if it’s perfect or if I think it’s super hot. I play it and get a response and see the initial feeling about it. That helps me verify in that moment. Its like oh yeah…this is pretty dope. I decide if I’ll make some changes and that kinda thing-I kinda like to test run stuff. I do the same with Apollo Records music as well. I test it out at the club and how a room responds to it spatially. It’s not always in the spirit of House Music. For example Derek Dunbar submitted some stuff and I gave it the nod. It’s nice for people to have it (new stuff) so they can put it out because there’s a market for it.

Do you ever have people approach to ask you to help them out or hook them up? (a leg into the industry) Sometimes,but it’s not that blatant, the help now people are looking for are things like ‘could you say something about my track or could you chart it? could you tweet about it?..but again I do share stuff that I feel connected to. So if someone asks me and its kinda weird, I’m not sure but if I kinda know them and they need a little push I’ll do it, its no problem as I’d want anyone to do the same for me.  In the past I would usually reach out to people and tell them their track was awesome and because they were so enthused, they would literally help me out and PUT ME ON tour and let me open-but there’s plenty of that stuff that clubs don’t wanna do anymore.

She explains the way being PUT ON works today: They’ll have these tours where the headlining DJ picks their supporting cast…..unless you have a camp like Dirty Bird they’ve created a culture where everyone’s in-house and literally everyone who’s with the label throws their own events and showcases their own artists, that’s a  formula that has worked for them.So from top to bottom all night,you’re gonna see people who’ve put music on the label or down with their crew and it’s worked! And when they’ve put their people on they’ve added a particular flavour. People are trying to replicate that formula-sometimes it works other times it doesn’t. Or you’ve had stages that are set up at one event or big festival….and let’s say  for example you have Green Velvet, he’ll have a stage with people he really likes and it works.

I tried to do that at my Smartbar residency by kinda mixing it up with people who haven’t played at the club before. I want to get them in the rotation-so they can get used to the club setting…..(it helps them build confidence too!) Sometimes the club sees the new DJ’s potential and they might want to put that person on. By doing that-new people bring a network of friends OR FAMILY, that’s what it should be about! She’s passing the torch in a sense…..Having friends & family who come out to her events gave Heather confidence back in the day. In an encouraging way she says ‘they can put these on their resumes,get other gigs or put that flyer aside as part of their archival information’ It’s almost like passing the torch……

Imagine what kind of advice she’s going to offer which such an in-depth interview…..Must read. 

  • Don’t be limited with what you think you should be doing versus what you truly want to do. Take risks when you feel like you should. Even now- She still feels nervous before a show and (the fear factor is good.)
  • Never assume what’s going to happen at a venue-even with a sound check (you may have an idea of what to expect but you never know…..all those things are nice to know, but you won’t always know)
  • Make sure you have all your tools (part of your arsenal) to rock the crowd. There might be people at a club, festival or rave who have no clue who you are….its a reality. Don’t forget that you’re there to entertain, to bait and switch…. sometimes it’s okay to give people something that’s relatable. That’s where the balance is.(Starting out as a primarily HipHop DJ gave her another tool to use-because Hip Hop audiences usually only dance to shit they know (truth lol) and that’s the commercial aspect of it. But she was able to squeeze in stuff during sets back then- she really understood the art of DJ’ing, whether it was with Downtempo or Hip Hop

 

What about the way women connect on an emotional level with what they do musically and artistically (Production/DJ’ing/Music?)  I shared with Heather  recording artist Kelela’s Opinion piece from earlier this year at  Resident Advisor and it  then spurred a whole conversation on how to proceed beyond that context. She clearly has had different experiences but the future is here. She says, ‘All Women, Women of colour,Transwomen and LGBTQ groups- these are the voices in vogue now…how long will this platform be in place? Will it stay a trend? Being in the industry for as long as she has been-she doesn’t really feel that it’s no longer about the ‘shine’ on music or artists that has changed-it’s just something people are used to now. After all IT IS entertainment. But women have always been behind the scenes and contributing for a long time. From management, to artists, to DJ’ing, to production and just now we’re seeing women as par for the course. Her advice with these changes is to take advantage of this platform, the visibility, the people paying attention and to not be afraid to ask questions and speak out-especially within a learning capacity. If people think you’re being ridiculous it’s okay….don’t worry about the boys club. There are plenty of women,spaces and places where you can find help, get questions answered, obtain resources from blogs, online and printed media outlets and even platforms like YouTube tutorials for example to learn production, DJ’ing techniques and still maintain anonymity. Feel free to learn your craft the way you’d like.

Just like any other city in the world Toronto’s tempo has changed and what people enjoy has changed as well. DJ Heather from sister city Chicago is excited to still be able to play from a fresh spectrum and it sounds like that! Second City Sessions is a collaborative project that was born from their (DJ Colette and DJ Heather’s) House of OM CD release back in 2006 when they toured and traveled with Fred Everything and Andy Caldwell. Fans love to hear Colette and Heather spin together and they deliver the synergy that works between them whenever they play. DJ Heather will be playing alongside Gene Farris, Jason Hodges,Teeloo and Mike Gleeson on Saturday July 27, 2018 after the lunar eclipse at Toronto’s CODA-it’s gonna be an electric one!!!

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Biography, DJ Culture & Music, events, House Music, Movers & Shakers, Music, New Jersey, New York, promoters, theshineprjct

Honeycomb Music – Josh Milan :Two Time Grammy Nominated, One For The Team (January 2018)

theshineprjct

Photo Josh Milan

I enjoy writing spiritual lyrics, conscious lyrics that touch your very soul. I love writing lyrics like that-just because I love it so much!  …..and in rolls anotha one *cue DJ Khaled

The journey to the Grammys is not quite as straight a path as it appears and as this article is being published mid–January 2018, Honeycomb Music Label Owner Josh Milan is a certified two-time Grammy nominee. To see someone in the community reppin’ a music genre that is marginally recognized by the greater music industry-is amazing!

shine – I’m thinking there’s no way that he’s not going to take home a trophy. No way. Not this year…..

House/Dance Music-singled out and officially categorized in and around the main ‘streams’ is a BIG deal. Not that it makes it any less underground or exclusive but it keeps the culture alive and well. Good music, good lyrics and great instrumentation are definitely a BIG deal in the Land of Josh Milan. I was surprised; not that he shouldn’t be a contender on that list, but mostly that the Dance category was added to the newer category list! Again, right next to Louie Vega!

Milan feels that things need to change (with respect to the Grammy Nominations Review Committee)he says, ‘there are some excellent recording artists, producers and musicians coming out of the scene/community from all over and it’s something that needs to be recognized. This is how the culture needs to be kept alive. ‘Something needs to change in the industry’

I asked him how he felt about the Grammys transitioning into a more digital judging process-he felt that the decision-making process, as advanced as it has become, indeed makes voting easier and more inclusive of all artists-but life still remains modest as a recording artist.

Milan fully understands that many still may not know who Louie Vega or Josh Milan are but he does feel that, ‘it would still be our position whether we win or not; to teach and direct our people through music…..it’s challenging he says, ‘because there’s no money in it, NO MONEY chinedu!!!!’ lol

(I had to laugh about the way he said this BUT he really emphasized that there is STILL no money in music.)

The second surprising transition on top of the 3 new musical categories is that key players contributing to an album now include (Producers, Songwriters, Sound Engineers and Mixers!)

According to Billboard.com, any supporting roles ‘credited with at least 33 percent or more playing time on the winning album will be eligible to receive a Grammy in the Album Of The Year category’.  The biggest and most groundbreaking move is that full albums from the Classical, Jazz and Dance categories will now be included. This is a subtle but very successful way to pull the ‘Underground’ to the forefront and keep the culture alive.

It’s sad that the Grammy Association took so long to wholly recognize other genres but exciting that these genres can be introduced to broader audiences to build and sustain the scene. With the ‘best’ artists embraced by the Academy its’ a great starting platform for vast audiences to focus on strong artists in each category. With Canada and Canadian Artists making waves globally in other genres-especially at this year’s Grammy Awards Show, this huge path widening for Dance Music lends exponential opportunities here up north. Especially those artists known to us.(Yay, Canada!)

Dance is broad but Dance encompasses so much and that’s the beautiful thing about this move! Milan feels that it’s truly an honour to be acknowledged by his peers and it may enhance the types of projects he’s going to work on from here onwards. It might even expand his artists network. But no matter what-He is focused on doing more music.

Being in the scene,working in the industry, loving the industry doesn’t have to be solely about the money if you have a clear idea of what you want to do.

Milan has left a huge imprint on the music scene over the last three decades. His participation has spurred musical movements and global scenes.That picture is BIGGER than money right? We talked about his career and the future of Honeycomb Music:

shine – Congratulations on your first and second Grammy Nomination!

JM- Thanks so much!It’s a great thing to say that I’m a Grammy nominated guy-it would be nice to say Grammy Award Winning Recording Artist Josh Milan….BUT mostly it feels good because I’m being acknowledged by my peers!

shine – How passionate are you about this music?

JM – I enjoy writing spiritual lyrics, conscious lyrics that touch the soul. I just love it so much! I know as artists that ‘we outta know better because when people approach me and tell me that the sounds and lyrics really resonated with their spirit, it makes it all worth it. We’re still gonna be doing what we do. What do we call ourselves? Musical heroes? Yeah, we try to save the world with our lyrics’. That’s what I’m tryna do. I’m still gonna do that! I’ll be that guy forever!

shine – Where would you like your career to go now?

JM – I want my music to be the kind of music that people are going to remember 20 years from now. I think at this point that’s where I’d like my career to head-in that direction. I’d like to have the kind of music that lasts forever, not so much what’s hot in the club right now. I want my nieces and nephews to listen to my music and be able to remember the lyrics. Longevity and all of that. I’m going for that timeless sound.

shine – When did your journey with music start?

JM – Back in the day, I started playing the organ in church. As I discovered my musicality I was unaware of my family’s church rules on playing instruments. You’re chosen to play. And with me being so young, I begged my cousin to show me everything and he showed me and I kept at it everyday, all the time. It was a natural thing at the time, and so I jumped on the organ and figured it out…… I started playing TV shows and anything I could remember in my head. I played it. It wasn’t until I was an adult that I learned I had a gift. I knew I could play- but I didn’t think it was a miraculous thing to play by ear.’ (yes, it is JM!)

shine – Studying piano is hard. I appreciate those who do what they do musically. It’s mostly hard when you’re taught and it’s not your learning style, its a lot harder when you’re older than school age. It’s not impossible but IT’s challenging.

JM – I don’t know how to read music, but I tried once. It was sooo hard…it just boxed me in so thoroughly. IT turned me off and I couldn’t do it. I know what it’s like for something that comes to you naturally.

After his revelation it made me wonder about school and how it turns kids off of learning….all it takes is just one person all it takes is a good teacher that’s able to recognize that a kid has a talent.He mentions one of his favourite writers and greatest Nobel Laureates of contemporary American literature (James Baldwin) who was given tools (books by classic authors) at such an early stage by his teachers at a time when African-Americans were given very little opportunities-this story inspires him.

JM – Kids have so many tools available to them these days due to technology. Kids can maneuver all that (tech) with ease and this is a huge step forward especially with very specific things like music and music production

Milan noted that nothing about the music business and musical content is intended to create inspiration or direction because music is sold and made for profit. That’s why he enjoys making and playing the music so much. This is the main reason he decided to make and distribute all his music on private label Honey Comb Music. At Honeycomb he says,’we keep it nice and clean’.

Honeycomb Logo

shine – Transitioning from a recording artist in the early 80s to an independent label owner and artist today-what are some of the biggest changes?

JM – One of the biggest changes I’ve seen is the steady decline in content and talent. The entire industry and record labels particularly has taken a complete turn/change. The excitement of good music has turned into the excitement of a lot of money. The good music suffers, y’know? Rarely do you find a great full album anymore. Back in the day you’d find just every song is like ‘ahhh man I love this’ its a rarity now. And of course, artists aren’t making the kinda money they are making today. Another is the cash grab.

Everybody is fighting for pennies whereas in the past people were chasing larger sums of cash. From 1989-2017 numbers/dollars/publishing and royalties have dipped a considerable amount. That’s a DRASTIC change. People (accomplished musicians even) hold extra regular gigs just trying to keep a roof over their heads. And finally, label ownership. Don’t come in thinking you’re gonna be making all this money.

It’s just not gonna happen. Everything’s rented. From women to vehicles. That’s why I have my own label. If money is gonna be shrunken and swallowed up-I’d like to be the one in control of it at least. That’s my position. I would politely decline any label offers-especially with creative direction and control. I’d like to have that. They (big music companies) need to make money.

shine – At what point did you decide you wanted to become a recording artist? 

JM – I wasn’t.  got looped into this thing, it was an accident. I was enjoying my musicality and I met a guy at church. I was playing and doing my music thing. Chris, lead singer of Blaze told me about a DJ that could make beats. We had no idea what a record deal was. We had no idea what a record label was-we would make tapes. We’d play music against record beats and come up with songs. Those recorded tapes we handed over to a guy in the neighbourhood who had just started a record label.

At that time in 1984, a record label was a real BIG deal. We had no idea about studios. IT was unbelievable. We made $500 for that and eventually Kevin sold his tables and we gathered $1000 and recorded something in the studio. We became recording artists after that. The 2nd label we signed with was Quark Records.

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We got on the radio. 1987 was the last time you could hear a House record on regular rotation on major radio. Then the 90s came-that’s what ended it all. Those were the last days….. it was the end of commercial House as I knew it. The other genres started to take over. The New Jack Swing and Hip Hop was becoming the future. We were slowly fading away. Shortly after that we were signed to Motown. That was HUGE.

shine – Did you meet Berry Gordy?

JM – Yes, I got to meet my heroes. I met Berry Gordy and Diana Ross. I’ve seen major things!!! I wouldn’t trade my independent for any of that.

shine – What happened at Motown?

JM – We were (Blaze) was dropped from Motown. They looked at us as the next Earth, Wind and Fire. A fully planned Marketing strategy was set up…….it was a big plan. Motown signed Boyz II Men and included them on very many promotions with the other big Motown artists at the time. Heavy D being one of them……Boyz II Men would go on to be one of the biggest acts for mainstream Adult/Contemporary but Josh Milan remained connected to the people.

After Boyz II Men’s debut- Blaze was dropped. They didn’t start anything or develop anything with us. House was seen as a bad idea and all projects related to Blaze were dropped. We were fortunate to have huge records in the scene. Many artists were supported by the masses. We had a good run. We got gigs. (this is possibly birth of the Underground maybe?) We had a good run……I realized very quickly that I had to create Underground sounding House Music.

That’s the only way I could survive. At the same time-commercial acts Robin S,Cece Peniston,Black Box,Neneh Cherry,Martha Wash and Technotronic were dominating the charts. I decided to go hardcore. My lyrics have been consistent to this day-but the sound was almost more dark and club-definitely not a place for the radio anymore.

shine – Who’s Alexander Hope?

JM – I used the name Alexander Hope. I did a bunch of songs under that name. Blaze made a few hits at the time too-I Found Love, Consequences and a song called Saturday (it was huge). We (Blaze) survived the 90s!

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shine – What was it like trying to make it in NY then?

JM – At times like those are when I loved the industry the most- any scene is supported by the locals in NY-you could be part of any scene in NY and make a living. Of course it would be a modest living. But you can survive.

shine – What are you working on right now?

JM – I try to find artists that make noise vocally. Reminiscent of Earth, Wind & Fire style music [loud with horns] I’m looking for loud music with horns and good lyrics. I look for strong instrumentation and solid production are key components I strive to re-create a 70s for 2018 sound. I’m currently working on a few singles with artists Ramona, Dawn Tallman and New York based Afro Latin group Ritmo Y Tumbao (percussionists who embrace African and Latin Rhythms) I add vocals and more rhythm to their music.

shine – Are there any favourite artists you’ve met over the years?

JM – Over the years I’ve met so many greats-from Phyllis Hyman to Bobby McFerrin but really, I would like to work with Chaka Khan. (Even accomplished individuals have people they admire!) I’m not sure if she’d work with me though. She’s my shero. I channel my inner Chaka Khan for #inspiration. I feel that maybe she wouldn’t take me seriously. I’ve wanted to work with her my whole career! (Ahem Ms. Khan are you reading this???)

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shine – What are some of the new rules to learn about the good ole’ music biz?

JM – It’s really important for artists to learn the rules of this biz, don’t come into the studio thinking that you’d like to work on music wanting it to sound a certain way. If you don’t know the rules, how can you win? Learn about publishing which is extremely important. (One of the biggest lessons I’ve learned.) Publishing rights for music and lyrics are even bigger than gigs. Keep all rights to your publishing. It IS a business. Treat it as a business first and foremost. Louie Vega is someone who has taught me about the business first. He taught me a lot. We both took different routes towards our careers. Louie to DJ’ing and myself to the studio.

I’m sharing this kind of advice so no one has to go through this walking into the industry. Many singers and vocalists arrive to the studio with no conversation or agreement and talk nothing about being paid. Many artists passionately want to perform and sing but this forewarning is solid. Lofty and dreamy ideas are great but before entering the studio, there should be some discussion about what you’re doing and how it looks financially.

Producers reading this might not like the candid advice I’m giving but it’s truth. Artists, don’t get burned! It’s rare that all-encompassing details are so direct-with these financial times we’re all really fighting for the dollars and if you don’t know something; nobody’s gonna try to tell you-be forewarned from here! You gotta get what you need for yourself. It’s an ugly business. Get it? Got it!

Stay Tuned

Every year he holds a birthday boat ride in NYC. Louie Vega, Jihad Mohammed hosted a House Music cruise on the Atlantic last year with guest DJ Mike Dunn (Chicago) and he brought it! This cruise happens every year!

The shine prjct wishes Josh Milan and Louie Vega all the best this month at the Grammy’s. Take one home for the Global House Team! 

-shine

Credits: https://www.billboard.com/articles/news/grammys/7832881/grammy-awards-changes-online-voting-album-rap-categories

Biography, DJ Culture & Music, House Music, Movers & Shakers, Music, promoters

Ralf Gum-GO GO Music-International-House Music Series-Creative Connection

theshineprjct

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When I meet artists with an extensive and accomplished body of work….I’m not sure where to start and what to ask….I’d love to ask about IT all. He’s released a slew of hits year after year over the last 6-7 years. He’s one of many really good German Soulful/Deep House talents with a production career spanning many decades! In the 90s he played at Studio Lounge (Wuertzberg, Germany) and Club Airport in his own town. On his first visit to NYC in 1991 he said ‘it was then that I decided that House Music was IT…..He became more focused on it after hearing people like Louie Vega and Ron Trent playing pure House all in one night- ‘I remembered how I had been so used to playing all genres at home and it blew him away.’

In 2001 he started label GOGO Music and used it as a platform to keep his style of music consistent and real. With such exceptional production he brings absolute harmony, soul and groove to the music! UK Blues & Soul Magazine says about DJ Ralf Gum: ‘He emphatically demonstrated his ability to orchestrate Soul House goodness on the grandest possible scale’ (And he does this well!) His productions have become more lush and full-bodied over the years. They’re deeper. I can identify a RALF GUM production anywhere!

In 2008 Gum released a very impressive debut project titles ‘Uniting Music’. It was unique in that it was one continuous connected piece of music-like a mix CD but seamless. With this production he pushed traditional DJ mixing boundaries. I wondered if he created a piece like this for creativity’s sake or for the sake of being able to mix for a long period of time-I realized he enjoyed both. We talked extensively about his connection to creativity…..

When he first arrived to Pretoria he really missed playing long sets and wanted to create a journey where he could play some obscure music and because there was more time, he could be left to create what he callsed an up and down of moods. That was one of his many main goals when looking for the right venue. The night would be split into two sets and everybody played 4 hour sets. With a open venue, it was easier to showcase more sounds. It’s not possible to pack all that into 1 hour sets. ‘It’s a lot of fun, I love this style especially when the venue has an amazing sound system. It’s just one of the ventures I ventured in when I first arrived here.’ (That was for him.) For the House Head, he says ‘it’s incredible-the real House Heads will hear old,new,known and unknown and this is just to keep House culture alive.’

Ralf visited South Africa for the first time in 2008 and during many of those visits he conducted DJ workshops. Those trips then became every two-three months. On his later visits he brought his wife. He loved that national SA radio plays sounded like a bunch of well crafted mix-tapes on air and at the time it was Osunlade’s latest playing on a taxi radio-like top 40 plays everywhere else. All media outlets promote and cover all aspects of House music unlike Germany where he comes from-national or local broadcasters would hardly play Deep House and National TV didn’t report about House either. It was never treated like other popular genres like Hip Hop for example-this is one of the reasons why he chose to change locales……

You’re not the first producer/DJ to talk about South Africa’s support of good House Music. South Africa REALLY supports the artists and now you’ve moved there-how’s it been? 

‘It opened up the possibility for a different way of life for me to be honest. I used to travel a lot for gigs and like many other DJs do today  for example I’d play in Europe one day and then tomorrow be in Asia or whatever.’ He emphasized that South Africa changed his life in many ways because the need to travel far was no longer necessary. He realized that over time he found much better gigs because this country has the highest consuming House Music fans in the world. He boldly sums it up that ‘wherever you go-you find educated crowds who are really into the sound which makes it a pleasure for a DJ like me to play for them.’ (I just love that he calls real House Music fans educated crowds! )

His move South reduced his time on the road and he could still play the same amount of gigs or more. He honestly says, ‘I obtain income and I can still do my music and most importantly I’m being appreciated as a white person of all places like South Africa…….. considering the history with apartheid….. which only ended 23 years ago…’ I paused for a second before continuing our conversation to let that sink in-that he even considered if he would or would not be embraced in a country with such a tense political history and that he would even speak about this as an artist. This was another topic that further broke the ice in our conversation. He matter-of-factly stated,”My race has a lot of implications… because people still don’t really trust the white man here……and this is very understandable and truthfully my luck is the music. Music is my connection with the people and through the music I’m very much accepted here…..with confidence.’

In 2012 Ralf emigrated to SA with his wife and kids. And dropped hit after hit, remix after remix with : All This Love For You, Complicated, Fly Free, Little W.12th St., Free Is All I Wanna Be, Take Me To My Love, The Pap and SO many more!

What was it like throwing your first conference/event at WMC (2006)? Did any opportunities come out of there? How were you received by fans? What was your expectation?

RALF: Tons of preparation, organization and very exciting to have an event in a space where you are not located. Many factors depend on the outcome of the event than if you were in your home town. I’d been to Winter Music Conference a few times before I organized the event with the label. So I didn’t completely tap into something I didn’t know. I’d been there for some years. It’s a challenge. It was a vehicle to promote the label. Over the years I’ve held 3 or 4 events with partners at different locations. We had great parties we had an impressive line up. So yes, I loved doing it. I stopped doing them because I felt that Miami didn’t have the relevance anymore which it used to have for me. In addition-it’s far away for Europeans. Its easy to reach for Americans but the costs involved in doing an event there just didn’t justify the fun and promotion. I eventually stopped doing them. It’s a great occasion to make contacts.To meet people. It’s especially great if you are new in the industry. Its important in case you’re starting a label and wanna get its name out there but it lost relevance for myself because I felt I had the contacts already. The only reason to continue is to take advantage of a nice and warm holiday!

 

 

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What are you working on today? This year? Who would you like to work with? Multi-genre?

I loved every collaboration to be honest. Most people I worked with again usually because it’s a mutual pleasure. What sticks out though is working with Monique Bingham. We go back a long time and everything we do REALLY has an impact so I feel we are a special match when we work together. Maybe Monique Bingham sticks out the most but I always find it a bit unfair because working with other artists who have a musical mindset and who love working with and creating music like I do……are very important.  I usually have a good feeling to pick who I should work with before I start working on a project. Sometimes even understanding why they are in the industry helps a project along…..if creation is the actual reason…it (the idea) usually works out perfectly with me… and to put out quality work is the spirit of creation.

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You’ve been to Toronto? You mentioned at the beginning that you’ve been to Toronto once? Yes. In the Winter. It might have been 2009. Or 2010. I had a great, great night. He wasn’t sure what to expect. He was told (by the promoter) that Hip Hop was to be played and later on that night move on to House. He said ‘I was like oh shhhhh…..it could’ve be one of the nights that the crowd would maybe expect something a little bit more commercial. It wasn’t at all what I expected. It was an amazing party! I can’t wait to come back at some point……’ (That’s Toronto!)

Sir LSG

Currently (June 2017) he is finishing up Sir LSG’s project (Circles-cop that album it’s gorgeous!) and his own album. (We talked a few months ago!)  Sir LSG’s album dropped yesterday! This past July/August he was helping with some mixing. He was inundated with requests to mentor and assist so many artists when he first arrived to South Africa and couldn’t help everyone. He’s helped break artists like Raw Artistic Soul and Black Coffee. He’s decided to focus on one artist at a time to be more effective and also give the artist a strong platform to steady their own career. Ralf will be refocusing efforts on his own projects soon and we should expect an album from him next year!

Here’s a Carl Cox quote: Your favourite artist was once a local artist, don’t wait until they blow up to start supporting. How do you feel about what he said?

He answered me with a German quote: ‘The Prophet Doesn’t Count In His Home’ but not being understood is a great school of learning…….Unfortunately we live in times where a lot of things are based on media hype and if you’re able to travel continents with your music and so forth, you suddenly become interesting to media that might not have cared about you for a long time. Actually you might have been doing the same thing in front of them all this time.

The reason being I can’t explain. I feel like I said its wrong but I wouldn’t know how to change it. I strongly believe you have to make it to a certain point in your hometown or country before you should start venturing out to other territories and as well you grow your skills while working with smaller audiences. For me it was a great school to fight against the prejudice that Deep House received. People at home thought it (Deep House) wasn’t hard enough and people can’t party with it enough. It made me better at reading crowds and work them rhythmically and get away with playing music that certain crowds wouldn’t necessarily listen to. It took me awhile until I was able to start travelling with my music. A good DJ is a good DJ and a good artist is a good artist no matter where he comes from. Look at the artist for his craft and not where it has taken him. And of course the city pays attention to it because it makes money…..

Next to the passion which is the foundation for creating or doing anything related to the arts is patience- which is extremely important unless you have a super hit and become a star overnight–usually is a long way to popularity or whatever you wanna call it or just to be able to make a living with your art. If you keep having passion or patience it will work out for you. I’m pretty sure there will be a lot of obstacles financially and in other aspects or other but you can overcome them and at some point with enough talent it will work out. It’s the most fulfilling thing to really do what you want to do and yeah if you make it to the point where you can fully focus on your passions. Its the most fulfilling and best thing that can ever happen to you but I think patience is the key!

 

Super special thanks to DJ Ralf Gum!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Biography, DJ Culture & Music, Establishments, House Music, Movers & Shakers, Music, Offering Recordings

House Music Series –International- Summer 2017-Migosy-Offering Recordings – AfroHouse/Future Deep

theshineprjct

Last summer as I sifted through some of the new tracks over at Traxsource. I stumbled on one of Amsterdam’s upcoming Afrohouse DJs. The track released at the time truly ‘quietly invaded the scene’. 

Fantasma is a gorgeous tune. He’s signed to Offering Recordings and has the deeper sound usually coming from that label. Earlier this year we talked about his plans for the future with Offering Recordings. Let’s look at his discography.

He’s dropped solid tracks for the last five years. Skyline (ITH) 2012 (Defected Records), Life Takes Time 2013 (Tribe Records),Embrace You 2014 (Z Records), Loyal People 2015 (Offering Recordings), Follow Through 2016(Global Diplomacy),Fantasma 2016(Offering Recordings) Each track has built on the release from the previous year.

Before this interview I went checking for your biography and found an awesome discography. I found maybe….one interview. Is this by design?

Thank you, and good to hear you liked the interview. It kinda depends on the questions that are being asked. I try to give as much information about myself as possible without the feeling of reading a book or something. But always pure and honest.

Get to know Migosy….Migosy is based out of the Netherlands which lends a very unique sound to the Afro House style.Offering Recordings and Migosy were brought together because it was a combination of the right timing as well as his unique/rhythmic sound. Offering Recordings is always looking for something fresh and new.
Music was a strong influence from a very early age. He remembers fiddling with his Mother’s amplifier. He’d mess around with buttons and knobs. He’d turn the amplifier on/off in a rhythmic way.

He laughs ‘it would keep me busy for minutes…my mom would stop me of course because I was interrupting the music and that’s was pretty annoying for her’

As he got older at about 12; My brother (Fode) got me a PC so I could explore my musical needs a bit more. I had no idea I’d be making hits some day. He thanks his brother!!! ‘thanks bro’ It’s amazing when family can/does support your goals somehow.He grew up listening to 80’s music: Prince, Michael Jackson, Duran Duran, Ollie & Jerry, Rocksteady Crew, Earth, Wind & Fire which made a heavy impact on Migosy wanting to make music. I could easily fall in love with their music. One very important person in his life, his sister Aisata Blackman she taught him how to really sing!se taught him how to sing in a different tone and how to vocally harmonize. It’s so enjoyable. They used to sing along to 90s RnB-R Kelly,Shai,Jodeci (ain’t nuthin like 90s rnb!)Aisata is currently the lead performer/singer in Sister Act-The Musical (in Germany) I’d love to watch her perform if I (shine) get a chance!

You’re based out of Amsterdam-besides ADE what is the Underground House scene like over there? Is it anything like London or NY? I haven’t experienced the underground scene in London or NY yet but I can say Amsterdam is poppin’. There is so much raw talent here. That’s why myself and my good friend Deep Rooted Soul started our concept Cuisine @ Club NL, Sifa Siluvangi (Label Manager,Offering Recordings/DEPTH Music) recently played that other night was fire!!! It’s a concept where we book DJ’s who have their own sound and are not afraid to try something outside the box. Currently we’ve moved to a new spot in Amsterdam which we’ll reveal soon!

During ADE we work with many international names & labels in the scene such as my big bro N’Dinga Gaba & Global Diplomacy, Federico Luyo & Double Cheese Recordings/House of Franky, Pascal Morais & Arrecha Records, Paris Cesvette, (Ministry of House) Todd G and many more.

5) How has the Netherlands embraced your signature musical set? (What do you like to play?) I have to be honest, it took a while for people to understand what I was playing, but it didn’t take long for my sound to really stick. We as Dutch people have so many choices so you really have to come up with something good to impress us. (kinda critical yes?) lol

6) Describe your spiritual connection to music in general? What about Dance Music?Everything in life is a vibration, with music it’s the same thing. That explains why music can trigger sadness, anger, happiness or euphoria. It triggers our emotions. Now that I’m getting older I seem to understand this more and more. Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination and charm and gaiety to life and to everything. -Plato

8) With the warm reception of ‘Fantasma’ are you working on anything new for 2017? 2018? I’m actually always working on something new so I can play exclusive music in my sets. You’ll notice on his Jan 2017 top 10 Traxsource choices. If I can surprise myself I will definitely surprise the crowd I’m playing for. I like to test my music first before I put it out. But there will definitely be some new releases coming out this year.

9) When are you visiting North America? Do you intend to visit North America? There aren’t any plans just yet but I would love to pay a visit one day!

10) Any advice for other cats in the game? For young cats starting out? We all have our own story to tell.It’s okay to be influenced by anything, but make sure you stay authentic and create your own sound.  That way you’ll stand out from everything.

Migosy on Twitter>>>https://twitter.com/migosy

Migosy on FB>>>https://www.facebook.com/Migosy/

Migosy on IG>>>www.instagram.com/migosymusic

Migosy on SoundCloud>>>www.soundcloud.com/migosy

 

 

 

 

 

 

 

 

 

 

 

Biography, DJ Culture & Music, Establishments, events, House Music, Movers & Shakers, Music, promoters, Reflections, Social Media, theshineprjct, Toronto, women & entrepreneurship

House Music Series -Typical Cat…everything bass. turntables only-LOCAL-Installment 6 (Toronto)

theshineprjct

 

Typical Cat

It’s amazing to have a blast from the past……a lady I met about 7-8 years ago we talked about turntables and vinyl. We stayed in touch. Look at what she’s up to now…..

Who are you? DJ Typical Cat

What’s Her Story?

As far back as she could remember her Dad was a drummer. He collected records. Her aunt was a country music singer. ‘When I was younger I was listening to House Music and stuff…I’d turn on the radio and I would just feel it in my heart…stuff like Electric Circus or Much Dance…you know that kinda shit?’ When she first heard something she liked she says, ‘I felt it in my chest, I felt it in my heart…. in high school about grade 8 or 9, Freaky Flow was the first guy I heard of when it came to Jungle or Drum N Bass. In high school I heard his ‘World Domination’ album  and it got me hooked. I heard Nelly Furtado on a track with the drums and bass and I wanted to understand this type of music more. So I got into guys like Andy C, Dj Craze, Dj Hype. I’d always loved this music without knowing what it was. I wanted to know about it and I started to go to raves by myself and I just knew that I wanted to DJ and I was just there for that.

About her first gig…. Her very first event and it was bigger than she expected. This was one of  her very first BIG events at Velvet Underground. ‘I was nervous as hell but I had fun with it and opening up for Plastician was a huge deal for me because he was a DJ, I looked up to in so many ways.’ She noticed that people loved what she was doing. She mentioned that this is something that women go through. She remarked that women should be confident especially when wanting to pursue a thing like Dj’ing. Some people will like that. Focus on the positives.

About raves….I wasn’t going to party and do drugs. I would just watch what the DJ was doing- I just knew that I wanted to DJ.

What did you do the first time around? In grade 9 my mom asked me if I wanted to sign up for-those program books for summer classes. And right away I was like I’ll take that! Then in grade 11 when I had enough money, I bought tables!

How were those classes? What did you learn? ‘I took that class and actually Oscar ‘DJ Grouch’ was the first person to teach me how to use a turntable. He taught me VERY basic stuff-he taught me motions like scratching and stuff, not cuts but feeling it out with drums and using levels. He was an awesome connect because he’s pretty big in the city. Knowing him made me feel like I was on the right path. He wasn’t just some guy turned DJ. He was part of the scene, he was a great teacher. He would even give me records. I started with Hip hop and I went from that to Jungle.

 What kind of music do you like? ‘My heart’s with Drum N Bass. I love listening to the radio. I love top 40. I love funk. I love listening to things I’ve never heard. My sound right now is Bass.’ She plays unreleased dubs straight from producers-I love things that are brand new!

How’d you find your style?  It was a journey. It’s taken her a few years to know her musical taste. She plays a more Housier Bass style now but for awhile she went through a Jackin’ House style even. But really, mostly ‘I need that Heavy Bass…I think I found my sound at Plastician-it has the same BPM as House’ (Yes, it does.)

Working with Alan Lam-what’s that like? Her partnership with Alan Lam (Stranjah) didn’t just happen, It came after some time. ‘He’s got a wikked business sense and very passionate about his work. I’ve thrown parties with him and I know there’s a huge following. Regardless of that-I love this music! She is grateful for her crew because they know what they are talking about. They are pioneers of Jungle. It makes her feel confident.  When they’ve produced tracks he asks her opinion. She never questions his decisions when putting together events or tracks. She recalls her first ever event headlined party with Demuir which was a huge success.

About Vinyl and Serato ‘I really need to learn not to carry records everywhere that I spent so much money on. I went switched to Serato. It’s the next best thing. It’s like faking records. So now I just stick with Serato. It’s funny cuz I feel like I’m stuck in the past with all of this. People are all up on their shit with CDJs and all that. There are USBs wherever you go. Something about the CDJs are just not my thing….I’m a record and turntable person…it’s not the same feel. I need to feel it. People now know that if they’re booking me I won’t show up without turntables….I made it that way.’ She doesn’t care that it’s a hassle. ‘People have told me I wasn’t gonna make it anywhere because I insist on turntables. So many people say it’s not industry standard.’ She thanks and shouts out club owners who come through with turntables.

About Old Skool tunes…. Some old heads have said that they’ve heard some parts of her mixes/sets. They listen to her mixes and they say that the samples or funk records are from back in their B-Boy days…..’If I hear it and I like it and it’s usually from an older genre’.

Vocals? No vocals? ‘I like some singing but not too much of it. It must be subtle….not too overdone. It’s hard when you have a set with too many vocals. Actually, it’s just not my style. Sometimes I like vocals every 2 or 3 tunes. I usually like vocals at the beginning of my mixes because it draws attention to the crowd.’

How do you prep for a gig? ‘You overcome your nerves. Even if the bar is empty I used to get nervous but like always I’m still riding off of it. The rush you get from it is amazing. You break walls after the first gig. You reach out to people you don’t even know. People tell me they’ve downloaded my shit and bump it in their car. And I’m thinking…. I did that just for me….I’m still riding off the gig I did 2 nights ago’ lol

Your Mom and Cousin were at your last gig…..

She told her Mom to wear black to fit in. She thought it was everything that her Mom felt it would be. I talked to her about what my mother said also. It was something out of a movie. ‘I didn’t think my cousin was gonna stick around but she stayed ’til the end of the show!’ She remembers how her mom used to yell at her because all she would hear is Bass shaking the entire house and she’d tell her to stop. Shockingly she kinda yells out ‘Now she’s coming to my parties?!!!! It was very weird. I haven’t even heard her opinion yet. I’m so scared. I don’t even think she has an opinion it was just something for her to experience in the moment. It was amazing. My mom would ask me back in the day about the Bass shaking the walls. I think my mom was very proud of me.’

Cat, who do you wanna work with? She wants to work with anyone specifically with the people who throw Promise parties. She wants to bring her sound to Costa Rica. She sees herself in Europe. (Anywhere in the UK) and many of the people she works with are always touring there. We talked about the Underground and how our scene is quite different from across the pond. For example how progressive and genre flexible the musical tastes are.

Any advice to those in the creative field who want to venture into production, promotion, Dj’ing anything related to the industry/scene? (As a woman to the ladies out there what would you say?) Throughout our talk she kept referring to the old her…’. I was so concerned what others thought about the music I played-now I don’t give a shit’….You don’t always have to play for everybody else just play for yourself. The people who like it will enjoy it….!

How about people who have an original skill/sound….We talked about upcoming female producer Wondagurl she comments ‘I can guarantee you she’s doing shit she loves. I’m not big time nothing but I’m just doing it cuz I love it. I wasn’t ready for it before. I’m ready now. And all the things I’ve always wanted are coming to me. I love this music!’

Cat emphasizes….‘I can’t stress enough…you need to stop caring what other people think of you. Just do it. Reach out to whatever connection you have-because not everyone has them-and if you know even one person that’s into the same thing as you or if you know one person that you’ve looked up to, reach out to them’. She’s reached out to people from across the world on Facebook alone…. ‘It’s that easy, some are flattered and will do everything they can to help you. Take the plunge and just ask. She realizes that she’s the only person holding her back and if it’s meant to be it’ll come’.

Typical Cat spins next at Round Venue in Kensington Market, August 25th 2016

 

Thanks, Cat!

Check out her set Typical Cat – Live @ Rumpshakers Present AMIT + COMPA – July 2nd, 2016 on SoundCloud!

Vinyl Rainbow

 

 

 

 

Album Reviews, Biography, DJ Culture & Music, House Music, Movers & Shakers, promoters, Toronto

House Music Series –International- Marie Joly – Offering Recordings – Gratitude’s Debut

theshineprjct

 

Marie Joly had a lot to share about life lessons, humanity and love. Offering Recordings first lady’s music is described as ‘strongly perfumed with spiritual and conscious messages’ What grabbed me was the album title…I have much to be grateful for. GRATITUDE. Simply titled.

Boddhi Satva declared Marie Joly as ‘one to watch’ 3 years ago during our interview. She was still in production mode when he first visited Toronto and I listened to minor releases until I saw a quick blurb online a few weeks ago that her album debuted on Traxsource at #16! What an entrance! She’s not a stranger to the underground scene though…..this is just one of many projects she’s been working on…we Skyped- me in Canada and she in France! Awesome convo….

Me: Marie-Joly thanks so much for this interview, I can’t believe you’ve finally released some beautiful material after a few years under the radar. Congratulations on your success. Your single and titled album ‘Gratitude’ debuted at #16 on the Traxsource ‘House’ charts.

Me: How would you describe your music?

She: I would describe my music as harmonic, it goes deep, it could be House….if people dance to it maybe……its hard to classify the genre. It’s healing music. I know I want to move people, emotionally and spiritually, like Boddhi!

She: I would call it ‘Spirited House-it’s a more natural sound’ She says ‘I try to be harmonic and soothe people, if I can make people dance that’s ideal’ I’m so proud of this album because even though they are unknown or locally known from (France/Scotland) they are flexible yet experienced artists. “I call it New Age; Funky”

Me: Why music? Tell us a little about yourself? How did you get into making music?

She: My favourite part…I played music from a young age. I was a classically trained musician, I studied ballet, I read music, I played the piano.

Instead of rigid music study she spent time studying improvisation (thinking outside the box). She had to practice Chopin but jazzed it up during practice. Her teacher wanted her to learn the Classics but she continued her musical studies in Jazz.

Me: You’re a multi-talented person…. How long did it take to finalize this specific project?

She: From the time Boddhi suggested I get working on an album to when I handed the album in, it was about 3 years…. so naturally some stuff on the album is older. This album is a good synthesis of my production history. Some old and some new. I needed to create pieces that completed a story.

Me: What does/how do you roll-out your creative process?

She: ‘My mind is always creating, I walk in nature, I hear melodies. I’m walking in the street (I hear melodies, I have lots of inspirations.) I can hear what’s happening in my head, I even hear sounds with silence. You can process sounds and sort them out, it’s kinda like musical meditation’.

Me: What comes first, writing or studio time? Are you a House producer?

She: I produce first, I lay down backing vocals first-it’s a transformative process. It’s spontaneous and in the moment. I go back to adjust and press record. It’s like I’m telling a story. I write about how I feel when I’m looking at me. I’m not disassociating my personality but I look at it. (Be sure to have a listen to ‘Lovin’ You’.) It’s one of those examples. I’m grateful for simple things in life, nature, music, friends and my life. I’m an avid vinyl collector too!”

Marie Joly

Me: What’s your favorite part of the creative process? What’s your least favourite?

She: My favourite part is pulling together sound files, ideas and beats and sounds I’ve saved so many sound files so I can work fast and not waste any time while the creativity is showing up….My least favorite is bittersweet; working with the likes of Atjazz and Black Coffee the pressure is on to create solid output (superior sound.) So humbly she says ‘you know these guys are tenured, you learn from them, it’s humbling-they show you production tricks and knowledge and you’re completely blown away….When I think too much in the studio I lose the thought and vibe so I like to be spontaneous. With that spontaneity you find that some producers are highly spiritual and they are definitely running on a very ‘Deep’ vibration when they make and play music.’

Me: So are you are a producer? (I hate job titles and labels but I had to ask.)

She: I don’t take myself purely as a songwriter or producer. I speak from emotion-I write about emotion. I improvise like Oggun. (Known for his protective nature and his ability to spark ingenuity.)I layer tracks and sounds. It could be spontaneous or it could be here and now.

Me: For this album, did you work on any tracks with Boddhi?

She: NO (he’s 100 supportive from the sidelines) I’ve got a few very close friends that call often to see how I’m doing and they are always checking in to see how smooth the production process is going.  But how I met Boddhi was ‘synchronicity’. She ties this in because it really was a chance meeting.

I was making music but I didn’t know I could get into distribution. I  ran into a producer for NHS Scotland and was commissioned to make a soundtrack for a documentary on Lenox Castle-a hospital. The filmmaker was asked me to do this for NHS National Health Scotland. (Sounds familiar with Jellybean’s story huh?) I worked on it and eventually handed in a tape.’ It’s then that she realized music (her music) was a business!  Fast forward to Winter Music Conference WMC 2007 she did plenty of promo in Miami right around the time he (Boddhi) released his first single on the Soul Heaven compilation. He encouraged her to work on something……this produced ‘Lovin U.’ (Oh la la…qu’est ce qui ce pass?) Boddhi played it EVERYWHERE-it was re-released and remixed by Louie Vega and it did VERY WELL! Boddhi recommended she work on an EP and album. Voila, here’s the album!

During her formative musical years she moved to Scotland and resided there for some time-and it is in Scotland she says she ‘listened to music differently.’ She discovered their ‘Underground’ and slowly built her recording studio and also where she discovered turntables!

Me: Who would you like to mention from the Scottish House Underground or off the beaten path?

She: Aqua Bassino, Vashti Bunyan (brilliant folk singer/songwriter), Craig Smith & The Revenge (check ’em out.)

Me: Who are your musical influences? Who inspires you musically? ‘Nick Holder I respect his musical craft.’ A lot of the times though she says, ‘It’s not just the music that makes me enjoy their music-it’s more than that’ Her favourites, [Boddhi] with the ancestral movement/sound. She really likes J Dilla’s production he helps explore her approach to music production. Other favourites: 4 Hero, Bilal, Vikter Duplaix. She lists so many more….

Me: Who would you love to work with?

She: Osunlade, Moodyman are on my list.

Me: What next for Marie Joly and Offering Recordings?
Marie Joly: Album #2 is 50% done but you never know…there are no collaborations. I’ll work on it myself but if something presents itself I could end up working with anyone.

Her parting words…..Marie Joly <<<(she’s on Twitter) believes that ‘Even though we all try to live with our art, we all have the power and capacity to not only focus on the business side of music. ‘It feels empty that way.’  She promises that this album has more artists with more experience and you do feel it [the ethereal sounds] on Gratitude. You can purchase the album on iTunes.

Marie Joly Just Be

Biography, DJ Culture & Music, House Music, Movers & Shakers, Music, promoters, Toronto

House Music Series – Lars Behrenroth – Deeper Shades of House – International- Don’t Let Your Friends Listen to Bad Music

theshineprjct

 

DontLet_BlueFull

Don’t Let Your Friends Listen to Bad Music (Quite explanatory, but still explained)

‘I pick music that I want others to hear. I consider the people that tune in like friends. I want to supply them with what I call good music . The connotation can offend people but if its good it doesn’t matter the time, place or format its in. I have a hard time keeping myself to one sound so I like to share it with friends.’

I was pretty stoked to interview THEE Lars Behrenroth (the don’t-let-your-friends-listen-to-bad-music DJ,the hardest working DJ in show business) You know the Lars I’m talking about!! We open Skype screens both seated with shelves full of vinyl but his collection continues and continues on. My almost empty shelf of vinyl starts and ends with the span of the camera shot. This shows how long he’s been in the music game.

On the day of our interview he mentioned he was editing sets from a huge festival he played  in South Africa a few days prior….As we speak he is editing material from his recent set in Africa…Check it out here! http://www.deepershades.net/dsoh-shows/deeper-shades-of-house-502-guest-mix-by-paskal-urban-absolutes.html

Some really cool facts about Lars from back in the day…

  • As a young man he first found out about slip mats on TV prior to that he was using plastic mats
  • He’d been around music for some time-In 1984 he started breaking, he remarks about a scene he saw in Flashdance…watching a Breaking sequence. He tried it out and had no idea what he was doing …but loved it.
  • The acronym TALK is a collaboration by Lars Behrenroth, Kolai & Taha from T-Kolai featuring the lyrical stylings of Mustafa Akbar and collectively they produced the single ‘Touching You’ and released it on vinyl
  • 70-75% of the buzz and publicity for this single came from South Africa.

Production/The Art of Dj’ing: Where it all began….

He’d been around music for some time. I think it’s incredible that a musical revolution/wave influenced a whole generation that set another trend for a whole other generation how cool is that? He came from a very small town of 60,000 people in Germany. This musical phenomenon changed the game for him. He was enrolled for organ lessons by his grandparents, he was signed up for a musical program at 3 or 4 years old. As a teen he had no idea how to mix. He says, ‘I would play out songs by Kraftwerk and Frankie Goes To Hollywood at the time.The kids (ages 8-13) were always too shy to dance so I’d dim the lights at the school dances to create a night club feel.’

Much later he purchased a Commodore 64 computer and created his 1st SD6 computer sounds. The finished product was nothing musical. He says, ‘It was very ambient-ish, broken kind of beats and sounds. Almost experimental. He later bought a keyboard and recorded a 4 hour VHS set. He had an AMIGA and used his first sequencer software. It was only much later that he studied audio engineering to learn exactly what to do in the studio.

Speaking of experimental….I talked to him about CDR Toronto and he felt it was a great idea. He was aware of CDR Berlin and admitted he was ‘too self-critical to put music out so quickly’ (this is kinda how it is in Toronto.) He did mention that something like CDR would be a great platform to put out remixes.(Big ups Gavin  and Koray!)

You’ve been dj’ing officially since 1986. And you moved to LA in 2004. How’s LA been for you?I enjoy living in LA, I try to spin in the area as often as possible. I started a radio segment ‘Global House Connection’ with my then roommate when I first lived in LA (first a 4 hour and years later a 2 hour show.) When I first arrived to LA I was purely motivated by the music and was playing music for the ‘Nu Jazz and Broken Beat scenes’. I noticed that the scenes were VERY separate. (Sound familiar in your city?) I used to collaborate with LA DJ Veteran Wayne Lyons, we did a night BOTANICA in 2007 and played out 4-5 times a year. The great part about being a travelling DJ is that you get to experience different scenes and vibes in various cities.

You bring a slight Euro-Tech sound to productions that are clearly very Afro…how does the fusion occur? Do you intend for tracks to come out this way?  I like to pay respect the original as much as possible. Often times remixes are completely different than the original. I like the challenge. I’ve taken the shuffle sound from Techno and used it on many tracks.I never know what I’m gonna end up with. I’m somebody that makes, music one way or another. I’ve been a fan of bringing sounds that don’t necessarily go together.

I (shine)personally enjoy guest features…I noticed you started using guest features on DSOH. (How did that come about?) Lars was one of the first and few  to broadcast music online. He always like to share the space when possible. Some of the DJs don’t get the exposure they deserve except for their 10 friends. He was trying to attract a different crowds. ‘I figured I couldn’t record 3 hrs every week-so why not share the space with others. It’s more interesting too!’

Speaking of internet radio:  ‘There are only a few internet radio stations that have a full listenership. Even with a small audience radio stations still fuel music discovery. Especially in South Africa! House music fans are getting younger and younger…Just like Rap-House Music gets kids out of shit. You see this with success stories like Black Coffee’

What is it about SA that keeps you going back? Honestly, they (South Afrikans) party like it’s the last party on Earth. It’s the only country I get the recognition, they embrace the music the way in which it is intended to be reached. The musical education is so much higher than the rest of the world. North America used to be like that. EDM is popping up here and there and you know as production people, DJs, House Heads, Musicians you know what we do in a place like SA. We gravitate there. 70-75% of the buzz and publicity for this single (Touching You) came from SA. This is why Lars contributes to the scene there. The single was re-played/re-introduced in 2010 and VERY WELL received. The original for ‘Touching You’ came out on label ‘Perfect Toy’ NU Jazz (which was big in the early 2000s) 2003 was the first release and again re-released in 2010. I thought it was new “originally released on vinyl in 2003 and licensed by DJ Mbuso for Soul Candi Sessions Two, this remix marked the beginning of Lars Behrenroth’s growing exposure in South Africa.

What is the European/German sound in 2015? What do you enjoy about it then and now? The Euro sound is very much connected to real House Music. It’s true to the feeling we connect to. (Early House music era). It’s the music that people gravitate to and are nostalgic about….Old Skool Larry Heard, emotional deepness. You know stoned. Str8 to the heart. Deep Sound. It’s not over produced. It’s raw. The feeling is modest and pure. ‘I envy the people who after a studio session say, the track is done, that’s it’

With the amount of recordings you’ve worked on or re-worked and released over a 20 year span, what is it about production you enjoy?  What’s your creative process? Every song has it’s own approach. I’ve re-visited a song after 8 years and I’ve just finished it now. Collaborations with old material sounds like new. I’m working with labels…I never know what I will receive either vocals or beats….. With remixes you have no deadline and its easier to create hits and re-visit the tracks even to see if you can enhance them.

Casamena used to always say on his radio hour that you are ‘one of the hardest working in the biz’. You’ve built a SOLID brand. What was the vision you had, years ago? Did you foresee this taking shape the way it did today? I started a label to expose people to music. It should be about the exposure of the music and artist. Tools to move music forward to a broader audience. Starting yesterday and every week will be Download Tuesdays. Fans are bound to download a fresh new track instead of going for full albums. (He loves online number and analytics, I would argue that this is why he has also seen tremendous success in other areas of his business.) He questions how someone can buy 1000s of tracks when trends are rapidly changing.

Vinyl or Digital?Everything I do, I like to get multiple use of it. A new fan base is always emerging it’s always re-introducing new ways of music consumption. If you don’t point out that a track was old, many wouldn’t know that it was. Digital is always timeless and vinyl has a shelf life.You don’t need to play hits unless you DJ for weddings <True, true Mr. Lars.

Where are you headed next?Any more trips to SA in 2016? One more time to SA. I play where I’m needed. I’m really pushing the label approach. I’m into the digital side of things. I predict for Indie labels that DJ sale downloads will disappear in 2016 i.e. Fileshare, Youtube etc. I’m looking at maybe going on tour more often and if time permits-the promotion of my DSOH parties when I visit cities worldwide.

https://www.facebook.com/larsbehrenroth

https://twitter.com/LarsLB

https://twitter.com/DeeperShades

lars