DANCE ZINE
SCIONAV.COM
VOLUME 5
STAFF Scion  Project  Manager:  Jeri  Yoshizu,  Sciontist       Editor:  Eric  Ducker Creative  Direction:  Scion Art  Direction:  BON Graphic  Designers:  Cameron  Charles,  Matt  Koulermos
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Story:  Eric  Ducker
Jeremy  Glenn  produces  gleaming  disco  gems  IXHOHG E\ VSDUNOLQJ V\QWKHVL]HUV DQG ZRQGHU ÂżOOHG vocals.  Glenn’s  journey  to  this  bright  eyed  sound  began  in  the  late  1980s  with  the  underground  hip-Âhop  radio  show  in  Toronto  that  he  used  to  listen  to.  When  he  tried  to  track  down  the  songs  he’d  heard  over  the  airwaves,  he  found  that  they  were  only  available  on  vinyl,  so  he  bought  a  pair  of  turntables.  Around  the  same  time,  his  older  brother  introduced  him  to  what’s  now  considered  classic  house  music,  adding  another  dimension  to  his  growing  record  collection.
WKDW WKH\ EULHÀ\ FRPELQHG WR PDNH KLS KRXVH which  sounded  just  like  its  name  would  imply  and  which  Glenn  loved.
Over  the  years,  Glenn’s  skills  as  a  producer  and  DJ  improved.  In  the  late  1990s  he  noticed  that  the  house  tracks  he  was  spinning  sampled  disco  tunes,  which  set  him  off  to  try  to  channel  the  spirit  of  the  source  material  in  his  own  music.  He  then  began  writing  lyrics  and  singing  on  his  instrumentals  to  make  them  stand  out  even  more.  And  though  the  times  have  changed,  Glenn  maintains  that  his  reasons  for  staying  in  the  These  days  it's  easy  to  go  on  about  the  impact  music  world  remain  the  same:  “I’ve  always  been  that  electronic  dance  music’s  current  strains  into  going  to  clubs  primarily  for  the  dancing.â€?  have  on  today’s  biggest  hip-Âhop  hits.  Dubstep,  electro,  sun  blazed  Ibiza  house—their  DNA  is  obviously  and  inarguably  present  in  new  music  jeremyglenn.com from  Kanye  West,  Jay-ÂZ,  the  Black  Eyed  Peas  DQG PDQ\ PDQ\ PRUH %XW \RX GRQÂśW KDYH WR Ă€LS Watch  an  interview  with  Jeremy  Glenn  at   that  far  back  into  rap’s  back  pages  to  realize  that  scionav.com/dance  club  music  and  hip-Âhop  cross-Âpollinating  isn’t  PXFK RI D IDU RXW FRQFHSW Âł:KHQ , ÂżUVW JRW LQWR hip-Âhop,  it  was  1988.  Everything  was  more  about  dancing,  so  the  worlds  of  house  and  hip-Âhop  were  more  intertwined,â€?  says  Glenn.  In  fact  the  lovefest  between  those  two  genres  was  so  real Â
DJ  and  producer  Mowgli  is  at  a  transition  point  in  his  life.  Four  years  ago,  he  left  Bologna  to  live  in  London  because  if  you  weren’t  cranking  out  German-Âstyle  techno  in  Italy,  it  was  near  impossible  to  make  a  living  there  as  a  dance  music  producer.  Now  he’s  ready  to  return,  partially  because  fellow  countrymen  like  Bloody  Beetroots  and  Congorock  have  made  their  more  unique  approaches  more  popular  (and  lucrative),  and  partially  because  he’s  growing  up.  As  he  nears  30,  Mowgli  has  fully  HPEUDFHG D PRUH FODVVLF KRXVH VW\OH DQG LV ÂżQDOO\ ZRUNLQJ RQ KLV ÂżUVW IXOO OHQJWK Âł, WKLQN ,ÂśP QRZ ready  to  make  an  album  because  I’m  settling  into  WKH VRXQG ,ÂśYH DUULYHG DW ´ KH VD\V Âł, DOZD\V OLNHG house  music,  but  when  I  was  20  I  was  too  angry  to  make  120  BPM  soulful,  deeper  house.  Now  that  I’m  almost  30,  I  feel  it’s  something  I  can  do  forever.â€?  Like  most  dance  music  producers,  part  of  Mowgli’s  journey  has  been  managing  the  world  of  remixing—a  crucial  part  of  career  development  that  can  also  zap  your  creativity.  Here,  Mowgli  explains  his  thoughts  on  remix  gigs:
I  was  doing  remixes  because  when  you  remix  more  commercial  releases,  it’s  good  money.  Even  if  I  didn’t  want  to,  I  had  to.  London  is  an  expensive  city  and  I  had  to  pay  the  rent.  Now  I’m  the  exact  opposite.  I’m  not  so  fond  of  remixing  and  I  remix  only  if  I  really,  really  like  the  song.  I’m  in  the  position  now  to  say  I  don’t  want  to  do  that,  because  it’s  not  really  my  sound. My  take  on  remixes  is  that  if  I  can  give  my  touch  to  a  song  and  make  it  good  without  making  a  new  song,  I’ll  do  it.  When  you  do  those  songs  for  money  and  you  don’t  like  any  parts  of  the  original,  you  basically  have  to  give  away  an  original  track.  You  might  make  a  really  good  groove,  but  you’ve  already  committed  to  the  remix. The  remixes  in  the  beginning  were  very  important  for  my  career,  because  when  people  see  your  name  next  to  a  bigger  name  they’ll  say,  ‘Who  is  this  guy?’  But  ultimately  it’s  the  original  music  that  gets  you  to  a  certain  level,  because  unless  you  do  a  really,  really  big  remix,  it  won’t  change  your  career.  It’s  the  original  music  that  puts  you  on  the  map. As  told  to  Eric  Ducker facebook.com/mowgli4eva  Watch  an  interview  with  Mowgli  at   scionav.com/dance Â
Interview: Eric Ducker Photography: Jimmy Mould
Dam-Funk has built a well-earned reputation as an evangelist of the funk, but like a true student of music, his knowledge is deep, varied and multi-dimensional. On his new EP, Scion A /V Presents: Dam-Funk — InnaFocusedDaze, he experiments with a heavier sound than on his previous releases. When discussing the motivations behind this move, Dam revealed a few key chapters in the story of his musical education.
it was known in the UK, Steve McQueen, DQG LW MXVW ÀRRUHG PH , QHYHU ORRNHG EDFN I got everything they put out—all the albums, all the B-side 12-inches, all the I’m using a new guitar sound, but that sound later records they had. was triggered by a Roland keyboard that I have. I’m able to strap it on and it has that effect. TELL ME ABOUT WORKING %XW , GH¿QLWHO\ KDYH PRUH KDUG VRORLQJ RQ WKLV AT POO-BAH’S. particular project. It’s more aggressive, but it’s Now it’s on Colorado Boulevard, but it still melodic funk. used to be on Walnut in Pasadena. It was opened in 1971 and it was right next door WHY DID YOU DECIDE TO TAKE to a head shop. It specialized in Frank THAT APPROACH? Zappa and that t ype of stuff. A lot of people I was just feeling that way at the time. I’ve always GRQ¶W UHDOL]H , ZDV RQH RI WKH ¿UVW \RXQJ loved metal, so I wanted to mix it up. It truly came cats that ever worked there. Later on a guy naturally. I was just going through sounds and I named Rob bought it and now it’s more of was like, I’m going to roll with this sound instead a beat-scene record store. of the more synthetic vibe that people are used to from me. HOW CRUCIAL WAS WORKING AT A RECORD STORE TO YOU HOW DID YOU GET INTO HEAVIER MUSIC? BEING TURNED ON TO SO MANY When I was younger, TV Guide would get sent to DIFFERENT TYPES OF MUSIC? our house and they’d have ads for Columbia House My dad turned me on to Poo-Bah’s. Before where you order 12 records for a penny. When I I worked there, I would always ride my bike was doing that, KISS just popped out because of there. The owner, Jay, catered to people the artwork that they had for releases like Love who were into funk, rock and soul, and he Gun and Rock and Roll Over. Kiss was my gateway was a heavy jazz head. Each person who into metal. I got into harder stuff like Iron Maiden worked there had their own specialty. This and Saxon. I became immersed for a minute. one dude, Mike, was into experimental, and if it was his turn [controlling the stereo], MANY PEOPLE ASSOCIATE YOU WITH you’d just hear noise. Another dude, Rick, A FUNK-BASED SOUND AND was into Captain Beefheart. There was AREN’T AWARE OF THE BREADTH OF this lady Pearl who was into the soul STUFF YOU’RE INTERESTED IN. WHAT stuff. Another guy was into garage rock. ARE SOME GENRES THAT PEOPLE And here I was, more into the funk stuff. MAY NOT KNOW YOU’RE A FAN OF? I started working there the summer after I People don’t really call it new wave anymore, but I got out of high school. They offered me a love new wave. I grew up listening to KROQ, stuff job. They knew the type of stuff that I was like Siouxsie & the Banshees, Soft Cell, XTC, buying. They knew my repertoire. They Romeo Void and early Tears for Fears, before knew I was well versed in many genres. “Shout.” I love post-disco. I love house a lot, in the Also, it was a good look to have someone early 1990s I was buying a lot of that stuff—Larry from the community behind the register. Heard, Underground Resistance, all kinds of one- RII LQFKHV , GH¿QLWHO\ KDYH D KHDY\ LQÀXHQFH of progressive rock. And I even love pop. Prefab stonesthrow.com/damfunk Sprout is one of my favorite groups. I listen to them daily because of the songwriting and the musical Hear Scion A/V Presents: Dam-Funk — structure. One day I’d like to put out some material InnaFocusedDaze, a collection of four new like that, still based in urban funk, but with deeper songs, at scionav.com/dam_funk songwriting and song structure. IT SOUNDS LIKE YOU USED MORE GUITAR FOR THE SONGS ON INNAFOCUSEDDAZE.
HOW DID YOU GET INTO PREFAB SPROUT? I learned about them in late 1989 from a friend of mine who worked with me at Poo-Bah Records [in Pasadena]. He put on Two Wheels Good, or as
45 King
Interview: Sacha Jenkins Photography: Mike O’Meally
An innovative hip-hop producer and DJ, 45 King has had a storied career. As a founding member of the Flavor Unit, he was behind some of the classic production on albums by Queen Latifah, Lakim Shabazz, Chill Rob G and Apache. As a break records creator, he made songs like “The 900 Number,” which is among the most recognizable tracks in dance music. He also produced the megahits “Hard Knock Life (Ghetto Anthem)” by Jay-Z and Eminem’s “Stan.” At the Scion Music(less) Music Conference he spoke about his history and process as a producer.
AS A FAN OF HIP-HOP AND A NEW YORKER, IT’S ALWAYS AN HONOR TO SPEAK WITH SOMEBODY WHO EMBODIES THE CULTURE. AND THAT CULTURE, TO ME, MEANS THINKING OUT OF THE BOX. I’m left-handed, that’s what it is. I think with my left hand when other people are thinking with their right hand. WE’RE HERE TO TALK ABOUT YOUR CREATIVE PROCESS AND YOU’VE ALREADY GIVEN US ONE INSIGHT. It helps if you’re crazy, too. If you’re touched a little bit, the beats sync more. You don’t need MIDI when you’re crazy. I have an automatic sympathy with the music. YOU HAVE A METRONOME IN YOUR DOME? I should have said that. TELL US ABOUT YOUR HISTORY IN DJING. I started DJing in 1976. The reason I know the year is because I did the 9th grade party. I played stuff like “It’s Just Begun” by the Jimmy Castor Bunch. I didn’t play “Apache” because I didn’t have it, but if I did I would have played it. It was all the hot b-boy stuff. I’m an original b-boy.
THIS WAS IN THE BRONX? This was uptown in the Bronx. I was the record boy for Breakout, the DJ for the Funky Four Plus 1. He had four crates of b-boy records and I got to know which records had what on them, so if I went to the record store and saw anything from his crates, I picked it out and bought it. That helped when I started producing, I started looping up those records. HOW DID YOU END UP BEING BREAKOUT’S RECORD BOY? The guy who taught me how to DJ was Jerry Miller, he used to breakdance with Breakout. Jerry knew Breakout and he knew he needed a new record boy. So I went over to Breakout’s house and he was impressed I knew what Bob James’ One was. WHAT DO YOU REMEMBER ABOUT THOSE FOUNDING TIMES IN HIP-HOP? Raheem [of the Funky Four Plus 1] killing it. He used to be like the Michael Jackson of rap, in my opinion. He had singing in his raps and came up with stuff other people weren’t saying. WHAT ABOUT THE OVERALL CULTURE? For me, it was just something that was being done. It wasn’t a big thing. It wasn’t called “rap,” it was called “rhyming.” When things get commercialized, they like to name it so they know what shelf they can put it on when they get tired of it. They say everything needs a hook every 16 bars so people remember it. They say to do that to make it sound better, but we know what our Big Daddy Kanes sound like, what our MC Lytes sound like, so we don’t need them to say a hook to know that they have a new record out. WHEN DID YOU MAKE THE TRANSITION FROM NEW YORK TO NEW JERSEY? My mother used to work in the post office in Jersey. She got tired of driving from the Bronx to Jersey everyday, so she said, “Guess what? I’m going to hit up your father for some money and we’re going to move to New Jersey.” I didn’t want to go to Jersey. My father lived in Hollis, Queens. First I moved to Jersey because I couldn’t say no. Then my mother let me move to Queens and I met Davy DMX. He was the nicest DJ up there. I was hanging out with him for a little while, then I moved back to Jersey.
WAS THAT A CULTURE SHOCK? OR WERE YOU A CULTURAL AMBASSADOR? I was the first one with Gazelles, the first one with British Walkers, the first one with the sheepskin, because I was from the Bronx and I knew all that stuff. I was amazed that they had fades. SO YOU WERE THE BRONX DUDE? Nah, they didn’t really know. The main difference was I was cutting records back and forth real fast and they were blending records together. In fact, a thing I liked about moving to New Jersey was that I got into the Zanzibar music, the house music. Before that, coming from the Bronx, I couldn’t understand how people got off to that. SO YOU HAD THAT INFLUENCE AS WELL? Not in my hip-hop stuff, but in the club stuff, yes. When I put out break records, what I try to do is one or two club records on one side and bunch of hip-hop stuff on the other side, so if the hip-hop stuff doesn’t pop off, maybe the club records will. TAKE US THROUGH THE PROCESS OF MAKING A RECORD. For the hip-hop and club records, I use hip-hop kicks and snares. I will go to an old 1976 record and get two bars of a drum track. And it won’t be a drum machine sound, it will be a drummer from an old record that has that funky high hat sound that you can’t get anywhere else. Then I put basslines and bells and whistles over it. WAS THERE EVER A TIME YOU THOUGHT YOU SHOULD BE FOCUSING ON THE HIPHOP STUFF OVER THE CLUB STUFF? I was trying to get at both people at the same time. I wasn’t scared to press up a record. I’m scared to press up a record now because I’m going to have it as furniture, because why buy a record when you can get it for free from a pal? HOW DID YOU PUT TOGETHER THE TRACK FOR “HARD KNOCK LIFE”? DID YOU ALWAYS WANT TO FREAK THAT SAMPLE OR DID YOU JUST HAPPEN TO BE LISTENING TO IT? That started when I was watching television and there was a commercial for Nell Carter, who was coming to New York to play a character in Annie on Broadway. And they played the horns [from the original] in the commercial. I thought I might be able to do something with that. Months went by and I went to the Salvation Army to look for records and I saw the soundtrack for Annie for 25
cents. If I see a soundtrack and it’s in the right era, I pick it up. If it’s from 1980, 1985, I’ll leave it alone. So I went home and I played the record, trying to find the horn section. I found the kids singing, “It’s a hard knock life for us.” I put a drum track under it, but a bassline on it, and pushed it out. It took a whole 34 minutes. Once you get an idea, the whole thing is basically there.
BUT HE HASN’T HAD A RECORD SINCE LIKE 1993? Yeah, but it’s going on his album. But I love Kid Capri. Without Kid Capri there wouldn’t be a “Hard Knock Life,” because he played [an acetate copy of the instrumental] at a Puffy party and Jay-Z heard it and wanted it.
WHAT DO YOU LOOK FOR IN A SAMPLE? SO WHEN MAKING A TRACK, IT’S NOT I have to look for stuff that other people won’t look ABOUT THE COMPLEXITY OF IT. for, and since I’m older than other producers, I Everybody is right when it comes to art. If what like older stuff. I like stuff that came out in 1976. you have going works for you, it might not work for me. And you’re right. And me saying it doesn’t WHAT IS IT ABOUT THAT YEAR? work for me means I’m right. When it comes to art, That’s when it went from funk to Donna Summer– everybody is 100% right, so do what the person type music. They call it disco because it was played paying for it wants. at a discotheque, but to us it was just music. The music they now play at clubs becomes club music. IS IT SURPRISING TO YOU WHEN A SONG THAT TOOK YOU ALL OF 34 MINUTES TO CAN YOU TELL US ABOUT RECORDING MAKE BECOMES THAT HUGE? QUEEN LATIFAH’S FIRST ALBUM? It was shocking. I just think I’m lucky. With Latifah’s first album, I knew I had to impress WHAT ABOUT THE EMINEM TRACK “STAN”? The Eminem track was a domino effect from “Hard Knock Life.” Em heard “Hard Knock Life,” and he knew about Lakim Shabazz and Naughty by Nature. He knew of me. Foxy Brown’s brother bought the beat first and then Steve Stoute from Interscope, who was his boss, said, “Why don’t you give the track to Em, because Em likes it?” He kind of strong-armed him. I tracked the tape at my house and I sent it to California and they did their magic. I think Em did the bassline, he added the guitar to it and he did some other stuff. WHAT KIND OF EQUIPMENT DO YOU USE? I can tell you the equipment, but it’s not really about the equipment, it’s what you put into the equipment. Basically anybody who has a laptop has a studio if you hook it up to a big screen. I use Logic, I’ve been using that since Logic 4. I use sounds from old records, so all my sounds match up, kind of. WHAT’S YOUR PROCESS NOW? ARE YOU STILL GOING TO THE SALVATION ARMY? I actually stopped digging for records. Now I just rely on Kid Capri. He has records and people just give him records. Every record that Kid Capri gets, he’s like, “Yo, this is going on my album.”
[former Tommy Boy Records A&R rep] Dante Ross, so I just put in a whole lot of bells and whistles, samples from here and there. He said, “Why don’t you use this?” and I’d say “Okay.” Like I said, do what you have to do to get paid and then do what you want. That’s what I did. 45king.com youtube.com/user/markhjames Watch the full interview with 45 King from the Scion Music(less) Music Conference at scionav.com/mmc
We’ve  focused  on  singles  to  this  point,  because  that’s  what  we  can  handle,  resource-Âwise.  If  the  label  grows  to  a  place  where  we  can  do  artist  albums  and  put  them  out  properly  and  promote  them  properly  and  make  sure  they  get  the  attention  they  deserve,  I  look  forward  to  that  time,  but  we’re  not  going  to  rush  into  that  until  we’re  ready  and  we  know  there’s  an  audience  there  to  buy  the  records.
The  members  of  the  band  the   Rapture  created  Throne  of  Blood  The  guys  from  the  Rapture  are  still  involved— Andruzzi  has  a  solo  12-Âinch  coming  out,  after  the  release  of  their  album  Gabe  Vito  Roccoforte  produced  a  release  from  an  Pieces  of  the  People  We  Love  artist  called  AKA  JK.  I  think  the  label  has  grown  in  2006.  The  initial  reason  for  the  into  something  much  greater  than  we  originally  but  it’s  happened  in  a  very  gradual  imprint  was  to  put  out  that  full-Âlength  conceived,  way,  without  a  master  plan.  It’s  grown  into  and  singles  from  it  on  vinyl.  The  something  really  healthy  and  natural.  band  enlisted  James  Friedman,  “SAPPHIREâ€? (2009) formerly  of  Studio  Distribution  and  ZOMBI, “Sapphireâ€?  by  Zombi  was  one  of  our  best-Âsellers,  Trevor  Jackson’s  Output  label,  to  ZH SUHVVHG LW IRXU RU ÂżYH WLPHV ,WÂśV FXUUHQWO\ RXW run  the  project.  After  the  album  of  print.  Zombi  is  a  two-Âpiece  prog,  almost  metal,  IURP 3LWWVEXUJK 7KH\ PDNH VFL Âż DOPRVW cycle  for  Pieces  of  the  People  We  EDQG Goblin-Âesque  instrumental  music.  Somewhere  Love  ended,  Throne  of  Blood  was  along  the  way  someone  played  them  some  Italo  reborn  as  an  independent  dance  disco  and  “Sapphireâ€?  was  their  attempt  at  making  music  label  with  a  growing  roster  a  record  like  that.  This  track  found  its  way  to  me  in  2005  and  I  was  able  to  license  it  for  my  Go  of  artists.  Friedman  discusses  their  Commando  mix  CD.  The  song  never  got  a  stand- philosophy  and  their  progression. alone  release,  so  I  was  able  to  relicense  it  as   Throne  of  Blood’s  mission  is  to  support  really  good  music  and  to  create  a  space  for  the  artists  we  work  with  to  do  what  they  want  without  a  lot  of  interference  from  the  label  itself.  I  don’t  tend  to  give  heavy  creative  direction  to  my  artists,  I  try  and  work  with  them  to  clearly  articulate  the  ideas  they  want  to  express.  I  try  and  offer  them  a  platform  to  do  what  they  want  to  do.  Once  I  make  the  determination  that  this  is  someone  we  want  to  work  with,  I  give  them  a  platform  to  do  what  they  want.  We  don’t  have  a  stylistic  pigeonhole  that  ZH ÂżW QHDWO\ LQWR $ ORW RI DUWLVWV DUH LQWR FODVVLF sounding  house  music.  Some  folks  are  really  into  pushing  things  forward  using  antiquated  analog  gear.  Some  people  are  into  a  darker  sound.  Some  of  our  artists  are  into  a  more  poppy  take  on  dance  music.  We  don’t  want  to  have  a  strong  focus  on  any  particular  minute  subgenre.
a  full  12-Âinch  and  we  got  Escort  to  do  a  remix.  Steve  Moore  from  Zombi  has  put  out  a  bunch  of  stuff  on  labels  like  L.I.E.S.  and  Kompakt,  and  this  ZDV KLV ÂżUVW IRUD\ LQWR GDQFH PXVLF
POPULETTE, “MOMMY�/“DADDY� (2009)
“Mommyâ€?/“Daddyâ€?  marks  the  beginning  of  the  current  phase  of  what  Throne  of  Blood  is  doing:  lots  of  releases  with  really  high  quality  remixes.  It  was  the  debut  of  Populette,  who  are  one  of  our  ÀDJVKLS DFWV 7KH\ KDYH GRQH WKUHH LQFKHV IRU us,  two  or  three  remixes  and  an  iTunes-Âonly  label  compilation  called  Populette  Presents  Throne  of  Blood.  “Mommyâ€?/“Daddyâ€?  was  sort  of  a  coming- out  12-Âinch  for  Throne  of  Blood.  It  got  a  lot  of  DJs’  attention  and  whatever  momentum  we  have  now  started  with  that  record.  Also,  my  t wo  best  friends  made  it,  so  it’s  a  record  I’m  really  proud  to  have  been  involved  with  since  I  love  those  guys.
COSMIC KIDS, “REGINALD’S GROOVE” (2011)
Cosmic Kids are a duo of guys from Los Angeles I only knew from the internet who sent me a track out of the blue and I just fell in love with it. I still remain open to the random demos that I get. It initiated what I think is going to be a great relationship. They came to me with a song and with an idea for a 12-inch: They wanted their friend Juan MacLean to do a remix and they wanted their friends Classix to do a remix. Those are both artists I’m familiar with but don’t know super well, and it marks the only time one of my artists has really come to me with more than just a track and saying they want to do a 12-inch. Cosmic Kids had a really strong vision for what they wanted that meshed really nicely with what we’re doing and where we are at artistically. 7KH\¶UH RXU ¿UVW $PHULFDQ VLJQHHV ZKR GRQ¶W live in New York. They’re really down for Throne of Blood and they’re really committed. It was probably our best-selling 12-inch for the year.
BEAT PHARMACY, INSIDE JOB EP (2012)
Beat Pharmacy is Brendan Moeller, who is also known as Echologist. Brendan is a dub techno producer who is South African and lives in upstate New York. He’s a guy I worked with from 2001 to 2003 at Studio Distribution. He was a sales guy there who had a nascent production project going. He was always someone I really liked and after Studio fell apart he became a really respected producer who put out music on a lot of different labels. We started talking again over the past couple years, and it’s really nice to work with someone who I worked with at the beginning of my career. It’s nice to come full circle like that. As told to Eric Ducker throneofbloodmusic.com Watch an interview with James Friedman of Throne of Blood at scionav.com/dance
Night Slugs began in 2008 as a club night where Londoners Bok Bok (Alex Sushon) and L-Vis 1990 (James Connolly) could showcase their unorthodox approach to DJing. A year later, they launched an outgrowth label with the same name. L-Vis 1990 explains Night Slugs’ origins and cites five releases that demarcate turning points in the label’s trajectory—and look toward its future. The people that we loved were making good music, but there was no label for us to put records out on, so we had to do it ourselves. We’d been doing the Night Slugs club night for two years, and as a label, we’ve not been running for long at all. It’s two years in January. [Philosophically,] we’re not out there A&Ring to sign the next thing, you know? We’ve got our crew and whatever anyone wants to do, we’ll work for their projects. Everyone on Night Slugs is an artist and an individual. We don’t care about what’s going on outside of us. We’re just doing our own thing, our vision. We’re not putting music out just for the sake of putting music out. We’re only releasing what we believe in and what we love. We just do it as it comes in. If someone’s got something ready, we’ll put it out. We’re just trying to keep developing as a label and as artists together.
MOSCA, “SQUARE ONE” 12-INCH (2010) We were already thinking about [doing Night Slugs as a label], but “Square One” was the track where it was like, OK, we’ve got to put this out. We’d been DJing it for three or four months, and then Mosca came back with another B-side out of the blue, “Nike.” It’s the most incredible track—not just dance track, but song, period. I think it’s Mosca’s best work ever.
GIRL UNIT, “I.R.L.â€? 12-INCH (2010) Phil from Girl Unit just came out of nowhere. We’d been playing a bit socially, DJing at parties, playing ghettotech and R&B. We had a Night Slugs party, and Alex dropped “I.R.L.â€? in the club and didn’t tell me about it. I said, “Who’s this?â€? And he said, “Phil.â€? I was like, "What the‌!" We knew we were going to put this out, but we needed some B-sides. The day we go to master them, Phil comes back with this incredible mass of beats.
L-VIS 1990, “FOREVER YOUâ€? 12-INCH (2010) 7KDW ZDV P\ Ă€UVW FROODERUDWLRQ ZLWK -DYHRQ 0F&DUWK\ DQG LW¡V WKH Ă€UVW house song that he’d ever sung on. I PHW KLP DW D JLJ LQ 6KHIĂ€HOG KDQJLQJ out. It was like a student party and Joker was headlining. The dude before me was playing dubstep, so I was playing house music. The crowd was not really responsive, so I said Javeon would come up and host with me. I’d never heard him before, but he just picked up the mic and killed it. I was like, “Let me get your email.â€? I sent him the beat for “Forever You,â€? he sent me back the demo with vocals, and nothing else about it changed. That track was the point where I realized I’ve got my idea, and it worked. People like DJ Mehdi loved it. Brodinski, all these guys from across genres were playing it. It kind of started me thinking about working in a longer format [which became the full-length album Neon Dreams].
GIRL UNIT, “WUT” (2010) We were at Opening Ceremony the other day and “Wut” came on. It was in a sandwich between, like, G-Unit songs. “Wut” was amazing for our label and certainly took us to another level. It smashed us into being what everyone was talking about. Claude Von Stroke actually asked us to remix it, like, “I don’t do many remixes, but I want to do this.” It was quite a song, but it should have changed the world of rap music. Someone should have rapped on it. But our records are timeless, so it doesn’t matter. It can still happen.
BOK BOK, SOUTHSIDE EP (2011) It’s a bit of a game changer. Alex hadn’t had a proper release after being on the scene for so long. Everyone else was copying Night Slugs’ style of music, but Bok Bok was taking it back to grime and ghetto, reminding people what it’s all about. The track “Reminder” is about that. It was really important for him as an artist to get that EP out. I just did an interview for the Guardian and they asked me what my most rewound tune is—it’s “Silo Pass.” As soon as that bass comes in? I love it.
As told to Julianne Escobedo Shepherd nightslugs.net Watch an interview with Bok Bok of Night Slugs at scionav.com/dance
Italians  Do  It  Better  was  started  in  2007.  Its  two  founders  are  Mike  Simonetti,  a  music-Âworld  veteran  and  owner  of  the  punk  label  Troubleman  Records,  and  Johnny  Jewel,  a  member  of  acts  including  Glass  Candy,  Chromatics,  Desire  and  Farah.  Simonetti  tells  the  story  behind  the  label  and  four  of  their  key  releases: Towards  the  end  of  Troubleman,  I  was  DJing  a  lot  more  and  putting  out  more  dance  artists.  We  put  out  three  Tussle  records,  Chromatics,  Glass  Candy,  an  Erase  Errata  remix  album  with  some  pretty  big  names.  The  dance  records  weren’t  really  catching  on,  because  at  that  time  no  one  in  the  indie  rock  world  understood  it,  so  I  decided  to  start  another  label  to  put  out  12-Âinches  of  groups  I  like,  like  Professor  Genius  and  Glass  Candy.  It  caught  on  and  we  took  it  from  there.  It  wasn’t  really  supposed  to  be  a  serious  thing,  then  it  overtook  Troubleman  really  fast.  I  had  a  couple  more  Troubleman  releases,  but  that  was  the  end.  We  released  the  After  Dark  compilation,  which  is  a  CD  comp  that  features  the  groups  that  Johnny  is  involved  in,  plus  a  few  other  groups.  Pitchfork  gave  it  this  great  review  and  that  caught  the  eye  of  everyone.  It  totally  changed  everything.  The  label  is  mostly  just  us  at  this  point.  We  want  to  keep  it  small.  We  don’t  want  WR UHOHDVH DUWLVWV D \HDU DQG RI WKHP JHW ORVW LQ WKH VKXIĂ€H ,WÂśV QRW IDLU WR WKH artists  and  it’s  not  fair  to  us.  There’s  so  much  stuff  out  there,  between  labels  and  the  internet,  that  we  just  want  to  stick  to  stuff  we  know  we  can  focus  on  one  hundred  percent.  Keeping  it  really  small  and  insular  is  the  best  way  to  do  it  at  this  point. Â
VARIOUS ARTISTS, AFTER DARK (2007) After Dark is what started everything. ,W ZDV RXU ºUVW UHOHDVH DQG LW FDPH RXW RI QRZKHUH $OO WKH VRQJV KDG D VLPLODU VRXQG EHFDXVH LW ZDV PRVWO\ SURGXFHG E\ -RKQQ\ ,W KDG D JRRG ORRN DQG WKHUH ZDV QRWKLQJ HOVH RXW WKHUH OLNH LW DW WKH WLPH ,W ZDV YHU\ OR º EHFDXVH -RKQQ\ GRHVQ±W XVH FRPSXWHUV ,W VRXQGHG YHU\ DXWKHQWLF +DOI RI WKH VRQJV ZHUH RQ LQFKHV EXW PRVW ZHUH HLWKHU VROG RXW RU KDGQ±W FRPH RXW \HW
GLASS CANDY, B/E/A/T/B/O/X (2007) *ODVV &DQG\ KDG DW OHDVW RWKHU UHOHDVHV EHIRUH B/E/A/T/B/O/X EXW WKH\ SURJUHVVHG VORZO\ 7KH\ VWDUWHG RII DV D SRVW SXQN EDQG -RKQQ\ FRXOGQ±W UHDOO\ NHHS GUXPPHUV VR DIWHU DZKLOH KH MXVW VWDUWHG XVLQJ D GUXP PDFKLQH ,W NLQG RI VORZO\ PRUSKHG ,I \RX KHDU WKHLU WRXU GHPRVÂWKH\ XVHG WR PDNH &' 5V RI GHPRV WR VHOO DW VKRZVÂHDFK GHPR ZDV PRUH SURJUHVVLYHO\ GDQFH PXVLF VRXQGLQJ 6RQJV ZRXOG VWDUW DV D URFN VRQJ DQG HQG DV D KRXVH \ GLVFR \ WUDFN %\ WKH WLPH After Dark FDPH RXW WKH\ ZHUH FRPSOHWHO\ HOHFWURQLF DQG -RKQQ\ ZDV FRPIRUWDEOH ZLWK WKDW W\SH RI PXVLF
CHROMATICS, NIGHT DRIVE (2007) &KURPDWLFV KDV EHHQ D EDQG IRU RYHU WHQ \HDUV -RKQQ\ ZDVQ±W DOZD\V LQ WKH EDQG $GDP 0LOOHU WKH JXLWDU SOD\HU KDG D FRXSOH UHFRUGV RQ *6/ 7KH\ ZHUH D JODPP\ SXQN EDQG IURP 6DQ 'LHJR ZLWK WLJKW EODFN MHDQV DQG IDOVHWWR YRFDOVÂWKH ODWH V VRXQG 7KHQ WKH\ PRYHG XS WR WKH QRUWKZHVW DQG WKH\ ZHUH EHFRPLQJ D OLWWOH PRUH GDQFH\ -RKQQ\ WKRXJKW WKH EDQG ZDV JRRG DQG DVNHG DERXW MRLQLQJ $GDP ZDVQ±W RQH RI WKH SULQFLSDO VRQJZULWHUV LQ WKH EDQG EXW WKH\ DOO OHIW WR IRUP 6KRSOLIWLQJ VR &KURPDWLFV EHFDPH $GDP -RKQQ\ $GDP±V EURWKHU RQ GUXPV DQG WKH YRFDOLVW 5XWK 5DGHOHW 1RZ &KURPDWLFV DQG 'HVLUH DUH LPPHQVHO\ SRSXODU EHFDXVH RI the Drive VRXQGWUDFN ,W±V LQVDQH 2XU PDLO RUGHU DQG RXU VDOHV DUH JRLQJ FUD]\ 3HRSOH DUH MXVW ºQGLQJ RXW DERXW Night Drive QRZ DQG LW±V PRUH RI DQ LQGLH URFN WKLQJ WKDQ D GDQFH WKLQJ ,W±V WUDQVFHQGHG WKH GDQFH XQGHUJURXQG
MIKE SIMONETTI, CAPRICORN RISING (2011) ,±YH EHHQ PDNLQJ >RULJLQDO@ PXVLF IRU D ZKLOH EXW ,±YH QHYHU UHOHDVHG DQ\WKLQJ 2QH GD\ , GHFLGHG WR SXW VWXҬ RXW , KDG VRPH GRZQWLPH EHFDXVH , KDG D NLG DQG , ZDVQ±W WUDYHOLQJ , WRRN VRPH WLPH DQG ZURWH VRPH VWXҬ RҬLFLDOO\ , KDG EHHQ GRLQJ HGLWV EHIRUH WKDW DQG UHOHDVHG D EXQFK RI HGLW LQFKHV EXW WKLV ZDV WKH ºUVW UHDO RULJLQDO PXVLF , SXW RXW :H±YH EHHQ QDUURZLQJ WKH VFRSH RI ,WDOLDQV VR PXFK , ºJXUHG VLQFH ZH±YH NLQG RI stopped putting out artists outside RI XV QRZ ZDV D JRRG WLPH WR GR LW , ZURWH WKDW UHFRUG RYHU WKH FRXUVH RI IRXU RU ºYH PRQWKV , ZURWH LW ZKLOH P\ VRQ ZDV QDSSLQJ +H ZRXOG WDNH WKUHH KRXU QDSV VR , ZRXOG ZULWH LW LQ VHJPHQWV
As told to Eric Ducker vivaitalians.blogspot.com Watch an interview with Mike Simonetti of Italians Do It Better at scionav.com/dance
FKDQQHO
Interview: Eric Ducker In the 1980s, Gramaphone Records in Chicago was RQH WKH ¿UVW VWRUHV WR HPEUDFH WKH FLW\¶V EORRPLQJ house music community. Soon Gramaphone would build its reputation on its dedicated support of this sound—stocking house releases and employing nearly every notable artist to come out the scene (even if they sometimes only lasted a week). Gramaphone went on to support all forms of dance music, local and otherwise, and still continues to do VR 0LFKDHO 6HUD¿QL²WKH VWRUH¶V RZQHU DQG D '- himself—explains how new artists get their music sold at Gramaphone now that the industry is radically developing a project with [Chicago house legend] Lil different from how it was it was 30 years ago. Louis, pressing some new and classic pieces of his on vinyl. We’d like to try to extend that out to new HOW DO YOU DISCOVER NEW MUSIC TO artists who want to make something physical.
SELL AT GRAMAPHONE?
It used to be distributors and promotional companies that sent promotional products to the store. Nowadays, we buy more direct from artists and labels than we ever have before. There’s been a shrinking of the community—vinyl presses have shut down, there aren’t many mastering services and there are only 10 to 15 distributors we buy from, when it used to be around 50. Now to get new music, labels and artists solicit us directly, customers hear about music from blogs and ask us if we carry it, and then there’s our own research, where I look on blogs, Facebook accounts, SoundCloud, etc. There was a precedent that was set for Gramaphone in the 1980s of being a cutting-edge store where you go to ¿QG QHZ PXVLF
HOW OFTEN DO YOU DO RESEARCH TO FIND NEW MUSIC? Every day of the week. I work at the store six days a week and I probably am researching almost seven days a week. I’m immersed in it. My social life is connected to the store and the store is connected to my social life.
WHEN YOU DO REACH OUT TO SOMEONE, HOW OFTEN DO THEY HAVE AN ACTUAL PHYSICAL PRODUCT THAT YOU CAN SELL? Sixty percent of the time there’s not a physical product. Thirty percent of the time it’s physically made in a vinyl and CD format that I can sell in the store. Ten percent of the time it’s something that’s only exclusively available through the artist or the label themselves.
WHAT ARE YOU LOOKING FOR IN THE ARTISTS THAT YOU WANT TO CARRY? Quality music, no matter what it is. Obviously there’s a balance between stocking music that people are looking for and stocking music that we think is cutting edge in quality. If you only stock music that’s quality and cutting edge, then that doesn’t mean you’ll be able to keep your business open. You have to sell those records that are popular so you have money to support the other half of the store. You have to sell FRSLHV RI /DG\ *DJD VR \RX FDQ EX\ ¿YH FRSLHV of Nicolas Jaar or James Blake when nobody else has got them yet.
IF YOU FIND SOMETHING THAT YOU gramaphonerecords.com LIKE, WHAT ARE THE NEXT STEPS TO GETTING IT INTO THE STORE? Gramaphone Records is part of the Scion Partners $ ORW RI WLPH ,¶OO ¿QG VRPHWKLQJ RQ 6RXQG&ORXG DQG network. To learn about deals and discounts I’ll ask the artist directly if they are pressing physical available from Scion Partners stores, go to music, and if they are, whether they have a distributor scionav.com/partners or a label or if they are handling it themselves. One thing that’s new is pressing our own music. We’re
LOS ANGELES
L WATCH PANELS, INTERVIEWS AND WORKSHOPS TO DEVELOP A CAREER IN MUSIC
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LOS ANGELES
scene report:
LOS ANGELES As a DJ and a club patron, (thee) Mike B is a fixture in the Los Angeles nightlife scene. The L.A. native frequently spins at R I C K R U D E Rick Rude invited me to come see him DJ at Hemmingway’s, which is a pretty over-the- beloved events including Dance Right and line place that’s right on Hollywood Boulevard, but he was the Do-Over, and he was one of the figures playing Martin Brothers records and new disco stuff and behind the legendary Banana Split party. the whole room was going nuts. I don’t think there are a lot He is also a tireless collaborator, working of Hollywood guys out there who are taking chances and trying to push new music to a crowd that’s not necessarily on dance music production projects in- into dance music, but he’s making it work. He’s like 22 and cluding Fifteenth with Sammy Bananas, moved out here from Boston a couple years ago with, like, a Pools with DJ Morse Code, Camo UFOs dollar and a dream, but he’s totally killing it now. with Nate Day and Graveleaf with Omar Doom. Here, he expands on what he’s ex- B O D Y H I G H There’s a new label called Body High that’s pretty awesome. It’s Jerome Potter from cited about in Los Angeles right now.
MAKING SHAPES
Making Shapes
isn’t really a monthly or a bimonthly party, it’s more of a “whenever we feel like doing it” warehouse party in downtown. They’ve been doing it for almost two years now, but sometimes it’s a month in between them, and sometimes it’s three or four months. It’s a two-room event and it’s on the darker, late night side of disco, house and techno. They’ll book a lot of slept-on local people who don’t do enough stuff, they’ll bring a local DJ out of retirement and they’ll bring in international talent. There’s not a lot of people doing that in the underground, so seeing Simian Mobile Disco play super GDUN VWXII LQ D ZDUHKRXVH DW ¿YH LQ WKH PRUQLQJ LV D SUHWW\ rad experience. I’ve played three or four of the parties, and it’s always been fun.
LOL Boys and Samo Sound Boy’s label. They put out a DJ Dodger Stadium EP and they put out an EP for DJ Funeral, which is an alias for someone who has name recognition. It’s kind of a high concept label. They’re having people who are kind of big names use different names to put out darker, harder, weirder tracks. They’re going to be putting out a Todd Edwards record soon, which is pretty awesome for a label based in Los Angeles that’s run by two dudes who are, like, 22 years old.
D I R T Y D AV E
Dirty Dave is just a working DJ who came to Los Angeles from Phoenix six years ago and works like six nights a week. He doesn’t have any production releases or put out mixes, but he’s just out there playing all the time. He throws underground disco and house nights. I’ve never been disappointed by a set that I’ve seen him play. He just plays music whenever he can.
djmikeb.blogspot.com Hear Scion A/V Presents: (thee) Mike B, a compilation of Los Angeles dance music, at scionav.com/mikeb
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