Special guests Move D, Adam Marshall, Sven Weisemann, Brawther, Nicholas, James Priestley and Giles Smith all kept the crowds moving and shaking throughout the course of the monstrous 12 hour party.
Giles Smith has assembled ten of his current favourite records that are knocking about at the moment and put them together on Phonica in the form of a chart for all to see. Click here to check out the chart in it's entirety.
1. Ezel feat. Djinji Brown / Tamara Williams - In My Lifetime [Ocha]
Sublime soulful grooves from Osunlade. Deetron remix is dope too!
2. Keith Worthy feat. G Marcell - The Rise Of The Dijital Teknobots [Aesthetic Audio]
More deadly grooves from Mr Worthy's exceptional label. 3. DJ Blend - DJ Blend Detroit [FXHE US]
Another epic FXHE winner with typical drum machine groove 4. Two Armadillos - People Of The World EP [Secretsundaze]
Buy it now! 5. Dionne - Back On The Planet [Smallville Germany]
So what if it sounds like Larry Heard. Amazing, exquisite end of night / early morning material. 6. Marcus Intalex / St Files / Slam Mode - 10 Years Of Secretsundaze Sampler [Secretsundaze]
Bass ass gems.
7. Ethyl & Huxley - Reflexions [Tsuba] Aybee mixes are excellent. Warm and hypnotic. Check the deepblak release too.
8. Mondo - Work Me Baby [Deeply Rooted House US]
Original and Rootstrax mixes are dope.
9. Model 500 - Ofi (Remixes) [R&S]
More futuristic sci fi grooves from SDC.
10. Baby Ford - Tin Of Worms [Autoreply]
Been around the world. Real minimal!
Considered by almost all oldskool house heads as the holy grail of deep house music, I too believe that the early Prescription and Balance release should be in every single house DJ’s collection. That is if you are into emotive, deep and still utterly danceable house music. Picking 5 favourites out of their catalogue is a daunting task, that is only made easier by sticking to Prescription 101-128 and balance 01-10, all the time wondering what happened to some missing catalogue numbers... But I couldn’t help making this task a bit more challenging still, by also looking at stuff Chez Damier released on other labels. Enough banter, these are my 5 favourite Prescription/Balance/Chez tracks:
Check out the in-depth 'A Revolutionary Life' interview with Chez Damier below...
Most interviews with Chez Damier are about the past about Prescription and Balance Records; about The Music Institute in Detroit; about KMS and the Belleville Three and Chez’s role, seemingly everywhere that electronic music was being made when it was first being created . . . This interview with Chez Damier is not about the past. It’s about history that’s being made today and the Anti-Star named Chez Damier who is making it. In a career spanning four decades, Chez’s been a musical revolutionary – his tracks from the 1990s were so far ahead of their time that the great masses have only now begun to catch up. But more than that, Chez’s a different kind of radicalan advocate of the revolutionary notion that even in the music industry, a life is still judged by what you’ve given back, not by what you’ve taken. This is a hype-driven business in which many of his peers toil largely for their own glorification. But you can still find Chez giving up the spotlight to his ‘students’ – the younger producers who to Chez Damier represent the future of House Music.
You’re a monthly resident at Boom Boom Room now. It’s been awhile since you’ve had one here actually, what was your last residency?
This is the first residency ever! Not just in Chicago but anywhere. I spent my first period in Chicago, and then after high school I moved to East Lansing, Michigan. That was actually where I first saw “The Wizard,” Jeff Mills. Then it was to Detroit where I met Derrick [May], Kevin [Saunderson] and Juan [Atkins]. Then I moved to New York, then to Paris, and then back here where Ron and I started working together, ran Prescription out of the Cajual office and then moved downstairs. In that time I was always on the road. It was only recently that I realized how important a residency is. I’m still always on the road. In the last two years, I’ve never worked this much. I’m thankful. I went 13 years without playing in this House or underground music playground and for the last two years I’ve really been embraced. I’m floored by the reception. I’m more excited than ever and this time I see a purpose in it, which I think I didn’t see before.
I see a lot of releases under the label “Balance Alliance”, but your own productions appear on Mo- juba. What’s Mojuba and why the split?
It’s actually a subdivision of G.O.D. Records which you may have heard of. After I split with Ron [Trent], I didn’t want to re-start Balance as a self-proclaimed label with just my own releases. That was never the intention of Prescription when we started it, to make it a “C’N’R imprint” with just our own material.
That’s pretty much a rarity of these times – for an accomplished artist to have a label without thoroughly populating its catalog with his or her own releases. You’re a man out of time.
Yes, I’m a time traveler! With Mojuba, I wanted to find someone who had energy, someone I could feel inspired by. I always looked at myself as finding underdogs of the art and Thomas Wendell, who runs Mojuba from Berlin, is very knowledgeable in music and we’ve become good friends. It’s a perfect match. He can handle “Chez Damier” as an artist, and that frees me to run Balance Alliance as a vehicle for other producers and artists. With Balance Alliance, I was inspired, actually, when I was traveling a lot and seeing all of the airlines merging together. I added the word “alliance” to it, to form “Balance Alliance”. This is my label where I can work with the new generation, developing good producers to do their best. With all of the labels I work with, I’m trying to develop them. They’re young and inspired and are already putting good products out. But I want to use my brand and what “Chez Damier” means to be a highway to them. I know that some people from Detroit, some people from Chicago didn’t understand why I made this decision to release things with a label in Europe. There’s a “Chicago mentality”: it’s a proud and unspoken arrogance. I should say it’s mostly among the older producers – I haven’t met as many of the younger ones. They have a kind of hidden arrogance that it’s done the best way in the world here – and not just the best way but the ONLY way. But this music is a house with many rooms now.
It’s interesting to me to see that purist attitude in Chicago, especially with a style of music that has been more popular in the past than it is now, and in a city that’s had such a huge outflow of talent going abroad.
You see a lot of that dynamic both cross-culturally and musically, both in what’s said and not said. It’s very unfortunate that it appears in music at all because this is my spiritual belief: this is the only form of freedom that we have. We fought for freedom of speech but look at how that can be taken away. All art but music especially can say so much. It’s unfortunate that people put shields around it. It takes away from the intent, the ability to say who you are, who you think you are. It’s important to know the source of things but all of the places I go, I hear “This is Techno” or “This is House” or all of these sublanguages. When I was growing up, there was more of a fu- sion – of punk, new wave, House, Euro, pop. It was such a combination. Radio was able to lead to a lot of interesting directions. Chicago is the hardest city to play in, may- be outside of New York. It’s a classics city and everyone knows that. And then there’s the old school, who don’t necessarily know everything but do recognise quality, and the new school. It really depends on what circuit you’re on.
With the sub-genres, it’s strange because this is the only case I can think of where marketing – and that’s all this is – is actually dividing people.
I don’t like to point the finger but I think this was the fault of my British brothers. It was an essential place and when they were import- ing this music, they felt the need to clarify and name it. Now we’re flooded with titles. After the rave generation hit, there were all these new categories. After Drum’n’Bass hit, there were now sub-categories: Garage, Speed Garage, Trance... It confused me. And then we have a lot of people who are content to stand on the side, like when Minimal was huge. Ron Trent and I did “Morning Factory” which was as “minimal” as you can get. What Minimal was giving the people and what made it so prominent was the energy. When you look at it like that, rather than disparaging it, you suddenly understand why it was so prominent. And it makes people uncomfortable that this music was giving them something they were lacking.
Do you think, with all of this in mind, that there can be a “hit record” now?
How can there be? There’s just so much music! I had an email ac- count dedicated just for promos but somehow it started spilling over into my personal account too. Now I’ll be getting ready for a new show and I’ll sit down and get a headache. After four hours I might have found four tracks I like and might play. I don’t bother any- more. Now, when I select music, it’s like being broke but needing a new outfit: you just step into the closet and get creative... We need to make new classics. Not play make. Much of this comes down to what school you come from as a DJ too. When I play a show, some things stay in my show for many months. That’s how I try to make them classics. Some people from a different school insist on only playing the newest material – they’re looking for that “wow factor”. But if you’re not making new classics, then who is? Think about when you were young: the old classics were once new songs that were branded into you when you where that age. But now we find it hard to find stuff that lasts in anyone’s show for more than a year.
With that in mind, how do you feel about the Deep House revival in Europe?
In my view, a new appreciation for your work from the ’90s on Prescription with Ron Trent is really at the heart of it. I think it’s wonderful. It’s just the same as when we were inspired by Disco. It showed in our mu- sic. People are inspired right now by our music and I’ve totally embraced it. That doesn’t mean I want to go back and make the same things over and over again. We need to do something else and I’m in a different place spiritually. Ron called me and wanted to work on new stuff maybe a year ago, but it was the same: it wasn’t exciting. Our relationship didn’t have the necessary ingredients to do it and that’s why I kept putting it off and avoiding sessions we had booked. But I’m greatly encouraged by this. I don’t want to set myself up as a “father” of anything – that kind of thing is funny to me. I understand the respect but I don’t want to be pegged as “legendary” this or “legendary” that. People can put whatever names they want on you but you have to stay true to what you believe. If you know me, I’m not a “self- proclaimed” anything. I’m not a god, so please don’t put me up on a pedestal. I’m influenced by a number of the younger producers as well.
You quit making music and I think left the industry for a number of years. What led you to this?
This is what happened and made me stop. A label brought me over to Par- is and there were seven magazines there to interview me. I gave the interviews and when I saw them published... every word I said was taken out of context and ran completely counter to my intent. My words were totally manipulated to fit what the writer wanted to say. I just thought, I don’t want to be in this business if it means I have to give up what I believe in in order to look good. If they make you, they’ll break you. I’ve al- ways been rooted in not believing the hype. I think you should believe in yourself but if I tell you every day you’re something, you’ll believe it. If it’s positive, if it’s negative... Suddenly it’s lights, camera, action and that’s who you are. If they make you, they can break you. I wanted to be Chez forever.
How important is it to you to work with the next generation like this?
This is my university. I don’t have many students here [in Chicago] so I have them scattered around the world, in Italy, Switzerland, Germany, France.. When I call them “students”, I really mean “mentorship”. Apart from my own personal work with Balance Alliance, this is where I invest my time.
Some of them are Ricardo Sole (Demo Re- cords, Romania), Samann/Salvatore Policastrese (Italy), Jef K (Silver Network, Paris), Brawther (Courtesy of Balance Records, Paris), Demetrio Giannice (ENTERBT Records, Zurich), Michael Zucker (Revival Records, Florida), Kai Alce (NDATL, Atlanta), Yossi Amoyal (Sushitech, Berlin).
I’d like to challenge you to ask this question to some of the older generation when you interview them: How do you keep this thing alive without putting something back into it?
I challenge my brothers from Chicago and Detroit: who have you helped develop? What are you giving back? A lot of people are afraid to do this because their heads have been filled with stories of how great they are, or they’re afraid of someone younger taking their place.
When Silver or Freerange ask me for a re- mix for a young, inspired producer, I love to be given that opportunity and I’m so thankful to form an alliance with them. I don’t try to come off as the established guy and treat everybody as nobodies. You know what? I love nobodies! Nobodies are greatness!
Patrice Scott dishes up a bi-weekly dose of Detroit deepness on his Beyond Deep radio show. Along with his own thirty minute mix Patrice will be inviting a special guest DJ in to take over the second half of the show each week. In this episode Patrice takes us on a journey through all things deep and hypnotic for the first half an hour before handing over to Johannes Volk for thirty more minutes of winding grooves and whirling basslines.
Patrice Scott has also enlisted Johannes Volk for remix duties on the forthcoming 'Analog Dreams Reworked' EP on Sistrum. Volk's dubby stabs and deep tones create a beautiful, slow building and all round delightful remix. Joining Johannes Volk on remix patrol is fellow German, XDB, whose percussive patterns and analog synths provide a beautiful and unique melodic texture. In total there are three remixes including Patrice's own stripped back, hypnotic 'beatless dub'
Bank holiday and we'll all be camped out in the industrial wilderness that is Greenwich and with the weather looking set to be fine spread out in the glorious sunshine, or huddled UK festival style underneath the generous shelter kindly provided by House Club and Terrace.
With the weather looking set to be fine, the sound will be cranked up beneath the trees and three of today's most essential artists in house will be doing their thing alongside Giles and James.
All of the artists on the line up command 'buy on sight' status and are shining examples of how to succeed globally each with their own unique take on house.
Soundstream - Live Goes On
Mind blowing raw, live sounding house that sounds as fresh as the moment it was jammed out. Just the tip of the ice berg in terms of the Soundstream output but one of the most anthemic.
Trus'me - DJ set at secretsundaze, Barcelona June 2010
Perfectly judging the mood and building up, Trus'me's set outside at the secretsundaze Off Sonar party in June last year is an example of how to throw and deep musical knowledge together with a drive to push music forward. Then unreleased material that went on the feature heavily in the end of year charts stands up next to bonafide classics and rare gems.
Dropping his album in November 2010 was a milestone for Wbeeza as an artist but also left him free to concentrate on new material in his live show. When before the standout moments in his set were often from well known releases on Third Ear, now he has the maturity to work the floor with unreleased studio cuts. This video from his London show in February demonstrates that.
Ahead of the ReviveHER vs Naive Melody w/ Tiago and DJ Kaos, resident Coops caught up with Kaos for a Skype chat covering Grafiti Tagging, UK media and of course vinyl.
Hi Kaos, can you let us know where you are right now? I heard you’re on a US tour surfing?
Yeah it has been nice the last couple of days! I am here in Topanga Ca for a bit.. waiting for the surf! Ive been sleeping for 3 days straight.. so busy at home in Berlin!! The Warehouse party in downtown LA last Saturday was sick. Couldn't fly out to NYC for the Standard hotel party.. shit got a little messy ((-<
You seem to play in the US a lot. It's quite hard for other European artists to book work out there. Why do you think that is?
Well .. I've been doing this for a good 20 years now and I have a lot of good friends here in Cali .. NYC! Very creative people and not so media orientated like most the stuff in Europe! Just good music people you know .. we hang, have a good time!!!! It’s all about that for me.
Who or which crew do you enjoy hanging out with the most in the US?
In Cali i stay most of the time with TK my buddy, soon out on Jolly Jams "Split Secs" TK & Alex!! We are working together right now on some music out here. The studio is Grand Royal (Beastie Boys). I’ve been going to NYC for almost 20 years. I know a lot of people there. My old label K7 was also based in NYC. A lot of NYC for me always. I played all the clubs out there.. Eric and Thomas (Rub N Tug) are my no1 DJs !!!! The real deal.
How does London compare?
Played a bunch of nights like Fabric etc. Lived there in the early 90s . I have good friends in London. Don’t like so much the media power of the UK !! I remember when Acid house came around.. UK pretended it’s a creation of England. But it wasn’t! Balearic is from Ibiza and Balearic Isles NOT England...
Have you got any special tracks you can share with us, which you might be dropping on Saturday?
A lot of German techno tracks .. some Jolly Jams stuff (nothing balearic, or disco etc etc)
You a vinyl only man right?
YES YES
What’s your opinion on digital DJs and laptops?
Lame !!! No Skills !!!
OK, away from that chat.
If you were a band, who would you be or what would you sound like?
Something very German (think Can!)
Who’s your favourite DJ and who’s the best DJ you’ve witnessed or played with?
I am lucky all my friends very talented. I remember playing with Carl Craig 90, 91... I got stoked! So diverse his style... he is still kickin it these days! Not like this lame minimal shit these days!
What new music are you digging right now? Any worthy young producers doing it for you?
Tevo Howard!
Can you tell us about any bad experiences you’ve had has a DJ or crowds/parties that have been particularly unpleasant?
DJs playing their hype edits to show off with no feeling for the crowd out there! The DJ should move it.
Why the name DJ Kaos? Is that a musical thing or do you have a reputation for being a bit wild?
Graffiti Tag Bomb name from the 80s .. thats how it all started!
Have you ever been kicked out of a club you’re meant to be DJing at or trashed a hotel or done anything Kaotic?
YES YES
It’s known amongst some of the music and fashion community, that you have worked with designers and clothing brands. Can you tell us a few people you have worked with and what you’ve done?
My hero is Judy Blame. He taught me everything about regular fashion - I mean clothing!! Fashion is a short lived thing!! Judy is great . We lived for a while in Kensal Green. The area was ghetto way back! Mick Jones lived across the house, also Howie .. Marc Lebon Crunch etc. Very creative people!! I worked for Stussy alot, also YSL, Chanel, undergorund labels like WoodWood etc. I do sound for these people, so their shows sounds good!!!
You’ve finally decided to ditch the labels and set up your own ting…Jolly Jams. What was your main inspiration behind that?
Being free and Independent . I cant deal with idiots anymore. I can do anything myself. Have you got any original material or bad boy remixes coming out? There is a lot of stuff out right now. The Bryan Ferry mix is a big production we did recently. There is an EP out at the moment. Check JolllyJams.com all mixes are listed there...
How come it’s so hard to find DJ mixes and Kaos material on the web. You seem quite a low key character? Is this intentional?
I don’t like stuff online. We do a bit for Jolly Jams now!! Where will you be playing the day before the party? New York … I gotta leave early for UK !!! There’s a volcanic ash cloud at the moment. Will you make your flight and furthermore, will the flight make it to London? Wow didn’t hear about that.. will be cool.. will be there.. I want to party with you guys. Tiago is there, my buddy!!!
You have to come play the party with Chida and Cos/Mes for free in July if you miss your flight.
Cool? Hahaha Yesss!! i will be there and I come back for Chida YESS !! The Backwoods EP will be out soon with Kaos mix!
OK man. We let you get back to the surf. Enjoy US and see you Saturday!
