I throw a party called Deep Inside, among others, with my nasty-girl Roncha crew in Austin.
I started DJing parties in college around 2006. That's about the time I stopped studying music (because practicing is lame), switched majors, and started playing records out (because partying is awesome). It was all downhill from there. It's also worth mentioning I had a lot of exposure to house and techno from growing up in Dallas (and several of the producers on this mix are from Texas).
If there are two turntables on a flat surface with ample separation from drunk-bro, I'm gonna get down with the vinyl. Otherwise, CDJ CD/USB penetrations are lovely, and mixing externally from Traktor works great too. But for this mix, she just beamed music directly into the Internet with her mind. And unicorn magic.
I have a pretty intense month coming up with an official SXSW showcase and other gigs. I'm also playing some great parties later this spring and summer, including Sqrrrl in L.A. next month.
Check out my SoundCloud page here: DJ Collin Bass
Jacktone Records (SF), Katabatik (Oakland), Record Label Records (Oakland) are the main crews I work with. Releases on Detroit Underground (MI) Frigio Records (Madrid), The Centrifuge (UK), Ad Noiseam (Berlin), Terminal Dusk (US), Component (CT), Puzzling (Liège), Zod Records (Milwaukee)
San Francisco, Oakland, some random warehouse, out in the woods, etc...
I grew up obsessed with music, either tinkering with drum machines like the Yamaha DD-5, mid-range Casio keyboards and small boomboxes as recording devices or penning the lyrics to Led Zeppelin and Pink Floyd albums as a kid. Later on, I played saxophone in school, drums and guitar with friends in our parents garages on weekends, inspired by Sonic Youth, Nirvana, Melvins and eventually bands like Mahavishnu Orchestra, Tony Williams, Weather Report. Hearing Plug/Luke Vibert, Aphex Twin, Squarepusher, Bogdan, Ovuca, Mike Dred (Universal Indicator) and all those folks on the Nothing Records sampler CD and seeing Come To Daddy on MTV as a teenager shifted things for me into the electronic space. Some friends of mine in High School turned me onto Impulse Tracker, Cool Edit Pro, ModPlug and AudioMulch and I just stuck with it. I liked doing everything myself and running with whatever vibe/feeling I felt at the time. Slowly, learning more software and eventually getting back into hardware and combining everything together while simultaneously learning more about the history of electronic music and dance/rave culture. After High School, I went to Ex'pressions in Emeryville (class# 8!) and School of Audio Engineering in Nashville - this gave me a good foundation for audio, I quickly realized I wasn't interested in recording shitty bands all day, hearing the drummer make the same mistakes over and over so I moved on, but that foundation is still applied every time I work on my own music. These days I'm more excited about working with other people who make music I like and creating something unique to us as a team. Abandoned Footwear (https://soundcloud.com/abandoned-footwear) is a project that Jynx (Nommo Ogo, Identity Theft, Seacrypt) and I started a year or so ago. Jynx prefers to stay all analog, whereas I tend to bring in more digital/software sources - so we've ended up with a super tight system combining everything together. Yes, there is a laptop involved but it's not handling audio, all the machines have their own voice but we are able to utilize some of the more modern features that software and digital machines bring to the table, while getting the warm, gritty, noisey, smooth, harsh and sometimes random sounds and textures from the analog machines.
Usually, when I play out it's a "live" set with Ableton and machines or sometimes just one machine like the Machinedrum. This time around I did a "DJ set" of tracks I like with a few of my own thrown in. I say "DJ set", but it's more of a sequencing and editing of other people's songs, strewn together to tell a story - sort of like assembling an album or collage. I'm not a real DJ, I can't beatmatch two records to save my life, I don't read the crowd and I don't practice or follow the DJ discipline at all, really. I just like to layer stuff and (would like to think) I have a good ear for frequency and musical balance. This set was assembled with Ableton and effects and contains tracks I'd like to hear on a loud system or on headphones.
1) I started a label with Dabecy & Doc Sleep, please buy a copy of our first 12"!: We are about to release a compilation, more info soon - Jacktone Records - http://jacktonerecords.com/
2) Abandoned Footwear (me + Jynx) are playing a live, all hardware set at Monarch on July 12th with [a]pendics.shuffle, Dr. Rek & Antacid - https://www.facebook.com/events/183793405106801/
3) The 4th annual Katabatik Summer Solstice campout is coming up June 21-23rd and is the highlight event of the summer for me. They're my family of weirdo's who play great music out in the woods, always something new, old, forgotten and memorable - http://katabatik.org/2013/05/katabatik-summer-solstice-campout-2013/
4) I have a new 12" out on Frigio Records, it's a neat variation of tracks that I'm proud of
US - http://www.crosstalkintl.com/node/40078
UK/EU - http://boomkat.com/vinyl/686344-exillon-mind-techno-control-ep
Digital - http://frigiorecords.bandcamp.com/album/mind-techno-control-ep
5) There's some live sets here, including the Boiler Room LA set and a couple gigs that Dabecy and I did together, plus my older releases: http://nollixe.com/
Dots and Loops Radio
I got into DJing around 2003, after years of music hoarding, playing in bands and writing about music for some alt weeklies and rags in SF and Minneapolis. After forcing one too many mixtapes on a friend, she suggested I channel that NRG into DJing, and then got me my first gig (thanks, Campbell!). I also started composing film scores with that same friend using vintage synths, processed guitars and drum machines around that time. I moved back to the Midwest in 2008, and, re-fell in love with house and techno, and started taking the actual craft of DJing seriously. I came back to San Francisco in 2010 and started playing that stuff out, and, also recently started making music again.
When I started getting back into house & techno, I also started re-buying dance records and reconnecting with music I loved when I first started clurrrbbing. DJing those genres is still fairly new for me, so, playing and mixing with records and high quality coasters...I mean burned CDs, provides a really interesting challenge that I can't see myself getting tired of anytime soon. The fact that I now can mix the records I used to obsessively listen to in my little apartment in Minneapolis has been one of the most rewarding experiences I've ever had. With that said, I also think Serato is perfect for events where I have to hop from one disparate genre to another, and, I use it when the need arises. I have always loved buying records, but, I also now enjoy the digital hunt and instant gratification it provides. Since it's the year 2013 and we do not appear to be moving backwards in time, I'll most likely continue to buy both.
I recently started a record label with two friends - dabecy and Exillon - called Jacktone, and, we just released our first 12” (jacktonerecords.com). I’m also trying to find the perfect home for my radio show/podcast I co-host called Dots and Loops. I’m venue shopping in SF and Oakland for a new residency, and gigging around town/everywhere as often as I can. I'm excited to focus more on production this year and am chomping at the bit to travel to new spots, meet some like-minded music jerks, and, continue to absorb everything I can about DJing and production. I feel like I learn 100 new things about music everyday and I hope that never changes. I'm truly grateful for all the opportunities I've been given so far by my pals and they never cease to amaze and inspire me. It feels great to be part of such a supportive music community, so, thanks for letting me submit this mix!
317techno / Gynoid Audio / Chroma Recordings / Slap Jaxx
I started DJing in 1995 and seriously producing in 2004. I am mostly concerned with melting brains and rearranging atoms. I like to think of it as confrontational techno with some funk in the trunk.
Right now I have a forthcoming release co-written with Adam Jay on Translucent with remixes by Mattias Fridell and Ground Loop.
My main project right now is SUBterror Radio, my weekly show at http://www.subterror-radio.com and some other radio projects in the planning stages. You can hear selected archives of the show here: http://soundcloud.com/djshiva
Lately, I've been enjoying just doing what I love best: selecting amazing music and playing it on a regular basis.
dj at honey soundsystem (released music on hnytrx, ecstasy records, mr. intl records and untitled & after)
i started buying techno and house 12"around 1994 being inspired by the dj's i was seeing at the underground parties taking place in detroit. that insatiable desire to hunt down music hasn't diminished 18 years later. only the means to to do so has evolved.
i still lug around bags of vinyl to gigs but also play cd's. the one thing that hasn't changed is a tendency for being over prepared for a gig.
i currently dj around san francisco and beyond and help throw a weekly sunday night party with the honey soundsystem crew. on the side i continue to hone my production skills. coming up very shortly i've got a remix being put out collaboratively on 12" between honey soundsystem & cocktail d'amore. it's a song called "face love anew" by stereogamous featuring the vocal talents of shaun j wright. definitely check it out!
Long story. To make it short, I came out from punk and found myself into promotion of big illegal rave parties in Italy and Europe. I spent all of the nineties creating contexts on where to set dance and techno free on a d.i.y. base. After 20 years I felt the desire to release the absorbtion of musics, images and thoughts into performing it. This is how i came up to dj and funnily enough this moment was convergent to my coming out.
Toward digital I would say and I would love to bring the discussion out of a bipolarised dialectics between the sad tropics of an analogic warm sound's lost purism and the digital designed engineering of the information market. I'd invite to mix every source up and find your own individual way to comunicate, being it a mega set up or a simple two traktor decks in synch. Personally speaking I do not consider myself a dj but a writer bringing my rethorics to a synesthesic experience as my formation is social-anthropology and I work and teach in the queer studies and cultures of conflicts field. So it is about multiplyting languages to expand identities and life visions. It is about you as the filter and it is about the crowd as active response. It is about spaces and times crisis. It is about otherness. It is about liberation.
Well I am co-producing this bi-monthly event in Berlin that became an incredible expereince in one of the biggest and sexually liberating spaces in Berlin called KitKat Club. I am working with JopRec artist Fernando Poo and the label owner Konik Polny and I might start some collaboration in the future the new born techno roman label Black Sam Records.
To give you a meaning of what i think about queer spaces i'll post you some of the gegen manifesto i wrote one year ago to define the party:
☯ GEGEN MANIFESTO ☯
Against yourself. Around queer narratives.
Gegen is a complex word in German because it has two opposite meanings.
Historically speaking it means "against", signifying all the counter cultural movements since the very beginning of youth cultures but if you apply the word to time, it means "around". One meaning is closed, defined in terms of space. The other is open and undefined in terms of time. In the contemporary moment the idea of "enemy" — in which a thought and an action can be identifiable as "against" — is not there and is not clear anymore as power relationships changed through the development of post-modernism. And this gave space to markets to regenerate themselves through the queer-counter cultural movements by producing an oligopoly of empty events repeating themselves until their fast extinction and in the same time by crystallising the institutionalisation of big "queer meccas" which exercise more and more power on the scene. This process is verifiable in Berlin as the incubator of new world trends in the arts of entertainment.
This basic tension gives the spaces and the times for a new proposal to blossom from the ashes of the historical and infamous queer techno party called "SABOT°AGE BERLIN" which characterised fades of mutation in some of the wildest Friedricshain nights. The aim is playing with the solitude of the political meaning of GEGEN as a suicidal mechanism of the "self" or the sublime crisis of enemy subtraction as the aggression of dialectics. A linguistic game of pop art where the semantic putsch of "Gegen" becomes the broken mirror of its own impossibilities. The electric fear to find oneself multiple by being against oneself and unrecognisable. The dangers of being desireful in a psycho dramatic performance. The political practice of hallucinatory love to defy hate as antagonistic, identitarian mechanism.
Perceiving the idea of community as a demagogic form for bigger powers like religions, societies and markets to exercise their violence with the fake flag of politically correct partecipation, we do not wish to design a party just to give you a safe space and protection. We are not selling you the possibility to be "queer" for one night. We want to expose you to your own fears and pleasures by pushing you to understand how your own power mechanisms are produced. This is why we invite you to be GEGEN by performing your psychosis, by being the enemy of yourself, by thinking and being out of b/order and by destroying every rational thought.
Photo by Aghia Sophie.
Pneumatic Records, Sycorax
Djing: I've always been into making mixtapes. i remember sitting by the radio as a kid taping songs off the radio and putting it together as a mixtape(first few seconds cut off of songs) , and then in the 90's trading tapes with friends, and i've been told that I make legendary mixtapes so yea……
I've been collecting records since my early teens, and then in my late teens early 20's friends of mine would ask me to play records at their house parties...and that's basically how it started. I didn't start to mix or really take it seriously till i started going out to parties in nyc around 2001-02.. I held my first residency and cut my teeth as a disco dj back in 2003 at a party called "Main Ingredients", and since then i've been fortunate enough to have played at: apt, santos party house, passerby, club 205, club love, tribeca grand, and le bain at the standard,
Producing: I played the drums as a kid, and studied music production/audio engineer in college, but it was daft punk that made me want to produce dance music! " teachers" is my template!
vinyl, and a few cd's
In January 2012 I started a record label with my creative partner Daniel Helmer, and in February we put out our first record: Sycorax “Scrapped & Buttered” ep. It's currently in stores, and is available to order through our website, or through downtown 304, and it hits shops in the uk/germany next week!
You can follow me on Tumblr, and Twitter:
We have a second release planned for the spring, which will have two original Sycorax tracks and remixes by Terekke (L.I.E.S) and Steve Summers (Clone, L.I.E.S)
I also have a Sycorax live PA debut show planned for may 5th at Shea Stadium in Bushwick, Brooklyn..powered by the infamous Bakery Soundsystem…
Christian returns with the second half of his GHT mix. This one picks up pretty much on the beat where GHT001 leaves off.
Check out Dj Christian Calson's bi weekly podcast available on iTunes or at www. DjChristianCalson.com. Follow him at www.Facebook.com/DjChristianCalson or www.twitter.com/bruiserbox
After years as a drummer, electronic music enthusiast and dancer, I began DJing in 2007 at a radical faerie gathering in the mountains of central Oregon.
I use Traktor Pro 2 with a Traktor S4 mixer. This mix was recorded directly within the software.
As resident DJ and musical director of Burning Man Camp Conception, I'm proud of the gorgeous parties we hosted this year at Burning Man: Rites of Passage 2011, with amazing artists and collaborators from across the spectrum. This live mix was from a Thursday night party called XenoConception, loosely structured around a narrative in my head about a small xenozygote wiggling its way through the cosmos looking for a mate (or three, or eight) and the adventures it had along the way, replete with chance interactions and changes of direction as with the party itself. The evening also featured DJs PG Tomasi & Tatar tag teaming from Want-It! (SF) and Bert & Chewy from Starborne (Seattle).
The Conception Artists Collective is a growing cooperative, aimed at bringing events, arts, music and spectacle both to the playa and year round in our Seattle base and partner cities up and down the west coast. You can learn more about our DJs, artists and events at: http://facebook.com/campconception, and can check my DJ page for more mixes and the like at http://facebook.com/djspaceotter.
Photo by Val Mohney, valmohney.com.
DJ español, fanático de la música electrónica desde que tenía 15 años de edad. Influenciado por los sonidos oscuros y contundentes de sellos como Tresor, UR, Warm up o Plus8. Empecé a pinchar música electrónica en un pequeño pub de mi ciudad natal, donde nadie entendía el techno, pero fue bienvenido. Entonces, el círculo comenzó a crecer y se creó el colectivo "Scorefreq". A partir de ese momento comenzé a participar en varios clubs y festivales de España como el orgullo gay de Madrid, Metro Dance Club o el festival Explum, donde compartí el escenario con artistas como Angel Molina, Alexander Kowalski y Oliver Huntemann.
Mi método preferido para pinchar es con cds o Traktor.