Exclusive Basic Soul Unit Podcast and Tin Man Interview of Basic Soul Unit

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Basic Soul Unit AKA Stuart Li, Toronto based house and techno producer has released on a who’s who of the top underground dance music labels: Dolly, New Kanada, Creme Organization, Ostgut Ton, Philpot, Versatile, Mule Electronic and Mathematics Recordings.

Whether it’s his production, DJing, or live performances, Li is pure substance. He’s been on our radar since we first discovered his 2010 Field Recording podcast, and the pairing with Tin Man, we couldn’t be more excited for Friday’s LIVE performance at Monarch.

Li produced an exclusive podcast and answered a some questions from Johannes Auvinen AKA Tin Man in preparation for our big night. Take a moment to take in the deepness that is Basic Soul Unit. We can’t wait for what both Li and Tin Man have in store for us Friday.

Johannes Auvinen (Tin Man): I was at Other Music in New York checking some records when the Motional Response record came out. I was getting tips from a salesman and he directed me to that record saying “it has a touch of Tin Man” not knowing who I was. I could hear what he meant. Where do you think our musical worlds crossover?

Stuart Li (Basic Soul Unit): I think we both take references and tools from specific styles of music (acid for an obvious example) and morph and meld them into part of our personal statement. Also I feel there’s a sense of melancholy and soulfulness (not in the literal sense of soul music, more a spiritual thing I guess) from the melodies.

JA: My Mom is Canadian. She described Toronto to me as being ruled by stuffy old school british attitudes.  I was only there for one weekend and did not see even a bit of that. Have times changed? Do you encounter some cultural currents making a a presence there?

SL: Times have definitely changed. Toronto is currently one of the most multicultural cities in the world with 50% of residents being foreign born. The influx of immigrants have brought new customs, beliefs and point of views. The mix of these and the interaction between people of different backgrounds in what makes it interesting to me now.

JA: Speaking of Canada, I just read Alice Munro’s  collected fiction “Too Much Happiness”. She is celebrated as a Canadian voice and winner of the Nobel prize. I was a big fan of the television series “Trailer Park Boys” which followed the magical mishaps of some rural dreamers. I think i would rather hang with the characters of the later. You?

SL: Can’t say I would hang with either but I’d probably have more fun with the later.

JA: Recently, I heard some talk about music makers distinguishing between being an artist and being an entertainer. Do you see a line between the two? Do you find that you wear these two hats on different occasions?

SL: I think I would be slightly more on the side of entertainer, but we all walk a line between the two. Artist in the extreme sense prizes personal expression and freedom (even if only idealistically), while the entertainer takes into account the audience. As a DJ and a producer of dance music, I always have the dance floor in mind even when I’m working on stuff that’s a bit further out. That said I do balance that with the search for a personal identity and my work and even DJ sets represents what I feel and who I am. 

JA: What kind of audience do you imagine when you write music? Do you feel like you need to answer to someone in particular?

SL: Again I have my mind on the dance floor. The dance floors I have personally experienced through clubs and warehouse/loft parties in Toronto and internationally, sounds and music of many types. The deep moments, the intense moments, and the energy from those memories. I think of that when I write.

Exclusive Conor & Jackie House Podcasts and Jackie House Back to Back Interview With Conor

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Photo by Mozhgan Shariat // Jeremy Lucido

We’re in for a treat today. In preparation for and in celebration of the As You Like It 4 Year Anniversary, we’re going to bring you two very special podcasts by two of our closest friends: No Way Back’s Conor and Honey Soundsystem’s Jackie House. Conor shared with us his first studio mix in over ten years. From our inception, Conor played an integral role in helping create our vibe and creative direction. Our tastes are varied and with Conor’s influence over the disco spectrum, we’ve pursued directions that we likely would have left unchartered. With Terje and Maurice Fulton heading the 4 Year Anniversary bill, it was only natural to team him up with Honey Soundsystem’s Jason Kendig for a repeat of their 3 Year Anniversary performance.

Jackie House, the artist formally known as Pee-play, has shared with us his first official podcast since his change of moniker and creative direction. Jackie House is Jacob Sperber, a pivotal member of the San Francisco late night dance community and member of Honey Soundsystem. Jacob, under whatever alias, is a creative force to be reckon with. Over the last four years, he’s played a role in countless pivotal AYLI moments. His influence on AYLI, alongside the influence of his cohorts at Honey Soundsystem, can’t be measured. However, with the closing of Honey Soundsystem’s weekly at Holy Cow, Sperber’s music and event production have leveled up. Most of his DJ-sets now include original production and edits. Fresh off DJ gigs from coast to coast watch out for Jackie House going into 2015 and beyond.

Jackie House: What is your bedroom like? Describe it to fans and haters alike, tell them about how your bed and your collection of vintage gear are like one unit. Tell people a little bit about the gear you have and why your bedroom is the way it is…

Conor: My bedroom is approximately 14’ x 16’. Most of my records live there- about 12k. I have a computer, my Bozak, decks, Some recording gear, couple drum machines (Linn, Cr-78, etc), synths (MonoPoly, Pro 1 etc), and effects units.. I actually traded the king sized bed i had for a queen so theres a little more room now. My bedroom is the way it is because i like to keep the rest of my house pretty minimal and clean. Just try to keep the clutter to one room.

J.H: There was one time you made a No Way Back poster that was inspired by this guys artwork of a horse head for a book cover. I loved the image so much I had to go find the book and then figure out who the artist was. When I found out who the artist was, it turned out ot be the guy who designed the Studio 54 logo which made sense to me because ultimately now that horse head was now party appropriate. I feel like that in a nutshell describes the kind of artist you are, someone who wants there to be layers of intention but that only the people willing to do the work will really get the full picture. Where did that sense of mischief and mystery come from? Were you that kind of kid - that liked to play tricks on people or keep secrets or play detective? Did you have anyone in your life that taught you the value of the reveal at a young age, or do you think you were just born with theatrics in your blood?

C: As an adult I still enjoy fucking with people so I haven’t grown out of that at all. I’m not sure who’s responsible for my behavior but I’m sure they must be sorry by now.

J.H: Tell me about your most disappointing DJ set - I mean, for as many times as you have played, there has to be a couple that were just epic fails - maybe not so much how you played, but maybe how you felt about the experience. I know there have been gigs I spent so much time psyching myself out for and then something really incredibly demoralizing happens before I even put my first record on. Don’t puss out either - give us some details…

C: I played at a party out of state a few years back that was pretty disappointing. No one showed up to the party and the promoter kept sneaking off to smoke what i think was crack. At the end of the night he didnt have any money for me and he dropped the ball on the hotel so i chilled at the airport for about 14 hours until my flight back home. That was pretty disappointing.

J.H: Have you ever had sex on the beach? If so did you like it and would you do it again? If not, why not? If you could choose, would it be at night or during the day? Basically do you like sweat during sex or no?

C: I honestly don’t recall but I’m sure it could have happened. Probably couldn’t be too bad. Probably at night- might have a better chance for a little privacy. I guess it depends.

J.H: This one is a 2 parter - you are on your death bed, in fact you are in your room you described earlier and you look up and realize you can listen to one last song in your room, someone will walk over to the stacks and pop one last 12 on as you walk into eternal blackness… What song do you ask them to grab?

C: Only thing that comes to mind is Don Henley “Dirty Laundry”but don’t hold me to it.

J.H: Part 2, you are on your death bed, but this time you are in a hospital bed, in jail. The guard on duty doesn’t know you are about to die, maybe you don’t really know either, all you know is that he is kind enough to turn on the radio for you. What kind of radio station do you ask him to put on and why? Country station, hip-hop, classic rock? You get the idea.

C: Rock n’ Roll for sure.

C: Any music projects outside of Honey? Anything coming up?

J.H: Well, technically this Jackie House alter-ego is the new ego. I have dabbled in production for a longtime but have decided to jump in and immerse myself in sound and music. I spend 2-3 nights a week in my studio and am trying to focus on creating a unique sound to for my DJ sets that isn’t just about having hard to find vinyls and promos. I kind of plan on releasing anything worth other people having in their hands for free online until I think something is label-worthy. People can peep my Soundcloud for stuff. Bare with me, I don’t know what you are doing - and neither do I.

C: Do you miss not having a weekly party to play at (Honey every Sunday) or is it more of a relief?

J.H: It is a great relief to have our weekly be done. I am not really much of a regrets kinda person, I am vehemently moving forward all the time - so much so it is a problem. I have never had a problem with a full circle, some people don’t want things to end, but I welcome the end - it is really the only way to live. A lot of people think about the obvious things when they say they wish the weekly was still alive but, when something dies, there comes renewal. So many people who were working our weekly have blossomed into new places because of the space it left when gone. I guess the one thing that is hard about not having a healthy weekly party is that you had to be prepared to play a set at least once a week and therefore had to stay on top of new music and keeping your collection happening. But there is a relief in that too.

C: Do you have a real job?

J.H: I have a million real jobs. I have worked at a record store, I have folded clothes, stuffed envelopes, worked cash registers, edited porn, run festival bars, decorated, excelled spreadsheets, cleaned out closets, cleaned out sheds, designed, modeled, performed, counted stacks, postered, non-profitted, profited the works. Currently I work for the man - they put money right into my bank account (which is like crazy - it just goes right in there - so groovy). I dunno, jobs are jobs - but creating art and making community is where it is at - thats where my head is at usually even when I am doing all this other stuff.

C: PJ Harvey or DJ Harvey?

J.H: DJ Harvey, sorry PJ - I hate to be another cliche DJ who worships DJ Harvey but, man, if it wasn’t for the Sarcastic Disco I accidentally walked into on April 1, 2006 in downtown Los Angeles with my best friend Marina Bitch (who was in full drag - we had just finished playing a slot at the long gone HEAR GALLERY) I would not be playing these parties today. Ken Woodard had already given me a sense of what that whole scene was about with his stories of full moon parties and stuff, but to basically be thrown right into a room full of Harvey converts and hear bumblebee unlimited ceremoniously mixed into a ridiculously well curated set by Thomas and Eric Duncan was like a spaceship lift-off. It was at this party that everything clicked for me musically. I have never been to a Sarcastic since, no point in ruining a perfect experience. I basically was born again in that room, baptized into learning how to mix on vinyl, understand disco, and keep things weird… Harvey continues to raise that bar, he’s a fucking Dali Lama of techno - I mean I hate for anyone to have that kind of influence, but after hearing his recently released Wildest Dreams record, it just can’t be denied.

C: Lo-Fi or Hi-Fi?

J.H: I mean every DJ has Tinnitus - anyone who denies that either can’t hear what you were asking or is a fucking liar. So essentially it all becomes Lo-Fi after that right? It is the universe saying chill the fuck out, no matter how much you think you can harness the frequencies - you probably blew half of them off your radar trying… Instead of focusing on the quality of sound, I try and cherish when I know my hearing is being lost. For example when my friend played as his solo project “Universal Baltimore” at one of the first parties I ever threw in the city at the old Hush Hush Lounge. He showed up on a blue van and brought in a wall sized stack of vintage amps, a wireless mic, and sat behind a drum set for his performance. He basically made the loudest noise I have ever heard in my life. Still to date, I have never heard anything that loud. When the bar management came running up to him to stop, he got off his drum stool and ran screaming out the door and up the block. Because the microphone was wireless, we could hear him screaming for another 3 minutes as the bar manager tried to pull the plug on his gear. Another example was at the As You Like It with Derrick Carter show we did this past year. I celebrated the loss of Hz to my hearing while in the DJ booth stealing some of Carters Hendricks Gin to feed some gorgeous Bear dude who I was trying to impress. As I was pouring and losing my hearing from the monitors at 11, I saw basically the most ridiculous display of love and silliness as Carter had a line-up of VIP house heads and DJ friends cheerleading his set from behind him. His posse, blissfully unaware of the Db level, in a trance-like state were living and reliving what was obviously an encyclopedia of history with Carter, his career, and their own dance-floor pasts. It was like a white noise montage sequence to the most sappy 80s movie you love, I was almost in tears… dick-tears.

Exclusive J.Phlip Podcast and AYLI’s Bells & Whistles Interview of J.Phlip

As You Like It friend and Dirtybird artist J.Phlip is set to make her AYLI return May 17 for Move D B2B Optimo, Jackmaster, J.Phlip and more at Public Works. J.Phlip’s cross of bass and house music bridge the gap of many of our key influences. AYLI residents Bells & Whistles prepared some questions for J.Phlip in preparation for the upcoming performance. J.Phlip live recordings are few and far between, so we’re especially honored to release her AYLI recording from December’s show at Monarch with George FitzGerald as an exclusive podcast. 

Bells & Whistles: Can you tell us about how you first got involved with Dirtybird?

J.Phlip: It took a little luck, a little fate, a little of my own effort, and a lot of total nonsense to make it happen. It started about 10 years ago at Smartbar in Chicago when this funny guy starting dancing with me at the Ben Watt show. He was wearing a trucker hat that said “fingerbang” and a Harley Davidson t-shirt with the sleeves cutoff. He went on the decks at the end of the night and then I realized he was Justin Martin. I had his Sad Piano record and my dj partner had a couple of his early dirtybird records.

Then I went to WMC a few months later and brought my best friend, Anu. Anu has the magic ability to talk to anyone! I can be way more shy. We went to the buzzinfly party where Justin was playing and I actually had to leave for a gig during his set. But i told Anu to stay and go meet him and find out where they were partying later. I had a feeling his crew from SF was going to be really fun. Then we ended up partying with them the rest of the week. I met Barclay, Worthy, Christian Martin, Fernando and Sammy D to be specific. We had this unforgettable night dancing to Audion at Jazid. The music was mindblowing. Their crew was just so silly and fun. Shit man I wouldn’t have even been in Miami that year if it weren’t for this silly DJ contest I won through BPM magazine. Its funny when you think back, all the little things that could have totally changed the outcome of life. The “what ifs”?

Anyway I just kept bumping into them in Miami, Chicago, or SF, and we became friends. I decided to fly to San Francisco to see the premier of Snakes on a Plane with the dirtybird gang in 2006. No seriously, its true. There was a dirtybird party at Shine that week and so they asked me to play! They had me come out another time too to fill in for Barclay when he was out of town. I eventually got my butt in a Uhaul and moved out to SF but I still wasn’t a dirtybird yet. In 2008 Barclay signed my first track Rumble Rumble to dirtybird and after failing dirtybird bootcamp I was still made part of the crew! Happiest times!!!

B&W: What’s the hardest part of hitting the road every weekend?

J: Airports suck… They are a true test of your patience. Never being able to have a regular sleep schedule is hard sometimes too. Luckily I can sleep on planes! If I couldn’t I don’t think I could do this for a living! Everyone wants me to after-party everywhere but I just can’t or I would kill myself. My room is always a mess from packing, unpacking, and re-packing….

B&W: If you could have any super power what would it be? And why?

J: Stop time! It moves way too freakin fast!

B&W: You still live in San Francisco. What is it about the city that keeps you coming back?

J: It is a magical city. It’s so beautiful. Most beautiful place I have ever seen. I love the weather. Even the chilliest and foggiest days dont have sh!@#$ on the freezing cold endless gloom of a Midwest winter. It’s a crazy place man. It never gets boring. So many freaks and crazy mofos around. And of course i love my friends and my boyfriend here. But I work and travel so much these days, I don’t take enough time to enjoy the surroundings in the bay. And the housing crisis is depressing. I know everyone keeps saying move to Oakland but that doesn’t work for my boyfriend. So I have a bit of a love-hate with San Francisco right now. I want to stay but it is so difficult! I guess time will tell.

B&W: What do you think about san francisco’s dance music scene compared to other cities around the world? Anything you’ve noticed that’s special or unique, and anything you’d immediately change if you could?

J: I don’t go out very much these days! I’m probably a horrible judge of scenes. I really only know how my gigs are and what my friends tell me about their weekend and pictures of parties on Facebook. Seems like San Francisco has a strong dance music scene right now. It always has. It is a small city and I have seen it struggle with being over-saturated - Too many parties, not enough clubbers. But dveryone is partying now in 2014, right?? There definitely seems to be a ton of great talent coming through!

The dancefloors get really loose in SF. They always have. People are never too cool to dance and whatnot. I love that. The outdoor parties are really special. I don’t see many parties like the Sunset parties and the dirtybird BBQ and such in other cities.

But I was totally spoiled by the club scene in Berlin, after living there for three years. The clubs here don’t compare to the clubs there and a lot of other cities unfortunately. But I don’t think it’s necessarily their fault. You can only do so much with the 2am liquor cutoff. So I guess that’s what I would change! If people could continue to get their drink on until at least 4 or 5 I think the clubs and promoters would have more money and more motivation to step it up and get more creative with the parties. As far as undergrounds, I heard there have been some going on but I have always been out of town. Back in the day I used to LOVE the underground parties here. They were the best!

B&W: After a late night when you’re feeling hung over, what’s your favorite breakfast spot in SF?

J: Ha I haven’t had brunch in SF in forever! I’m never here on a Sunday morning. But I know Brenda’s is still the spot! I love to go out to dinner here though…. I love Kiji, nopa, lolinda, and locanda…. Dem are my spots right now. Mmmmm sip sip… Today I’m actually going to Statebird Provisions for the first time. I worked so hard to get that reservation! Very excited!!!!!

B&W: If you could hang out with anyone dead or alive, who would it be?

J: Justin Martin. Hands down funniest most fun person alive.

B&W: Whats currently playing on your personal playlist when all you want to do is chill?

J: Moderat - II
PRSN - Bedtime Stories vol. II
Chelsea Wolfe
The Spyrals
Lower Dens
Connan Mockasin
Crystal Stilts
Arca

B&W: What is your favorite kitchen appliance?

J: Vitamix baby!!!

B&W: What exactly is it about pizzas that makes you want to remove them from their box, and throw onto other objects?

J: I was bullied by a pizza as a child.

Exclusive Keith Kemp Podcast and Direct to Earth’s Patrick Gil’s Interview of Keith Kemp

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Photo by Richard Henry Thomas.

Keith Kemp's long been a fixture of the Detroit underground dance community as a graphic designer, artist, producer, DJ, promoter and stage manager for Paxahau’s Movement Festival. A Jack of all-trades. Now a days most of his time is spent in the studio and as Paxahau’s lead resident DJ, where he can be heard in cities across the globe bringing his take on Detroit techno to the masses.

We’re excited to welcome back to San Francisco to represent both Detroit and Paxahau as part of our Movement pre-party featuring DVS1 and John Osborn. We’ve long been a fan of Kemp’s sound and energy on the dance-floor. This marks his second AYLI appearance in three years. 

In preparation for Friday’s Monarch performance, Kemp put together an exclusive AYLI podcast and AYLI friend and Direct to Earth cohort Patrick Gil interviewed Kemp. Please take a moment and take in the mix and interview. Quality.  

Patrick Gil: How long have you been DJing? How long have you been producing music? How did it all start for you?

Keith Kemp: I played my first gig about 20 years back. While working at Record Time in Detroit, I had become friends with a promoter from Windsor, and he put me on a bill stacked with Detroit heavyweights like Dan Bell, Claude Young, Mike Huckaby. After that gig, it kinda just started from there.

During high school I was learning a sampling keyboard. After I started DJing I messed around with Cubase and MIDI connections, later jumped into Ableton Live, and I’ve since graduated to a collection of synthesizers, sampler, plug ins, DAW’s and computers. I’ve got a room in my house filled with a gear and a couch, fish-tank, all the good stuff. It’s like the war room and the chill room and the design room and the studio all together.

P.G: You’re from the Detroit area. How do you see Detroit in relation to
Techno, both at its beginning and nowadays? How does Detroit relate to you?

K.K: I’m 100% a product of my city, and my sound is derived from my experiences as a DJ as well as my surroundings.

P.G: What do you use to DJ? What do you use to make electronic music?

K.K: I’ve been a vinyl DJ for 20 years, but I’ve added digital components since 2005. Currently the best way for me to express myself is by using 4 virtual decks inside NI Traktor, with 2 NI X1 controllers and an Allen & Heath Zone 92 mixer. I’ve been running with that setup for the last couple of years, and I don’t see it changing anytime soon. Occasionally I ad a looper to the mix.

I still play vinyl. I have a pretty big record collection that I’m constantly adding to, and if the gig is right I’ll definitely bring out the heat. I love making vinyl DJ mixes and still I’m constantly practicing. I use turntables in my productions as well, so I’m never far from a studio or a DJ set up.

My “recording studio” is a collection of odds and ends. FM synths. A Moog. 6 Hardware samplers if you count my MPC. LOTS of MIDI. I also adore using my amazing collection of apps with my iPad 2 and the Alesis iO dock!! My studio is also pretty similar to my writing partner and my DJ partner’s studios, so it’s pretty easy to go back and forth, plug in and exchange ideas or perform.

P.G: Anything forthcoming in the pipeline? Both gig wise and/or release wise

K.K: I just finished a remix for my techno homies from Detroit-Stone Owl. It’s part of a release on Thoughtless Music from Toronto, and I’m pretty pleased with the result as well as my inclusion in the project. That should be released soon.

I’ve also just finished a remix for DJ 3000, and that should be released hopefully before Movement.

After that I’m kinda back to personal projects and working on my studio. The summer is wide open and I’ve got a lot I want to accomplish.

P.G: Is vinyl important to you, whether you’re releasing it, playing it
or buying it? How much vinyl do you buy nowadays?

K.K: Everything about vinyl is super important to me, and that’s never changed. I buy as much as I can, I try to shop and dig in every city I travel to. Detroit’s got a few great shops left, and I’m there as much as my budget permits. I’m running out of space at my house, so I’m building shelves in my mom’s basement for the “secondary” collection. I buy everything. I buy jungle, classic house, punk, soul 7”, things with weird artwork or colored vinyl..

I would love to release more music on vinyl, so that’s something I’m always working towards as well.

P.G: You’re friends with Luke Hess. Who else in the Detroit scene do
play with/collaborate with/hang out with?

K.K: I guess you would need to come to Detroit and hang out with us.

P.G: Tell us about your 2 most memorable experiences on the dance floor; one as an attendee and one as the DJ.

K.K: Dance Floor? Carl Craig Landcruising Live PA. Any Hawtin DJ gig that involved total blackness or just a strobe light.

DJ? All the Detroit Syst3m warehouse parties I’ve ever played. Any gig that involves as much as my friends as possible, with Mike Fotias controlling the rig.

P.G: Do you have any core beliefs, practices, or mindsets that you take with you, and define you as a DJ and/or producer?

K.K: Only that the options for creatively expressing yourself today are enormous, and I would encourage everyone to educate themselves and practice. Start putting in your 10,000 hours.

P.G: How important is it these days to market yourself as a DJ or
producer? Techno began as something that was most special when it was as low key as possible, but it seems to be changing. Do you agree? How important has the amount (or lack thereof) that you’ve marketed your own self been, in relation to your gigs and releases?

K.K: I think there a lot of opportunities to market yourself these days, if that’s what you are into. I like the idea of growing your audience
organically, whatever that means to you.

I definitely use social media to promote my music, my DJ gigs and my adventures. It’s all really fun for me and I’m pretty fortunate, so I pick the things I share with everyone.

P.G: Tell us about this podcast. Where and how did you get most of the music? How did you make the mix? Does the mix represent a classic Keith Kemp set? A Keith Kemp warm set? Peak time set? Somewhere in between?

K.K: This is a pretty ambitious DJ mix. I pulled everything from my collection and there were a few records that had been burning up my DJ bag that I wanted to include, like the Kyle Hall cut.

I also wanted to make sure I cover different types of Detroit and Detroit-techno based ideas and melodies. I then dug really deep to include some of the more esoteric stuff I have in my collection. I also adhere to an ideal i took from David Mancuso, is that the arc of the mix contains a beginning, middle and an end. I need to make sure I tell a story, connect the dots to take you on a proper journey.

Coming up in Detroit, you could always count on a DJ to finish his set by dropping something super deep, super crazy or maybe just completely left of center, and that’s never left me either. The Passage is a more esoteric Model 500 cut, but it’s one of my absolute favorites and I felt like including it in this mix.

This mix definitely represents a classic Keith Kemp vinyl techno set, but that’s just one sound that I like to present when I DJ.

Exclusive Benjamin Vallery Podcast and Sunset Sound System’s Galen Interview of Benjamin Vallery

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photo by Micah Weiss

Friday’s party at Monarch with The Martinez Brother features one of our favorite local DJs, Forward SF and Slinky resident Benjamin Vallery. Benjamin’s been a major contributor to the West Coast and beyond dance community for going on two decades. We’re excited and honored to share with you an exclusive podcast by Vallery and an interview of Benjamin by Sunset Sound System's Galen Abbott. 

Galen Abbott: For those who may not know why don’t you tell us a bit about yourself. Where are you from? How did you get into electronic music?

Benjamin Vallery: I grew up in Seattle through college and moved to Los Angeles in 1999, which is where the bulk of my DJ career started. Back in high school, I was always the kid with head-phones on walking around the halls in between classes, I always had music playing. Definitely hip hop, r&b and some heavy metal and grunge were in rotation in my Walkman. But as far as getting into electronic and house music, my older brother Dana would hand me down some of the new music he was listening to. I can’t remember exactly which album it was but I think It had something to do with Rotterdam techno. I just sort of became a collector of whatever new music was rolling out on Tuesdays. Raves were just hitting the northwest in the early nineties and I was lucky enough to be a part of the golden era of so many different genres of music. There was an old record store called Orpheum Records on Broadway in Seattle and it was one of my first introductions to vinyl. There was this great guy Rob Green who really listened to me and paid attention to what I bought and gave me great recommendations. There was also Wesley Holmes and Brian Lyons from Flammable to help me get my deep house motivation going.

GA: How has your sound evolved since you started DJing? And are there any producers that you’re really feeling right now?

BV: Well it’s kind of progressed along the same lines as the music has over the years. Used to certainly be a faster a tempo with more breaks, but it has mellowed a bit, which is good. Over the years I’ve had a couple DJ partners in which we did 2 x 4 or even 2 x 4 with additional equipment like drums and drum machines, samplers and mics. Marcus the other founder of BodyRockDJs was instrumental in pushing us forward with new gear and sounds, while I kind of focused on laying the groove out. Since we split up the DJ crew, I’ve had to try to find my own sound which I feel like I’m just coming into with full steam. It’s been great to discover a deeper side but still fun I have no problem dropping a break or some song with big bass. But I still like my solid house grooves, which is why I’m pretty excited to be playing with The Martinez Brothers because I have almost all of their tracks. JT Donaldson just put out a new 88 Days EP that is pretty indicative of what I like right now. “In Our Love” is deep and melodic and “The Depression”  is a chugging bassline heater. I threw that one on this mix for AYLI. And of course I love my San Francisco homies both up and coming and the bigger players: Dirtybird, Moulton Studios, Alland Byallo, Blue Soul, 3AM Devices, Roam Recordings. There’s a lot of exciting collaboration happening with this new generation of DJs and artists in San Francisco.

GA: What has been your most memorable DJ gig to date?

BV: There was couple of times I got to go to Japan to DJ for my homies at Numlok. Getting to DJ in Tokyo was extremely high on my bucket list. However one of the other most memorable involved an underground space called the church in Los Angeles playing for F.A.M.I.L.Y. BodyRockDJs were playing downstairs and I started feeling water droplets, then more water and it kept coming out the ceiling until we had to move the mixer and the whole setup . It wasn’t till a little bit later that somebody told us the bathroom upstairs had flooded. We just kept jamming it was a great party. Hopefully it was just the sink.

GA: You have deep roots in house music, what was it like being a part of BodyRockDJs? Wasn’t there also a label at some point?

BV: It was a great time! We hit some pretty tall ceilings in the underground community in Los Angeles. We were fortunate enough to help sustain a warehouse scene for over a decade while being able to travel a bit and start that label (Quietly Freakin’). It was mostly a vehicle for us to put out our own music. I remember the first sunset party we came to, you played the Justin Martin remix of our track for about a thousand people. It was the first time hearing it played out by somebody else. Needless to say we were pretty stoked. Luckily we got a press and distribution for our first release. Unfortunately the timing was pretty bad that’s when the record sales started to decline and I wasn’t too on board with digital yet and it was just funky time personally as well. Plus owning a record label ain’t no joke. I have plans to get in the studio make some stuff for other peoples labels soon!

GA: You’re always such positive beacon on the dance floor and very passionate about the music. Where does this inspiration come from?

BV: I appreciate that! This is a community of like-minded individuals and it’s always had positive aspects of acceptance, activism, and equality. I don’t want to get too corny, but the music changed my life forever. It made me a much better and more compassionate person. I just try and to be a part of this community, so staying positive isn’t too hard when you are surrounded by great folks. Far as being passionate, my friends have nicknamed me Grandma becacause I sometimes get a little cranky and serious about my music. Expect some tracks and remixes from “Grandma” someday.

GA: As someone who appreciates the craft of DJing, how would you say it’s changed and/or stayed the same in the last 10 years?

BV: I’ve always said it’s not about the medium but the message. The only thing I don’t really appreciate with the new technology is people not mixing with this new equipment. There is something extremely valid to learning to beatmatch and playing songs with that extra bit of anticipation and excitement. One of the things I really love is constantly being amazed by somebody with the right heart laying out a well composed mix. That is the best element that hasn’t changed since it began.

GA: You once resided in So Cal but you you’ve been living in Nor Cal for years now. How would you describe the differences in the underground house music scene?

BV: There are such great aspects to both regions. It is really hard to beat a warehouse party in Los Angeles the same way Northern California has a lock on the outdoor parties. But either city can pull off both  well. I fell in love with San Francisco and don’t think I’m going back to Los Angeles to live anytime soon. And becoming a resident for Adnan Sharifs Forward parties has also been a blessing because I respect what he’s done in San Francisco before moving back to Brazil. And like I said, there’s a new generation making waves that’s pretty damn cool up here and it’s great to be a part of it.

GA: What genre of music would you be listening to if house music didn’t exist?

BV: That may be impossible to answer. I’ve always searched for new music of all different types. I have a pretty extensive catalog of jazz, rock, classical on my hard drives. I use to do sound design for theater shows so it broadened my scope on a lot of different styles of music. One of the best aspects I learned from that was searching for the right mood more than anything else.

GA: We’re in for an exciting night with the Martinez Brothers. What do you enjoy most about AYLI events?

BV: Jeremy has a great ear and a finger on the pulse on what is hot, but still traditional and respected. It’s not easy to survive as a promoter making bold decisions and he does. Although I don’t know some of the techno artists he brings, he has opened my eyes to some great talent. I also appreciate the fact that he can book house, techno, and forward-thinking music and people trust his vision. The crew at As You Like It works very hard and it shows.

GA: How do you like to unwind after tearing up the decks? Is there a favorite adult beverage that helps?

BV: It’s fairly interesting because I was 100 percent sober up until I was 31 in 2008. Let’s say I’ve had some fun, but I still stay sober for my sets. I’ve tried it a couple times doing it differently and it doesn’t work out. Plus like any DJ, I can be pretty hard on myself, and being selfish and having too good a time is not an excuse to not give people the best I can. I do sometimes drink a pint of beer every now and then, but a lot of times the bar is probably closed when I’m done anyway. But when I get down, I get down. Since I’m opening expect me to be getting down!

Exclusive Honey Soundsystem Podcast and AYLI head Jeremy Bispo Interview of Honey Soundsystem

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Saturday’s collaboration with Honey Soundsystem featuring Derrick Carter and Bicep marks the second merging of our crews. Our guests for the night bridge the many influences of both AYLI and Honey. Honey Soundsystem has long been an inspiration to us and we’re particularly excited to introduce the collective as a whole to you with this exclusive podcast and interview. Each of their members stand on their own and together their multitude of skills and attributes makes for a party and collective to be reckoned with. Please take a moment to take in the mix and read the interview. Quality.

JB: For those that might not know, tell us how Honey Soundsystem started. Who were the first members? And how did you all meet?

HS: Honey Soundsystem was the brainchild of Jacob Sperber and Ken Woodard who first collaborated as DJs one summer of 2006 in the midst of dust and wind out in a desert past the shared border of California and Nevada. As time passed we’ve had quite a rotation of djs under the Honey name. But recalling the first time all the current core members of Honey were in the same room was at the Gun Club party here in SF at Moulton Studios. Jacob Sperber, Josh Cheon, Jason Kendig and Robert Yang all arrived at the party without much coordination to see headliners Tim Sweeney and Maurice Fulton. It was a serendipitous affair as it was the first time we saw each other under one roof. At that time it was our shared tastes in music that brought us together. A few months later, Jacob had lured Robert into the Honey fold with pot treats as we listened to Jason Kendig DJ who later had signed on to the honey roster. And Josh Cheon, a regular fixture at all the parties had sealed the deal with his first honey gig for Thanksgiving weekend. By Summer of 2007 we had launched our first party with Robert opening for Todd Terje - our first big name headliner at a one-off at the now defunct Club Rawhide. And by the end of 2007 we had established ourselves as the de facto DJ collective for queers and friends alike to experience great music in an underground, un-Castro type of setting.

JB: Each of you have your own unique sounds and styles. Tell us a bit about your sounds and influences.

HS: Our sound is rooted in the history of dance music. A lot of events that we have curated and produced come from a standpoint of gay history with a lot of reverence for dance floors throughout different waves of underground music. When we first met we had pretty divergent styles. However, rooted in our styles was an everlasting love affair with the history of dance music - which is why our sets complement each other so well.

Disco is an important reference point for us because of Paradise Garage and the kind of music Larry Levan played for a predominantly gay male and straight female crowd. Hi-NRG and the San Francisco Sound of the early 80’s is also important as we draw a lot of reference from bath house music and a lot of background from Patrick Cowley’s days as a producer. Chicago house music is a mainstay in our sets because we consider a lot gay and straight house DJs from mid to late 80’s as our forefathers especially Ron Hardy and the recently passed Frankie Knuckles. 90s music is incorporated into our sets as well as this was another world to reflect upon, on the fact that a lot of queer djs at that point was pretty much ubiquitous.

JB: Decor is integral to your parties. Who takes the lead on the decorations and what makes decor so important to the crew?

HS: Depending on context of the party, decor can either have a vision that is offered by one of the members of the Honey or it can be a stream-of-consciousness exercise. For us, it’s a bit like meditation, or offering a prayer to the party. What we try to complete is a mood or key signature for the party - depending on where we are and who we are at that time and place. It helps us bond with each other much more as we collaborate while strengthening our creative/imaginative muscles before getting on the decks to play. The importance of decor is intention for the party and how we want the end-result to look at the end of the night. But the decor is also ephemeral - we can take it all down and start all over again resetting expectations for each night that we throw an event.

JB: I’ve long said Honey was the best weekly in San Francisco. You decided to recently end the weekly on a high note. What was led to the decision to stop your weekly at Holy Cow?

HS: Producing an event on a weekly basis was becoming more and more automatic and mindless. We felt a growing disconnectedness from the dance floor and attendees, and we wanted a return to something intimate: like the loft party where we had Horsemeat Disco play their first party with us joined by Marina Bitch performing a birthday pole dance routine, or, our signature basement parties in which we produced our parties based on the history of Hi NRG and the life of Patrick Cowley or on Andrew Holleran’s novel Dancer from The Dance.

We wanted people to remember what made the Honey experience so special and to do that we had to go back down to the underground to change things up again and reset expectations.

JB: Thank you for taking the time to introduce Honey Soundsystem to the As You Like It audience and the mix. We can’t wait for Saturday.

Carlos Souffront Podcast + Derek Plaslaiko Interview of Souffront

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Carlos Souffront and Derek Plaslaiko (1996) photo by Niki Zibisky

We were late to the Carlos Souffront bandwagon. It wasn’t until 2011, shortly before he moved to San Francisco, that we first discovered Souffront through our friends at Honey Soundsystem. Since then he’s become a secret weapon of sorts that we do our best to work him into appropriate line-ups. His time in Detroit and the influences he brings to a night are unparalleled by existing San Francisco DJs. Simply put, Carlos drops bombs. A DJ’s DJ of the utmost.

We’re honored to release this exclusive mix, an excerpt from a recording at Plunge, September 14, 2013, and an interview of Carlos by The Bunker resident Derek Plaslaiko in preparation for our upcoming collaboration featuring Bunker artists Voices from the Lake

Along with being a The Bunker resident, Derek was asked to interview Carlos because their relationship dates back to the early 90s. "Carlos has always been one of my 3 favorite DJ’s and that I always have been one of his biggest cheerleaders. Nobody on the planet is happier to know that so many others are finally starting to see it, too," Plaslaiko said. 

DP: We met while you were DJ’ing experimental and ambient at EXAT at Zoot’s Coffee House in Detroit back in 1995. What made you decide to learn to DJ in the first place, and how did you teach yourself?

CS: I always say that I started DJ’ing to subsidize a pernicious record buying habit, but I did resist doing it for a while even after getting sucked into the Techno vortex. It’s crazy for me to think of a time now when I didn’t want to DJ, because I was constantly making mix tapes of stuff I heard on the radio and records I bought which is the same thing really. The only difference was that I learned how to beat match…sort of! I bought a used Technics 1200 to finally upgrade from the Fisher Price record player I had, adopted my dad’s belt drive Technics, bought a cheap mixer and set up in my parent’s living room and practiced beat-matched mixes for hours on end. I was always musical but didn’t have the discipline to learn to read music or play an instrument, but playing myself records is just fun and the rhythmic aspect of beat matching came easily. The formative moment was probably a DJ friend I looked up to (Sho) telling me how DJ’ing was just a really interesting and fun way to listen to music. And for the record, Derek, we first met the VERY first time at a Mercury Rev meet and greet at Play It Again Records. We talked about Autechre ‘Amber.’

DP: Continuing from the first question, did you have a passion to play dance music in front of dancing crowds even before then? And did you ever think you would still be doing it to this day?

CS: Starting out, I was happiest when I was in the audience for a great DJ. My passion for Dj’ing grew out of a musical dissatisfaction in those years when all of the sudden everyone was a DJ. I guess I just had that same artistic impulse of looking around at the landscape of art around you and saying “Ugh…no, no, no, it’s LIKE THIS!” Listening to and sharing music is something I enjoy doing as much as anything in life, I don’t imagine that ever changing.

DP: It seems like No Way Back during Movement 2013 was a “tipping point” for you, so-to-speak. People were finally realizing what many of us have known for quite some time: you are a complete badass. I know you’ve never been one to be quite comfortable with compliments, but how are you taking to this recently heightened attention? Is it all happening as naturally as you would like it, or do you feel more “pressure to perform” these days?

CS: Thank you Derek :-/ What can I say? I LOVE the attention! It’s all super flattering, and it does raise the stakes, as does the current culture of promoters recording and releasing all of my sets. I’ve always felt a lot of (mostly self-imposed) performance anxiety. But now that I finally have my turntables and all of my records back, I can practice at home instead of at the show! Also, now that I’m starting to collect and play music digitally too, I’m excited for the first time in a while to engage with new music.

DP: Sometimes you have a tendency to play records that on the surface may sound extremely abrasive when played by themselves. Yet, when you put them together for one of your sets, often you have a way of making them come off deep and sublime. Is this something you do intentionally? Or, like usual, am I just reading too much into it?

CS: Thanks Derek, that’s super flattering! I always feel a little cheesy talking about it, but when it’s all really working, the experience really can be transcendent. I love all of the records I play, and I’m just trying to show people what I really like about them, even if it’s something they wouldn’t listen to on their own. And I hope I’ve developed a taste level over the years high enough that what I play comes off as ‘deep,’ even when it isn’t pretty. Of course I ALWAYS want the ‘sublime’ part, but getting there mostly means cooperating with a great promoter that understands how to cultivate an atmosphere conducive to magic-making and then, of course, having good old friends like you in the audience to egg the whole thing on. It’s a joint effort to create that magic space where we can get really freaky.

DP: A little birdie told me that you had a studio session back in December. Were you happy with the results? Is it something you have been pursuing since/before and would like to do more of?

CS: Yeah, it was fun and I intend to do more of it. Nothing has been release-worthy yet and I refuse to put out mediocre junk just because the Techno Police say that I should have a release out by now. The collaborative aspect of it is what interests me the most. Plus, I really need to work with people who are more experienced in the studio than I am to help translate the ideas stuck in my head. Luckily, I’ve got several talented friends that want to collaborate.

DP: One of the things I have always admired most about your DJ’ing is the ability to truly challenge the dance floor in front of you. And we both know your love for music extends well beyond electronic music alone. Do you feel like you have any musical limits when you are in front of a crowd?

CS: I self-impose all sorts of constraints, mostly about picking music to match the setting. I still play well ‘inside the box’ most of the time. And I don’t often dip into neighboring genres, though when I do, it’s a huge thrill and very inspiring to me but I don’t feel that it’s appropriate every single time I play. And even though I maybe got a reputation for playing some abrasive stuff, there are still a bunch of records I love that I still wouldn’t dare play to a dance floor. Maybe now I’ll have to ;-)

DP: It seems like the jump from Detroit to San Francisco has been great for you! What have you enjoyed most about the transition? And if you could go back in time and make the move happen sooner, would you?

CS: I’ve most enjoyed the cliché parts of being in San Francisco: the saturation of gay people and my subsequent forgetting of being gay and then the weather! While the queer immersion here has been great for me, I miss my Detroit/Ann Arbor friends like crazy and of course the parties that just are rarely as good anywhere else, but I have no regrets at all about the timing of my move.

DP: Much like myself, you have been displaced from most of your record collection for quite some time. I hear you are about to get it all sent to San Fran! That *has* to feel good! Can you name 3-5 records that you might have tried locating in your collection on visits home, but haven’t had much luck in doing so?

CS: Yup, they’re all here finally! And my turntables!! I will finally be able to mix at home again!!! A few records I’m excited to have been reunited with are:
The good early Rephlex records (Universal Indicators and Caustic Windows, etc.)
The Kreisel 7”s
My Stereolab & Flying Saucer Attack records
The impossibly weird Irdial records that I’ll never play out but still love to listen to
All my drone records that just go “UUUNNNNNNNNNNNNNHHHHHHHHH”

DP: Let’s talk cheese! Most people are aware of your passion for cheese. I realize this is a dumb question, but… gun to your head…. do you choose a well paid career in cheese, or DJ’ing? I ask because it seems you do pretty well in balancing both. I’m mostly curious about hearing you compare which one is more fulfilling to you and why.

CS: I don’t think it’s a dumb question at all! I decided to work in the food biz because I felt like I was too fringe to cut it as a full-time DJ, and that it would lose some of its magic for me if I did it more than once in a while. I go through phases as it is now of feeling bored, boring and irrelevant, I feel it would be disrespectful to go ahead with the gig anyways and play with that kind of ennui in my heart. When I don’t feel like playing, I just don’t and that’s the way I like it.

DP: And finally, paint us a picture: ideally, what does the life of Carlos Souffront look like 10 years from now?

CS: Hopefully it will look mostly the same, just with more grey hair! I expect to continue finding old and new music that inspires me to share it with friends, and I expect there to be that rare and special space where that can occur and I have a feeling that many of the familiar folks will be there too.

Tom Croose R&B Love Jam Podcast + Slow Hands Back to Back Interview with Tom Croose

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We’re excited to celebrate our Slow Hands annual tradition with a exclusive special love jams podcast by Worst Friends cohort Tom Croose and an interview of each other in preparation for Friday’s Valentine’s Day love affair at Beatbox.

Last year we brought the duo to Beatbox for a steamy slow-mo disco dance party and the recording has been one of our most popular to date. Today’s mix by John Paul Jones AKA Tom Croose marks the first artist to return to our podcast series. 

Slow Hands will follow his San Francisco debut of his LIVE performance with a back-to-back DJ set with Tom Croose as Worst Friends

Check out Slow Hands recording from two years ago. 

For a taste of what’s to come from Slow Hands’ LIVE set listen here

Slow Hands interviews Tom Croose

As Tom Croose, and one half of The Dukes Of Chutney, your music is pretty un-embedded in traditional “electronic” dance styles, and more deeply rooted in dub reggae, bossa and samba styles. Where does this come from?

I guess from listening to a lot of the styles you mentioned. I collected a ton of Brazilian music and just jazz in general while interning for verve records. Spent a lot of hours exploring and enjoying that stuff. Something about delay and reverb that I just really love too. I love space in music, I think that’s why I’m so into producers like Holden and Koze and Dan Snaith, guys who sound insane on headphones. That one Holden dub of Depeche Mode is so wild, its like standing in the middle of an amazing storm. Wish I could get stuff to sound like that.

We’re playing on Valentine’s Day, what are you feelings on Valentine’s Day?

I’ve worked most valentine’s days, so it’s kind of whatever. I love to take my wife out to a nice dinner, but it’s much more enjoyable and easier to get reservations on any other night. We make our own valentine’s days and they’re not limited to once a year ;) actually, these days getting in some couch time with an uninterrupted hour of the sopranos or whatever show we can catch up on is like eating at the French laundry.

Who is your favorite DJ, and why? Who is your favorite musician, and why? What’s the biggest difference between being a DJ & a musician to you?

I’m not sure I have a favorite DJ, there have been many where I’ve gotten totally lost in their music for at least some period of a night, but honestly I don’t go out enough to have a really informed opinion. I can tell you my favorite times being out to see a DJ have been seeing Joakim at apt way back, Pilooski at the same spot, and Osborne there too. Apt was a great spot for a while. Also, 205 club, Todd Terje crushed it there, Eric Duncan, Justin Vandervlogen as well. Always enjoy seeing Slow Hands DJ, he can really work a pioneer!

Also, I’ve downloaded mixes that really stuck with me too over the years, Koze, Holden, Superpitcher, Tensnake, Floating Points, Flying Lotus have all put out mixes that pretty much blew my mind. The list could go on. I don’t know if you’d call it djing, but actually seeing flying lotus at love in new york a while back was so sick. That guy has amazing energy.

My favorite musician? Probably John Fahey or jack rose, always had a spot in my heart for solo acoustic guitar. Chris Corsano drumming blew my mind years back. Paul Lai on guitar from Upsilon Acrux. Actually my favorite musician is definitely my cousin Braden miller. He played drums and guitar at different points for upsilon, which is crazy. Right now he’s the drummer for best coast, which doesn’t exactly show off his skill, but trust me when I say he can shred any instrument you put in front of him, and he’s the funniest guy ever, he’s uncle silly.

To answer your question about differences between musicians and djs, being a musician is more cut and dry. I mean its kind of a silly question, but there are people who do both in some capacity, which is maybe why that question exists. But I mean in terms of being a musician, you can play and instrument or you can’t. Although there is skill and experience involved with djing, pretty much anyone can call themselves a dj and fake it to some degree. I dj’d after that guy from the hobbit once at a club in Hollywood. He had 2 iPods. People loved it. Does that make sense? I’m a terrible musician by the way.

You have been a father now for about 2 years. Has this experience effected the way you listen to, and or hear music?

I don’t think so. I try to play music with less offensive language around our daughter, because she retains everything and even though you think she’s not listening to chance the rapper curse, she’ll blurt out a line a week later when you least expect it. But other than that not really. It has made me start stashing records for her to listen to though, rather than buying and selling on discogs so randomly.

As a parent, musician, and DJ, you will obviously pass along your musical taste’s to your daughter at some point. How did your parents effect your musical taste?

I don’t know if they really affected my taste that much. I guess you’re just exposed to more and more stuff and over time, for whatever reason you like what you like out of what you’ve heard and that’s where your taste comes from. My dad had some records that I used to listen to on headphones like Hendrix, Zeppelin, Neil Young, Moby Grape and stuff like that. I suppose that discovering those was influential to me. It’s funny though cause there was certain stuff I didn’t like to hear when I was younger, like I got sick of dire straights in the car growing up and now I really like some of those albums. Funny too, when Terje put out that edit of Andreas Vollenweider, I remembered listening to that record on cassette cause my dad was into it. Never thought I’d hear a disco edit of that stuff, it was a pleasant surprise.

What is you’re favorite thing about San Francisco? Sub Question: Your favorite San Francisco musician?

The food and the beauty of the surrounding areas. Sly Stone is the first one that comes to mind, but I could probably make a list if I had more time.

Bonus question:

If you had a spray painted matte black mid 90s Toyota Previa, what would it’s name and theme song be?

I don’t know, that car sounds unfit for a child to be riding in. Check out this photo of my friend mike though…

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Tom Croose Interviews Slow Hands:

If you were given a black AMEX to buy whatever instrument you wanted on earth, what would it be? Part 1 - if you could keep all the gear you have, and part 2 - if it was the only piece of gear you could keep.

1) A Tacoma 2003 AJF28C. It’s not the greatest archtop ever made, and there are far superior archtop luthiers to Tacoma, but this one has a sentimental value to me that could never be surpassed. The offset hole was really obscure in the early 2000’s, mainly just to archtop purists who thought the F-hole was end all be all (*). This also most likely resulted in it’s low sales, and it ultimately being discontinued. These days the offset hole is pretty common among contemporary luthiers, so I like to think it was ahead of it’s time.

My parents got me one of the AJF22CE5's when i graduated from high school and was going to University for music. I dropped out a year later, and sold it to pay rent. The parental's found out a few years later, and were devastated, as Tacoma had stopped making the instrument, and I was just being a disappointing (most likely drunken) 20 something. Seeing the look of utter disappointment on my mom's face killed me, and I vowed i would buy one when i was making enough money off of music to support myself and be able to afford it.

This past spring i started browsing the web for one, and found a guy in Long Island that was selling one, but was reluctant to let it go (the “for sale” post was on an archtop blog, and had been dated 2009). I contacted him, and he asked that i come out and play it, and check it out. As it turns, his best friend was a fairly famous luthier from Long Island, and this dude was himself quite the collector. I sat in his office and played for about an hour on this insane acoustic amp he had, and I told him the story of why i wanted this guitar so bad. He said he had been up and down about selling it for years, and had people come look at it, but only for parts. Through hanging and playing, he knew i wanted to keep it as it was, and he sold it to me… for double what my parents had bought my original for in 2000.

* Instrument collectors/purists make vinyl collectors/purists laughable, both in budget and intimidation. The wealthier collectors actually influence the trend of how instruments are made. Like this guy, Chinery.

2) My Tacoma 2003 AJF28C. But! I did buy wood from a supplier to Stratovarius that is located in Vermont about five years ago with the intentions of making my own archtop. I am not that handy, so i gave the wood to my dear friend Will Mosheim of Seeders Instruments and Gold Town and I hope that he one day fashions me the arch-top of my dreams! (I want it to have a violin finish, i think that would look amazing!). Side note: Gold Town will actually be performing the lead single off my album with me and my good bud Cameo Culture, coming soon!

If you could work with 1 director to score their next movie that would it be (living or dead or both)? - Bonus: what are a few of your all time favorite scores/soundtracks?

Wowza, hmmm. I just watched that movie Nebraska last night, and loved the score. It’s by a guy named Mark Orton, of a group called Tin Hat out of SF actually! Folky and quirky, really carried a lot of the film actually.

I love Wes Anderson, and Mark Mothersbaugh of Devo does most, if not all of his music (he also did Pee Wee’s Playhouse, sick!). The Life Aquatic is probably where his sound is most prominent … the score to where they land on the pirate’s island is just next level.

Paul Thomas Anderson is obviously amazing, and uses Jonny Greenwood to score his films now. There Will Be Blood, the music also drove the film. When you have a film like this, or Nebraska, where there are long moments of silence, i love the idea of using singular instruments. Minimalism in composition for film is something many of the famous film composers could take note of. I love composers like Thomas Newman and John Williams (probably the two most easily sound identified composers to me), but sometimes when the music is so constant and epic, it get’s lost. In TWBB, Greenwood took the sound of a single pizzicato string and made it sound like the looming shadow of death. So insane.

All that said, Williams did do the score to Jaws, which forever sealed the fate of the minor second interval to never be used in music again ;)

But my absolute favorite score of all time is Gustavo Santaolalla’s score to The Motorcycle Diaries. The director is Walter Salles, who recently did On The Road. While beautifully shot, that book should NEVER be mad into a movie. I don’t even think i have to explain what is so great about MD’s score, just watch it if you don’t know.

A couple runners up are actually a bit strange, but the score to Meet Joe Black, and Finding Nemo are incredible, and both done by Thomas Newman. You can really identify his sound in both of them through his use of certain intervals and harmony. But the score at the end of Meet Joe Black where they are walking over the bridge to death is absolutely amazing, makes me cry every time (i know, i’m a pussy).

So, a long winded answer to no one director i suppose. There are so many great one’s, and an equal amount of great film composers. That said, Hanz Zimmer needs to up his game, Gladiator was awesome, and it’s been a slippery slope to cheese ever since.

I go through phases of wanting to get rid of everything I own, frequently that involves records. There are a lot of records that I refuse to get rid of though as I’m saving certain ones for my kids to eventually listen to. Name 10 records or tracks that you would like to give to your kids to discover.

Peter Gabriel - So

Eric Clapton - Slowhand

The Allman Brothers - Eat A Peach

Steely Dan - The Royal Scam

Miles Davis - Kind Of Blue

John Coltrane - Blue Train

Bill Evans - Sunday At The Village Vanguard

Kanye West - Yeezus

Pachelbel - Canon in D Major

Grateful Dead - Shakedown Street (for Shakedown Street), American Beauty (for Ripple), Workingman’s Dead (for Dire Wolf), In The Dark (for Touch of Grey), Dead Set (for Franklin’s Tower) … . Perhaps a “Best Of”? ;)

Keith Jarrett - Personal Mountains (for Innocence)

What has moved you the most, listening to music on a stereo, listening to a dj play somewhere, or seeing a band/live act? Who/where was it?

Seeing Jonny Lang play with BB King when i was 14 at Saratoga Performance Art Center, a week before my 15th birthday. I told my friend that i was with, and my mom that was chaperoning us that i could do what that kid was doing. A week later it was my birthday, my mom got me a guitar and said, “prove it”.

What touring artist would you like to open for in 2014?

Jamie Lidell and Father John Misty are my two favorite touring artists. Their live shows are nearly incomparable. I aspire to be the performer’s that they are one day.

Which us state is the greatest? Why?

Well, i have Vermont and New York City tattooed on my arms, as those are my homes. I know, I know, NYC isn’t a state, it’s a city, but it might as well be a state. I don’t think NYC needs any justification, sorry, i probably just don’t like you as a human if you don’t like NYC. Vermont is incredibly creative and beautiful, not to mention we have the highest concentration of Winter Olympians of any state, so you’re welcome America.

Have you ever drunkenly ended up at a porno actresses place? Tell me about it.

No, I have not. I did once befriend an erotic model however, her apartment was lovely, though things went a bit sour as the evening progressed. You would have to get me far more drunk than i am at present (4:45 pm) in order for me to divulge the rest of that story.

Your 3 drunkest memories?

Being dragged half a block down Avenue C on my elbows after flicking a cigarette butt down the exposed ass crack of a dear friend.

Breaking my front teeth out on the sidewalk at Houston & Broadway when someone twice my size decided to jump on my back.

Jumping in a freezing cold ass river in Big Sur in the middle of the fall for $20. I was half a legend the next day.

Session Victim Podcast and Lance De Sardi Interview of Session Victim

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We can’t quite express how excited we are for the AYLI debut of a longtime favorite of ours. Session Victim AKA Hauke Freer and Matthias Reilling’s releases stand out on their own, but the LIVE and DJ performances promise to keep you moving to the last beat. It wasn’t until Boiler Room featured a rare video of their LIVE act that we fully grasped what this talented duo delivers. 

AYLI friend and Bang the Box label-head Lance DeSardi put together a few questions for the guys and Session Victim shared with us an exclusive mix. Take a moment to take in what this funky duo.

Our podcast is available via iTunes or Soundcloud

Hey guys! Congratulations on all the success you’ve had in the recent years. Since I don’t know much about you personally, let’s assume others don’t as well, and let’s start from the top. Where are you from?

Hauke Freer: We are both from a small town in North Germany called Lüneburg. Since 2000 Matthias is living in Hamburg and I’m based in Berlin.

How did you get your start in music, and dance music in particular?
H: Back in the days we became djs in our home town because nobody played the music we liked, and nobody ever matched beats on turntables. There were also no clubs so we had to promote the parties as well. Music was always the driving force, after lots of stops working at labels, recording studios and playing in bands, it turned out that we are best just being djs/producers. That ‘s basically all we want to be anyway.

Your music is quite sample based, which is great. Are you guys avid diggers for classics, i.e. disco, soul, etc.?
H: yes, we are vinyl lovers. Not much we prefer than going to a record store discovering new music.

Matthias Reilling: There’s so much stuff waiting to be discovered, for spinning, sampling or just sheer listening pleasure. We try not to kimit ourselves to any genres at all.

You’ve had a long standing relationship with the Delusions of Grandeur imprint, which is such a killer label. How did your relationship start with them?
M: Jimpster got in touch when he found our first EP on Real Soon and we started writing each other. We did not know that Delusions was his work, but when we finally met him in Berlin he told us and asked for material. We were already playing the first Delusions records so it just made total sense.

You guys had an amazing long player come out in 2012 which didn’t leave my bag, as well of a shit-load of other DJ’s I know. When can we expect the next LP?
H: thank you! We just started working on our next lp. We rented a studio here in San Francisco to write new stuff. Brought a few sketches with us as well. So hopefully very soon

Do you have any other projects together, separately, or with other producers?
M: We both write music on our own and jam with other friends from time to time. I work closely with the Giegling label, Hauke runs Retreat. Since SVM takes about 97% of our time and commitment, we neither have the power nor the heart for any more projects.

Do you mostly DJ, or are we gonna see some live-action Victimization (trademark) at As You Like It?
M: We usually don’t do live and DJ on the same night, but we know Jeremy (Bispo) for a while and when he approached us with the whole idea, it seemed right so we will do a bit of both this time. Our last show at Public Works was great fun so we are really looking forward.

Have you been to San Francisco before? If so, what do ya think? We know how to party…
M: You sure do. When we got here the first time, it just didn’t stop. We were playing three days in a row, it was chaotic but wonderful. That’s when we got the idea to come back with some time to write songs.

Where else will you be going while you’re in North America for this trip?
M: We will also be playing in Miami which is our first time, in New York at Cameo, which is a new location for us and the Primary in Chicago, where we had awesome time on our last trip, can’t wait!

I just grabbed your new EP for D.O.G. called the Glow In The Dark EP, and it’s sick. That’s not a question, just a fact. See y’all at AYLI on January 25th!

- Lance De Sardi

GALEN PODCAST AND J.PHLIP ON GALEN INTERVIEW

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Galen Abbott’s Sunset Sound System (formally known as Pacific Sound) changed the rules of the game. As a resident DJ and as one of three founding members of the prestigious crew, his role can’t be overstated in Bay Area underground house and techno music.

How many times have you heard a friend say, “this is party of the year,” when referring to Sunset? They could have been referring to a multitude of Sunset events: Halloween Boat Party or the Sunset Campout at Belden Town or any one of the parties in the park or the holiday day-parties at Cocomo with Stompy.

Galen’s relationship with bass-heavy house music made him a natural compliment to Hotflush Recordings’ wonder-boy George FitzGerald and Dirtybird RecordsJ.Phlip. We’re excited for his AYLI debut and look forward to building upon our blossoming friendship.

We’d like to thank J.Phlip, who despite an extremely busy touring schedule, took the time to put together a few questions for Galen. Take a moment to take in the interview and podcast by Galen, one of San Francisco’s most respected and accomplished hometown heroes.

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You’ve been in the electronic music game now for a REALLY long time!  When exactly did you begin to learn your craft?  What were your tastes in house music at that time?  And what were the first two songs you mixed together?
I have definitely been around the music block a few times. There was actually a year in the 90’s I thought this whole rave/dance music movement was gonna end and it used to give me anxiety.  I didn’t really know what else to do so I’m glad we are sitting here today having this discussion. 
Djing, producing music and events has always had a strong hold on me and probably the only passion that has never wavered. When I first started, I was influenced by the underground sound of San Francisco which was a funky, psychedelic style of house with a bit of acid thrown in. As much as my style has evolved there is always a twinge of old school in there.
My first try at mixing records was a bit unsuccessful as I had nobody to teach me and just tried to figure it out myself. It wasn’t until a friend came over and taught me a trick of mixing 2 of the same tracks together that I got my ear used to beat matching. I spent the next few days mixing Papua New Guinea by Future Sound of London back and forth. 
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Fast forward to now… what are your top 5 favorite tracks at the moment? 
I draw influence from many differing genres and am always looking forward as well as backwards on the musical timeline. Here are some I’m feeling right now in no particular order:
1. Munk - Yes!Yes! - Endless Flight
2. Butch - Drummers Drama - Rekids
3. Cappuccino - Hell Dance With Me - Gamma
4. Rhythm Plate - Yeah x 10 (State of My Fate) feat. Clyde (YSE x 11 Remix) - Lost My Dog
5. M.A.N.D.Y. - Superstitious (Chaim Remix) - Get Physical Music
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Who are your top 5 favorite DJ’s right now? People are so caught up in what producers are doing these days, but if there is anyone who would appreciate the skill of a great dj it would be you.  
I can definitely appreciate a dj who truly understands how to work the decks! I grew up in an era where much of the focus went into a dj performance and having the ability to make adjustments on the fly depending of the vibe of the party. It’s a bit unfortunate that in today’s electronic music world mostly producers get the dj gigs. Being a good producer doesn’t always translate into being a good dj.  Here are some djs that know how to move me, also in no particular order.
1. Eddie C
2. Robag Wurhme
3. Eats Everything
4. Carlos Souffront
5. Motor City Drum Ensemble
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Have you ever played at an AYLI party????  What do you like about AYLI?
I’m very excited to be playing my first AYLI party! I believe it’s a first for both of us. I really appreciate AYLI’s commitment to bringing in new school artists and defining a sound for themselves as promoters. They seem dedicated to curating each event with djs that will form a strong cohesive vibe for the night.
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You’re super busy as a DJ and throwing the Sunset Sound System parties year round, it amazes me that you find time to make tracks.  Do you have anything coming out soon?  
Why, yes I do! I have been working in the studio for some time now but do get caught up as promoter/dj and don’t finish releases as much as I’d like to. However, that is changing as we bring more people on board to assist in our event production. You can find my latest track “ICANCU” on the upcoming Dirtybird Players Compilation coming out in January. Also, look to  Smoke N’ Mirrors and Get Physical Music for new releases in 2014.
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Will you guys ever have another Sunset party at Golden Gate Park?
I truly wish we could have another Sunset Park Party in GGP. Due to past corruption with Rangers and new permit regulations it’s very difficult to do legally. I have heard of a few renegades going off but due to our large numbers it makes it challenging. We do however, check in every couple years to see what’s up. On a little secret tip, we are looking to make a return to one of our old school locations in 2014.
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The first time I met you was at WMC Miami 2006.  Here we are almost 8 years later and you haven’t aged a bit!  What is your secret man?  And I have to know, do you still get carded???
Haha. I remember that trip to Miami. I just tell everyone who confronts me with this that I never stopped raving, it’s the fountain of youth. Well, that and continually striving for a balanced life. I still get carded at times and usually the person is pretty shocked.
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I’m super happy to see you are booked a The Garden Festival in Croatia again!  Do you have any funny moments to share from playing there or the Dirtybird Ibiza party last summer?  
We were invited back to produce another Sunset Boat Party at Garden Festival and I couldn’t be happier. It’s such a magical space and the people producing the event are down to earth music lovers.  The adventure from Ibiza to Croatia last year produced much comedy and when you have Justin Martin around it’s pretty much guaranteed. There was this one morning after a fantastic night of music where Thugfucker, Justin, Shiny Objects, Maurice Fulton, Solar, and myself ended up on a little speed boat, barely big enough to carry us all. Needless to say it was a wild high seas adventure.
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Would you rather go on a date with Ryan Gosling, Justin Timberlake, or George FitzGerald?
I don’t think I want to go on a “date” with any of them but if these are the only options then I’d say: Ryan grosses me out, George I would like to get to know better before any dinner commitments, and Justin…well, for how main stream he is I do appreciate his talents. So, I’ll say Justin just so I can play him the bootleg mix Holmar Filipsson and I did with his vocals. I’m sure he would love it!
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