DeeJayAdy

Some people were just made for certain things. One plus one equals two just as Richie Hawtin plus music equals Minimalus Maximus. When most people were fussing over which trio of Swatch watches to wear in the eightees, Richie Hawtin was mastering keyboards… and not Casio’s!

It was part being the son of a robotics engineer for General Motors and moving from Oxfordshire, England to Canada in his childhood that Richie shyed from people and found new place in electronics. As he met and mastered its science, he also mastered the exploration of how to manipulate it. Discovering, tweaking and perfecting sounds of machines all led to honing talent than not only engulfed his time, but also led his genius to grow into being one of the biggest innovators in techno based music.

With such natural progression, Richie soon found himself working with the big names in the industry as well as certainly making one for himself. He teamed with John Aquaviva and formed Plus 8 Records, one of the first techno labels and included artists Kenny Larkin, Speedy J (Jochem Paap) and Mark Gage. As he became more established, his artistry found counterparts in Plastikman and F.U.S.E.

Now with Minus, the newest subsidiary of Plus 8, Richie Hawtin is once again ahead of the game with up and coming and established rock solid artists. As he consistently recreates himself and the music around him, Richie’s voyeuristic sound of minimal techno is intelligent and dark but with a simple ease.

Innerphase just recently got in with Richie to ask about DE9: Transitions, his latest release, and all sorts of machine details that only the most tech minded DJ/producers would love to chat about.

Are you ever home?
I came off the summer tour and summer schedule straight into the Decks FX DE9 Transitions tour and I was in North and South America traveling around. Every weekend there are more gigs so it’s nonstop right now. But, I’m not complaining, that’s the way it is.

How and from where was Plastikman born?
It originated from a series of really crazy parties and experiences back in the day in Detroit, like the early 1990’s. My friends and I were throwing warehouse parties and experimenting in sounds and substances, freaking out and pushing ourselves, our bodies and our minds to the bitter edge… and kind of stumbled upon my alter ego, Plastikman.

Then one night, locked away in my studio for about an 18-hour session, I recorded an album from start to finish, and once it came out, I needed a title for it. Plastikman seemed to fit the title and capture the idea and the inspiration of the album and the rest is history.
What in technology inspires you to dig deeper into music?
I was always the kid who was into computers and video games at a bright and early age. I moved away from England when I was nine years old and ended up in Canada with my family and not too many friends so I think at that point in my life I became much more of an introvert than I was beforehand and found ways to keep myself happy and entertained. One of those ways was video games and computers that lead into music.

Then at one point, when I was sixteen or seventen, I found a type of music that bonded both of my loves for music and technology and that was techno and electronic music. After that, it kind of sucked me in and I got so overwhelmed by the feeling of the music and also in the way that the music was created that there was no going back. Ever since that fascination of how those two things interact and how it’s always evolving and changing…it inspires me, if not daily, every step of the way.

“So for me, techno music back in the late 80’s in Detroit was always about the future and trying to create a different or better place than where you were at that moment.” - Richie Hawtin

So for me, techno music back in the late 80’s in Detroit was always about the future and trying to create a different or better place than where you were at that moment. What you could imagine for the future and you try to tell that story musically. When music is made electronically you find yourself thinking about what’s next. It’s totally tied with the technology that is used to create it. Technology is always progressing. There’s always someone coming up with a new idea, a new instrument, a new software technique. It’s part of the whole process, it’s part of the lifeblood of electronic music and techno in its ability to change and mutate and evolve every step of the way. It’s totally intertwined with why I love it so much.

What was the first piece of equipment you really started playing with?
The first piece I had was called a Roland MC 202 and later I found out it was one of the hardest keyboards to buy and program. I never really got any sounds out of it. Luckily, I met up with John Acquaviva and Daniel Bell and Kenny Larkin and together we found a couple other pieces of equipment that were much easier to use.

I think if I hadn’t have met those guys I probably would have given up. I accidentally picked the hardest piece –didn’t know until later on. I just thought I was an idiot. But then I went to John Acquaviva’s studio and was introduced to a Roland TR909 drum machine and a Roland TB-303 Bassline acid machine and as soon as I had my hands on those there was no going back.

These were the machines that were creating most of my favorite records at that point. As soon as I turned them on I started hearing sounds coming out that reminded me of all those records. Those were the two key machines at that moment in the late 80’s that were making all the acid house records and making all the freaky sounds I was looking for. That’s really what started it for me.

What’s your baby, equipment wise?
I have a number of them, but the big one, an old 303, which is the one I did all the early classic Plastikman records on. Every 303 made sounds slightly different, they all have different tuning and adjustments inside and that one just…I can put the same melody into another one and it just doesn’t sound like Plastikman, it’s very, very special this one 303. So it’s definitely, even when I’m not using it, it’s one of my most prized possessions.
What’s the most impressive studio you’ve been in?
Mine’s very special. So of course I love that one. I’ve seen so many different studios and everyone has their own specific way of working. I was in the studio of Basic Channel and their studio is really, really amazing. But also I’ve been in some big studios, when I was mixing down my newest release, Transitions. We did the final mix at a studio called Galaxy Studios in Belgium. This is more like a rock-n-roll studio with a mixing console that you can put 15 chairs behind. It’s really impressive, really grandiose. Not the type of place I could work in very often, because it’s a little bit cold and just, big.

Is there a piece of dream equipment?
There’s and old company from England called EMF and they were making really early synthesizers in the late 60’s and 70’s and in the 70’s they made a video synthesizer that does really weird animation and it can patch different things together and create very simple but very effective music induced patterns and I think they only made about 20 of them and they cost about $45,000 now. I would love to get one but it’s just a little bit out of my price range

What’s different about Transitions than the other releases?
Every DE9 release is looking forward to seeing what is possible with the technology at that moment and if you stretch that technology to what will be more easily accessible in the future. So, on this one it’s definitely beyond all the other ones and the main part of the exploration is the idea of surround sound and really getting into the depth and interaction with the sound of the music. They’re all different beats but each one is a new experiment and a new learning curve for me.

What is the story behind Minus?
Minus is my record company. In late 1989, 1990 I started a record company with John Acquaviva called Plus 8 Records, which is still going, but for many years it was one of the premiere techno labels releasing things from Kenichi, Speedy J and Kenny Larkin, many different people.

In 1998, I started a subdivision of that called Minus which was created specifically for experimental or to create very minimalistic sounds that could work on the dance floor, that worked for listening that were very heavy, but minimal, and without being severely experimental or too minimal to where people couldn’t get into it. Trying to find the right balance of what’s necessary and what’s unnecessary. And we try to strike that balance with every release.

Right now we have a number of very interesting artists we’re working with, Magda who’s an up and coming female DJ from Detroit. We have Troy Pierce and this guy (Sam) Geiser and we’re working with Mathew Jonson… so a really eclectic group of people. It’s a relatively small label, we try to keep it kind of in the family and keep it at the size so that we can have a very good momentum of ideas.

Armin Van Burren
by Justin Kleinfeld

“I really enjoy my job, even if I was 10,092 on the DJ list. The only thing that matters are the clubbers, it’s not about my ego, or Armin Van Buuren. It’s about going out and having a great time together. That’s what I try to support.” -Armin Van Buuren

Armin Van Buuren’s own words speak leaps and bounds about the character of this Dutch DJ. While big room trance DJs are often associated with everything big – big salaries, big tracks and often, big ego’s – Armin Van Buuren comes across as a kid with keys to the Magic Kingdom. All the while, Van Buuren might actually be the single most important man in the world of trance. He owns and operates the popular Armada Records, fills clubs around the world and completely produces and engineers his own tracks. When he has a moment of spare time he produces the popular radio show, “A State Of Trance.” For all these massive achievements (he is currently listed as the number 3 DJ in the world on the DJ Mag 2005 top 100 poll), Van Buuren is a lot closer to his fans than you might think. In fact, he’s still just a very big fan with a slightly larger profile than the rest of us.

We can’t talk about Armin Van Buuren without first acknowledging that he comes from Holland, one of the trance capitals of the world. This is a country that has learned to work with the dance music industry and has profited greatly from it. A liberal government (marijuana use is legal here) has helped to create a great atmosphere and vibe for dance music as a whole. While most people associate the country with trance DJs like Van Buuren, Tiesto and Ferry Corsten it also has an enormously popular house and drum n’ bass scene. In fact, dance music is so big in Holland that Van Buuren claims to be far more popular in places like the United States than in his own country! Van Buuren tells us that a recent study was conducted and the results presented that over 10,000 people are currently employed by the dance music industry in Holland. This results in a ton of income tax for the government and proof that it’s better to work with than to work against.

One of the main things that separate Van Buuren from other big trance DJs is that he completely produces and engineers his own tracks. It is a badly kept secret that most big name DJs-turned-producers use engineers to create the tracks. Similar to a “ghost writer” in the publishing industry, engineers often entirely create tracks while the big name producer or DJ will get the credit. The big reason why Van Buuren is able to entirely produce his own material is because he started out as a producer in the early 90’s before he made a name for himself as a DJ.

Like so many of today’s aspiring producers, Van Buuren is completely self-taught. Gaining experience by hanging around the studio of Dutch mixmaster Ben Liebrand, he learned the old fashioned way, by trial and error. The fact that Van Buuren never had any professional training is something that he looks at as a vital key to his success. “I think that people who take a course to study producing don’t get as far as you might think. In Holland we have a conservatory of music and I’ve never met anyone from the conservatory that has produced a decent dance record. My advice to people who want to start producing is that they should follow their ears and your heart rather than follow education. Just try and be creative yourself.”

“As soon as I get behind the decks and see fans smiling at me that’s when I realize it’s worth it. It’s not about money or fame or status, it just about being behind the decks and celebrating life and music.”
-Armin Van Buuren

As proof that he is still very much just a big fan of dance music, consider Van Buuren’s weekly radio show “A State Of Trance.” Despite a hectic work schedule he continues to offer this popular show on his own time and without receiving any money. Originally started 5 years ago as a joke, “A State Of Trance” has grown into a serious show with a huge cult following (now broadcast in 14 countries) across the world. “The idea behind the show is not to promote my ego, not to promote my label or album, but to give people an update of what’s hot in trance land at the moment. I’m playing a lot of records that I’m not even sure if I like, but I want people to get their own opinion bout what they like and don’t like, he says. Depending on his global location, Van Buuren either mixes the show at home or (when on the road) on a laptop. The mix is constructed in Ableton Live to ensure tight mixes, mixes in key and so that he can add the freshest digital-only tracks.

“A State Of Trance” is very personal for Van Buuren because it was radio where he first heard dance music and he aims to pass this special experience on to young producers. I’ve been very fortunate here in Holland because when I was younger there were a lot of really good radio shows that is now the basis of my show now has. Those shows died out as I grew older and I thought that I should start my own show because I first got into dance music through radio, not through clubs or parties. It’s sort of my struggle to keep this dance music trance-thing alive. I hope to reach those young kids who are 16 and not old enough to go out but are searching for their sound. They can listen to “A State Of Trance” and get a really good overview of what’s hot in the clubs. I hope to generate new producers and new talent and adding to the scene with the show,” he says.

The final piece in the Armin Van Buuren puzzle is his rising label Armada Records. Launched in 2003, by Van Buuren, Maykel Piron and David Lewis, Armada is actually more than just a record label. The rapidly expanding company now features 14 separate labels and separate booking and management agencies. Things have gotten so big that Van Buuren tells us he isn’t even aware of some of the music released on his label! While currently only bringing in a small profit, the proliferation of online downloads promises to keep the label alive and the artists happy for a long time to come.

We believe Armin Van Buuren when he says “I really enjoy my job, even if I was 10,092 on the DJ list.” He has his hands in so many veins of the dance music industry and loves being a part of it. Even if you aren’t a fan of Van Buuren or trance, you have to at least respect what this man does to increase the popularity of dance music. If you are already a fan of Van Buuren then we have one final thought for you:

As soon as I get behind the decks and see fans smiling at me that’s when I realize it’s worth it. It’s not about money or fame or status, it just about being behind the decks and celebrating life and music. It’s about going on this musical jouney together and I happen to be the pilot of the plane.”

Another Level with TKC
by Jon Viera

With the drums and bassline worked out, That Kid Chris(a.k.a Chris Staropoli) adds a few layers of percussion onto his next track. It’s in his studio that TKC doesn’t take time to bask in success of work he's already created. Instead, he quickly moves on to the next moment always looking for a new sound and another project. Chris seems to always be on the beat of his own drum pushing hard and staying busy and at the same time being inspired.
Chris’ influences range from Rock and Hip-Hop to some of today’s house music veterans. “When I was really young, I was a Rock head. With my first stereo setup, I would listen to Zeppelin, Stones, The Beatles, and Floyd. Later on I got into dance music with guys like Jellybean, Todd Terry, Lil Louie, Danny T, Junior. In between the Rock and Dance stuff, I was heavily into early Hip-Hop. Run DMC, Beasties, Rakim, etc. I still love all kinds of music,” Chris explains. Interestingly enough, Chris’ parents allowed him to “DJ” their house parties as a young child –and in doing so, he started to amass his huge record collection. From this very beginning till now, 18 years later, Chris has certainly paid things off giving himself a name on the underground scene and playing out in big spots like crobar NYC, Electro Parade in Portugal, and Nerve in Miami. So what’s Chris been up to lately? Currently he is the A&R guy over at Tweek’d Records. He just did a few remixes for songs on Jive and Atlantic Records. Additionally, he’s starting his own label TKC MUSIC (in partnership with Tweek’d). Chris says, “I’ve been working with Tweek’d and we decided it would be cool for me to have another outlet to release stuff with Tweek’d as a label partner. I’m planning on a lot of cool collaborations and remix swaps.” Chris’ first release off of the label is Be Fly – “This Dream.” What’s amusing is that his new label is so new that there isn’t even a logo for it yet. Mixes of this track will be handled by TKC himself, along with a definite remix by Austin Leeds. I asked Chris if he could hint who else would be working with his label. He shares that “Victor Calderone, Austin Leed’s, Jaimy and Kemist” will be called in to do some work. Chris’ latest remixes include. “Raise your Voice” for Fatal Music and “Boost your Metabolism” for Cevin Fisher and Kelee. But with no current release dates at hand, the only thing TKC could share with us was to start looking for new stuff in February. While he is starting his new label, remixing, producing and DJing, he also adds that he’s working on a double mix CD for Tweek’d. The CD is due out around March, right around WMC. In regards to WMC, a Tweek’d party or two are in the works as well. When faced to answer if he preferred producing or DJing over another, he chose both, “…as they feed off of each other,” he remarks. No one knows is better than TKC.

“In places like Portugal they really know their stuff there. They know how to party. Miami has had a dope scene for a while. But I must say that New York has gotten really hot over the last year. NYC is back!”

I also asked Chris where the vibe is these days. He explains, “The vibe keeps getting better and better in Europe. In places like Portugal they really know their stuff there. They know how to party. Miami has had a dope scene for a while. But I must say that New York has gotten really hot over the last year. NYC is back!”

Chris plays to the crowds with playing a lot of CD’s because they are so much lighter. “So much of what I play is unreleased tracks that it’s not on vinyl yet.” Tracks from Victor Calderone, Chus and Ceballos, Dimas and Austin Leeds seem to be heavy in his rotation.

Remixing himself, Chris has a countless number of records and productions such as, “Sacred Dance,” “Feel Tha Vibe,” “Tonight” and “Jungle.” When asked how he approaches the studio, he tells us “I like to start with the beats and the bass with remixes. You always have problems with tempo. So I try and do those first. The last project I did was 101 BPM.”

In regards Chris’ favorite track, he compares it to “asking a parent who their favorite child was.”

He explains, “I try to have fun with all the projects. You have to enjoy what you do. I enjoy remixing for the major labels. Because of the challenge to transform say an R&B or Rock track into something that will work on the dance floor.” Each remix is a different animal.

While using Digital Performer on his Power Mac setup, he utilizes the Mackie 32x8. “I’m always learning. It never ends,” Chris notes. Always growing with his musical talents, Chris also explains how he picks the brains of veterans like Victor Calderone for support in the studio:

“We’ve done a few projects together at his place. He’s like a cousin to me. He uses Logic and Pro Tools. Logic is also an excellent program.”

When asked who would make up TKC’s dream team of producers, he quickly replies, “DT/Victor/Vibe.”

More than happy to share a little advice to the up and coming producers, Chris advises “Practice makes perfect. You can never stop learning when it comes to this. There is always ANOTHER LEVEL.”

Thinking Modern
by Jason Napolitano

Interview by DJ Mike Whitmore

There’s always something more than expected when meeting Dutch superstar Sander Kleinenberg. From having his own Little Mountain Recordings to tearing it up in clubs using video-enhanced effects such as the Pioneer, DVJ-x1 and filtering the most stellar tracks, Holland grown Sander Kleinenberg doesn’t typically appear to be a man wrapped up more in principal than he is in his music.

However, when pulling up a chair and prodding at the most crucial questions about creativity, the music industry and life, you suddenly unearth the passionate Sander –the Sander that lends a sword to innovation and curtness to antiquated thinking. It is a constantly rebellious Sander that helps us understand, music and djing are still about art, and must be challenged in every possible way.

“To me it has been a shock. I always thought I was part of the pretty revolutionary click of people who embrace technology and were all about fast forward. To finally realize that everybody was weeping when something as insignificant as vinyl is dying...” Sander Kleinenberg

On a recent evening, when Sander Kleinenberg was in town appearing at crobar NYC, our contributor Mike Whitmore had the time to lay down some real questions for the Dutch DJ and producer about dance, technology and the EDM scene. As you’d expect (enter laugh), when Sander’s answers came out, they were far from typical. We’ll just say his comments were very honest and very uncensored, even when it came to discussing the dance music scene he’s grown up to love and support. Sander comments:

“To me it has been a shock. I always thought I was part of the pretty revolutionary click of people who embrace technology and were all about fast forward. To finally realize that everybody was weeping when something as insignificant as vinyl is dying…to me that was like a shock. I realized that I had become part of the group of people who are very afraid of new things and had become purist type, sort of like people who held on to something that was in the past, which for me is completely weird because I’ve always been part of this music because I think it’s something that is the future.”

In every sense, Sander is always pushing further for the future, while his peers, such as one, James Zabiela, decided video djing really takes up too much time. It’s Sander who makes the investment, even when it takes hiring an additional guy to take on the role of video production during mega sets and complex processes at some of the biggest nightspots in the world.

Sander: The Modern Thinker
When we talked with Sander on this Tuesday night at his hotel in NYC, his English was surprisingly good for a Dutch man. We were able to hear and see the larger picture of Sander Kleinenberg, who is quite a person much consumed by avant-garde ways and super modern thinking –just like many artists and painters of the 21st Century. To him, the ideas in evolution, change, being modern and being progressive are all essential parts he values as an artist and creator. Sander explains:

“I believe it’s necessary, you know. You have to embrace and work and see how you can improve what you do, all the time. You shouldn’t stand still and just adjust and work with what is there. No. You should work on what’s gonna be there… Being part of progress is what to me, any modern human being should be proud of. Otherwise you just start becoming a fundamentalist.”

This is where Sander comes to life behind the scenes of music. It’s not the Sander who drives beats at a nightclub like crobar, or Space to thousands of hungry fans, but rather, an ever-reasoning Sander, who persists and starts to challenge everything –even his cell phone bill! Sander gasps:

“I think my phone bill is like 2000 dollars a month, you know. It’s like, ‘come on guys, give me a break.’ Why isn’t there some kind of top tier sort of like scheme for super people that call all the time and they are in like five different countries every week? You know, I’m looking forward to the time when it becomes one –a solid piece that is hopefully designed by Apple. That would be amazing.”

Even though challenging the smallest issues in life, Sander is not exactly about winning a debate. He's more about the end game and looking futuristically to the things he loves – technology, music, the industry, and people. He desperately wants to change the way things work, many times for the better. Starting from older traditional ways in vinyl to even our current day conventional MP3 downloads. Sander explains the current day music download situation:

“I think we should come up with a new format. I don’t think that one dollar downloads is going to justify being able to create fantastic art… I don’t think the Internet is the answer to all the questions… I do really still believe, that as a consumer, if you hold something which has value, which has depth, which represents terms of data and creativity, some value and some truth, people will still buy that.”

Sander: The Good Guy
Still, through lots of opinions, discussion, and strong personal feelings, Sander turns out to be the good guy in all of this. Laugh, but let it be told. As a producer and working with people like Usher, Annie Lennox, and Justin Timberlake, Sander holds large respect and is truly an advocate for all artists, even pop culture ones we sometimes quickly dismiss as commercial or sellout. We asked Sander, “What is it like doing these commercial gigs and working with people like Justin Timberlake?” He elaborates:

“I go to the project thinking that a 17-year-old fan of Justin Timberlake is going to listen to house music. That’s really inspiring… There are some people out there who think that it’s sellout. I think it is just expanding the market. I’m trying to find people out there. I’m trying to make this music more sort of reachable. Any purist who thinks that it shouldn’t be there, or should not be shared –you know, it’s wrong.”

When we came to ask Sander about other pop icons like Madonna and her latest album, Confession’s on a Dance Floor and how it relates to what he’s been doing lately, he couldn’t have been happier to talk about the subject. Sander adds:

“I think it was amazing… I saw this the other day, there’s a bunch of super star djs who’ve done albums with original music and they didn’t have the idea to mix them together. They actually have separate tracks and I never understood why a DJ who virtually liked to become a producer, then does an album with separate tracks. I mean, why don’t’ you combine these talents, and at least fuckin’ mix these things together. And she did! She’s like the first artist in the world who understands like hey, a great DJ, all album, compact compilation. It’s great! You have this ongoing thing and all your tracks become one scenario or one story. That’s where it’s at. I’m gonna adapt that.”

Sander: The DJ
Let’s not forget that at the end of the day, Sander Kleinenberg is still a DJ at heart by rocking the party and desperately trying to find ways to communicate and reach out to his audience. How could he not? He incessantly checks out a thousand tracks a month to sort only 20 of those he finds best and suitable to play. He’s a filter that reckons technology to it’s fullest by giving every chance to create more fruitful experiences for his music like video. He’s also the connoisseur, knows exactly what’s hot at the moment and seizes the chance to part of not just a scene, but an idea of change where people can be part of process at any given time. Sander explains this:

“You know, yesterday was an example. I was in i-chat for a bit and Ali from Deep Dish was there and some other kids. We swapped some files back and forth for a bit and I had four or five tracks on there, which I wanted to play that same night. And like two hours later, I would see myself burning CDs behind the booth in Denver and playing it five minutes, or ten minutes later. You know, that’s hot! It doesn’t really get any hotter than that.”

Techno Virtuoso
by Jon Viera

Paul Dailey's first attempt at DJing was at the age of 8 playing records in his bedroom with a turntable and a microphone. Here, Paul would make tapes pretending he was on the radio. Even his father had a vast musical influence during his younger years. Paul’s dad had a library of music filled with Jazz, Soul, R+B, Funk, Rock, Folk and Reggae. It was just the beginning of Paul’s musical journey.

Now, we fast forward twenty years later and find Paul as one of North America’s leading Techno DJ's. His busy schedule now has him touring from Chicago and Detroit, to Philadelphia, Louisville and the Dominican Republic, all while producing his weekly mix show, Hardwired on XM (www.hardwiredradio.com) and holding down a residency at one of the premiere clubs in America, Rise in Boston. Follow along as Paul Dailey shares with us who his favorite DJ is and why he still loves vinyl. Paul also gives up some fast advice to up and coming jocks.

"It is also vital to support other DJ's in the scene. If you only come out when you are playing, then you are selfish and not in it for the right reasons." Paul Dailey

So how long ago did you start to DJ, 18 years?
I have been DJing since I was about 8 years old...in my bedroom. But really, professionally in clubs since I was 18. I am 36 now, so about 18 years.

So let's go way back to when you first started to DJ, did you think you would be DJing this long?
I always wanted to DJ. When I was 7 or 8, I had a turntable and a microphone and used to make tapes pretending I was on the radio. I really wanted to be a radio DJ at first. I was an intern in high school at Kiss 108, a powerful FM station here in Boston and that was when I realized that the DJs on commercial radio don’t even get to pick the songs they play. At that point, I changed my focus to Club DJing, as bringing new and interesting music to the masses was always my goal.
Your Dad had a record collection right? What is the one record that brings back those memories of being so young?
My dad is a music lover. He has everything...probably about 50,000 CD's, Vinyl and tapes by now. But he has Jazz, Classical, Soul, R+B, Funk, Rock, Folk, Reggae etc. With that many, it is hard to narrow it down to one. But for argument sake, let’s say “What’s Going On” by Marvin Gaye, as that one was in heavy rotation for years.

Then it's safe to say you and your father share the same influences?
Yeah, his taste was my biggest early musical influence. I was also heavily influenced by College radio in Boston. WERS (Emerson), WHRB (Harvard) and WMBR (MIT) all had great shows that played underground beats of the time. Stuff like Morris Day and the Time, Prince, Cameo, Indeep and lots of early rap also played a big room.

What was the first record you bought?
The very first record I bought with my own money, I am embarrassed to say it was "Saturday Night" by the Bay City Rollers...lol. But, my first 12 inch was “Your Stepped Into My Life” by Melba Moore, that was probably around 1978 or 79.
Back in the 80's how did you find DJ gigs, and where did you buy your records?
I played at an under 21 club called Traxx while I was in college at Fitchburg State, but my first proper 21+ club was Sables at the Marriott in Peabody, that was 1988 or 1989. As for record shopping, I used to go to Dance Music Plus in East Boston...and that was the Mecca for dance music in Boston at the time.

So I was 12 when you were throwing down your records. Nice.
DJ Bruno worked there and the owner Jerry Warren was the don of Boston dance music. If it was hot, Jerry had it first. We used to go every Friday and wait for the UPS boxes to be opened. Every DJ in Boston worth their salt was there waiting. Neil Petricone, Eddy K, Nicky G, Gary Canavo, Capt. Wendell, Armand Van Helden, John Bichao, Myself etc, etc. That was way back. Before Boston Beat, before Sound Factory, before Satellite and Biscuithead.

Did you ever tag team with those guys?
John Bichao and I were great friends and worked together at Sables. Gary Canavo was the president of Masspool and worked at Narcissus in Kenmore Square with Matty Olson. Neal Petricone worked at the Palace with Captain Wendell.

What were the hot clubs back then? And how were you treated as a DJ?
The hot clubs were Narcissus, Avalon (called Citi at the time), the Palace, The Loft with Bruno and Armand Van Helden. I was still coming up as a DJ. So people knew me, but I didn't get any special favors. I was only 19 or 20 at the time.

The loft has a lot of memories for some, yet it was before a lot of people's time, could you share a memory with us?
The loft was behind the present day Hard Rock Cafe, in the alley between Berkley and Clarendon streets. It was a three floor club, with a great sound system and a ton of energy and unmatched vibe. Bruno and Armand played house on the main floor and people like 333 and MGee, Overload, Bryan Mayhem played on the second floor. The roof deck was for relaxing and catching a breath.
I went every Friday night after working at a top 40 club in Lynn, and danced by myself until 5 or 6 in the morning. It was mostly gay, mostly black and one of the best clubs I have ever been to. Very simple lights, nothing fancy at all. Just good sound, good music, smiling faces and a ton of positive feelings. This was so early in the game, it was all need to all of us and we loved it.

Is that when you started to get serious about DJing?
Thanks to Bruno I played at the loft 3 or 4 times and just totally fell in love with underground music.

What was it like playing your first gig at the Loft? When you had danced there week in and week out.
It was inspiring. They had a Bozak mixer, which was a rotary that predated the Urei...and a nice sound system. I remember the light guy Wayne (who has since passed), was a brilliant guy and so encouraging. I was one of the first people in Boston to play progressive house...and played a lot of stuff in the loft that no one had heard before. Stuff from Limbo, Cleveland, Cowboy, Hard Hands, Warp.
What were some of the loft classics?
Follow Me by Ally Us was the biggest loft classic. Also, My Piece of Heaven by Ten City, Hold On Tighter by Clubland, Samba by House of Gypsies to name a few.

So where did you play after the loft? What are some of the other clubs and events that shaped you into who you are now?
I played everywhere over the years to be honest. Avalon, Axis, The Palace, Venus De Milo, Quest, Lava Bar, Metropolis, The Loft, Narcissus, M 80, Roxy etc etc. But honestly, most of my early education and shaping as a DJ came on the dance floor listening to other DJs, not in the booth.

If you could be any other DJ in the world for one day who would you be?
My favorite DJ now and forever is Carl Cox. He is a great guy, plays a style that is near and dear to my heart and is always smiling, dancing, clapping and having fun. I hope that I bring the same kind of energy and positive attitude to my sets as Coxy. He is the best ever in my opinion.

You recently got to DJ with Carl Cox at Emerald City in Philadelphia, how was that?
We did not play in the same room....so it really was not as exciting as I had hoped. I did get to play with Manolo, who is another person I have a great deal of respect for. Still waiting to play with Carl in a setting where he can actually hear part of my set and hear what I have to offer.

Speaking of DJing with Manolo, you were an instructor at his DJ Mix Academy along with writing the curriculum. What thoughts went into writing the material and what did you do to prepare for the classes?
The Mix Academy was a lot of fun. I am friends with Bill Brewster who wrote "How to DJ Properly", so he gave me a lot of tips and pointers. Add to that my 20 plus years and experience and it all came out pretty effortlessly. I did do a lot of tweaking in those first few months, but I am pleased with the final result of my work, and I have many friends (like you) that were my students back at the beginning. I am always thankful for the people that helped me learn...so I am always happy to give back to those that want to learn about DJing.

What has been the best technological advance in the DJ booth?
DJ gear has come a long way. I have been playing CD's for more than 15 years. But I still prefer vinyl by a long shot. I would say the biggest advancement is how far mixers have come. Back in the day, you did not even have channel EQ's. Now you have effects, filters, samplers and all kinds of ways to manipulate sound.
Was the Bozak your first mixer?
I never owned a Bozak or a Urei. I played on the Urei at clubs all over for more than 15 years. However, my first mixer was a Radio Shack 4 channel that my grandparents bought for me. After that I upgraded to a Numark. I then went through a few Rane mixers over the years, and now I have the Allen and Heath 92. In my opinion the best mixer in the world.

Playing all around the globe, where's your favorite club to play in?
I have to vote for three. Rise in Boston is by far my favorite club in New England. I am a bimonthly resident and get to play 5 hour sets when I am there. And I really get to explore my whole musical being, from deep to hard and back. As for out of town, I really like Metronome in Burlington, VT for small rooms and my favorite bigger club is System Sound Bar in Toronto.

You’re playing the Metronome soon right?
Yes, January 15th. That weekend I am playing Sullivan Room in NYC on Friday, a warehouse party in Brooklyn on Saturday and Metronome in Burlington, VT on Sunday. Should be fun.

Reminds me of your Chicago trip last year. How do you plan for all these gigs in one weekend?
Usually, when I get one gig confirmed, I get on the phone or hit my address book and get some e-mails out. I am not big enough to get people to fly me places for one show, but I pretty much know someone in every part of the country. So if one gig pops, I can usually put together 2 or 3 for that same weekend. I am doing the same thing the week after that. I am playing in Detroit, Ann Arbor, Michigan and Cleveland, OH.

That is the best thing about DJing for me is all the friends I have made all over the world. You name a city and I probably have a friend there that can help me find a gig there.
Lisbon, Portugal. LOL.
Yeah, my friend Victor is moving there soon, or else, HD Substance, who I get promos from every week.

If you could remix a track any track what would it be?
I have always loved “Dominator” by Human Resource (aka Joey Beltram) and would love to see what I could come up with if I got the original tracks from that tune.

How long have you been into production? And what tracks are out in the public?
I have about 4 EP's already out and several remixes, all on European labels. I have some new stuff coming soon on 611 Records (Nigel Richards label), LTD in France and Technique in Holland.

Solid. So how do you approach the studio? And do you have any favorite gear?
I have been messing around and doing remixes and re-edits for more than 10 years. But I did not start doing original stuff until about 4 years ago. I work with a nice simple, solid set up. G5 2.0, virus indigo, Bass Station, Ableton live, Logic, and all the Native Instruments VSTs, and a ton of plug ins and other on board gear. I usually use Reason or Live these days as a sketch pad for my drums. Most of my tracks start with beats and bass lines and progress from there. I am not a musician, so I leave the complicated chords etc to my studio partner. Yet I have a good ear for what will and will not work.

My only real issue with the studio these days is time. With my weekly show on XM, weekend DJing gigs, reviewing music and gear for about 6 different magazines and websites, and working my day job as a web content manager....I don't have as much time as I would like in the studio.

You have a show on XM Radio. Tell us about it.
The show is called Hardwired and airs every Sunday Morning at 3 a.m. eastern/ Midnight pacific. It is two hours a week of techno and tech house and is the ONLY coasts to coast techno mix show in North America. You can find out about it at the website (www.hardwiredradio.com)

Do you have any insight or wisdom you can share with the up and coming DJ's?
Your job as a Club DJ is to set the party off and entertain people with good music. It is not to be the star of the show and it isn’t to sit there playing all obscure tracks that no one cares about. DJ's pick the best from all different styles and mix it up into a fun, energetic stew of party beats. If you want to play all your own music, join a band...and if you want to play all hits all night long, become a wedding DJ. Push the envelope, but always put your dance floor above yourself. And picture yourself as a dancer.
What would YOU want to hear at that moment? What is the vibe in the room and how can you add to it?
That is what makes Carl Cox great, that is what makes Roger Sanchez a pro, that is why PVD is at the top of his game. They read the emotion in the room and vibe off of it. They don't plan their set at home and line it all up in the bag ahead of time. They bring 100 good records and see which way the night takes them. Respect your crowd, be humble and thank them for coming out. Give away CD's, remember their names and their favorite tracks.

It is also vital to support other DJ's in the scene. If you only come out when you are playing, then you are selfish and not in it for the right reasons. If you love Dance music, then support dance music. Get out there and show your love as a positive member of your local scene. Don't expect something for nothing. Pay a cover once in a while and don't ask for special treatment. Just be an anonymous face on the dance floor from time to time and reconnect with what turned you on about the scene in the first place. Be modest and remember that ANYONE can mix two records, but not everyone has good taste. Devote twice as much time to developing your ear for selecting music, as you do to develop your technical skills. The best DJ's are the ones with the best taste and the best timing.

In The House
by Jorge Hernandez

Simon Dunmore, A&R veteran and curator of the highly successful In The House series, is something of a rarity. He’s a music lover blessed with an uncanny ear, a good heart and a sharp head for business –a potent combination in the notoriously fickle and competitive music industry.

He acquired his winning sensibility working his way up, from shucking platters at a record shop, DJing, and promoting to learning A&R on-the-job at Cool Tempo records. Short on experience but long on hustle, he earned his keep handling Arrested Development and unleashing River Ocean’s behemoth “Love and Happiness.”

“I like the best of both worlds. I like my House music, but I think it’s important to know where House music comes from.” - Simon Dunmore

In 1994, he alighted at A:M (the dance division of 70’s soul blower Herb Alpert’s A&M), further sharpening his insight into the practical machinations of “the majors,” notching up mainstream remix credits for CeCe Peniston and Janet Jackson and signing underground darlings MJ Cole and Ultra Nate.


ince jump-starting the Defected label on January 1, 1999, his Midas touch has propelled dance. Simon Dunmore has navigated the mercurial marketplace and positioned the final product in the most coveted context –one that delivers commercial success without comprising artistic integrity. He continues to elicit his artists’ best takes as well as their intense loyalty.


Dunmore’s roots recall the legacy of 60’s SOUL and the mid- to late 70’s DISCO. Motown’s radio-ready hooks, Tom Moulton’s remix structures, Arthur Russell’s esoteric jams, Walter Gibbons’ and Larry Levan’s turntable improvisations; labels like West End, Prelude and Salsoul all figure prominently in Dunmore’s life and aesthetic.

Defected’s sound is readily recognizable by steady tempos, uplifting lyrics, R&B vocals and Latin syncopation. It’s the sound of transcendence being coaxed sweetly from the depths of enraptured dancers’ souls.

Among the dozen-plus heavyweights who’ve thrown down for “ITH” are Bob Sinclar, Joey Negro, Gregory, Danny Krivit and Dimitri from Paris. The current ITH: Miami 2006 is a 3-disc, 24-hour themed mix by DJ (Simon) Dunmore himself and features tracks by Ashley Beedle, Spinna, Peven Everett, Ian Pooley, Kerri Chandler, Faze Action and Roy Ayers.

Recently, Innerphase got in with Simon to talk music, Tenaglia, and little DJ Dunmore junior...