The year was 1988 when Jennifer Witcher, otherwise known as DJ Minx, fell in love with house music. “Although I’d heard house music on the radio often, I never liked it,” she says. Until one fateful Friday evening a few friends brought her to the Music Institute in Detroit, and everything changed.
“There was a long line to get in and that made it so I had to get in there! After a long wait, we finally got in. The crowd was dancing like there was no tomorrow! The sound system, the crowd and that badass DJ was it for me! I started going to the M.I. every week. That’s when my love came to fruition.”
For three decades after that night she dove into the music world and progressively developed herself into a powerful innovator, DJ, radio host, label owner, and producer. This path to success all started with a challenge posed by Derrick May. One night at the M.I. he told her, “Don’t come over here again till you’re DJing.” And so she did.
Helping her rise to the challenge was Minx’s old friend Jerrald James who began mentoring her. “CAT! Jerry the Cat, is what we call him,” she says. “Cat knew that Derrick May ‘challenged me’ to be a DJ, so he pushed me – hard – to get into it. He helped me get turntables and a mixer and explained how to mix music. He came to my apartment with two records a week telling me to mix them.”
Undoubtedly, the more she grew as a female DJ she encountered struggle and discrimination. Her mentor was there to remind Minx to keep her head up, and never stop grinding. “When I started to feel overwhelmed by guys being disrespectful, I told Cat I was going to stop DJing. He demanded that I keep on playing, and to ignore idiots and stupid things. He pushed and pushed and pushed me to be grand. I love me some JLC (Jerry the Cat)!”
Minx mixes records with sophisticated, graceful and robust energy. In the second wave of Detroit DJs and producers, she was there hustling along with the best of them. Her moniker unfortunately encouraged unwanted advances and negativity, but Minx never let the textbook definition of her name keep her bound into some ideology of what she should be. No longer will minx solely be defined as the wily ways of a flirtatious woman. Now, Minx means a hustler with tenacious diligence paired with zero tolerance for bullshit.
Encouraging empowerment within others, she has used music as a platform to advocate and support females interested in mixing. In 1996 she founded female DJ collective Women On Wax.
“Many girls looked for support and help with ‘how to become a DJ’. A few of them had heard of me or saw me in action. I developed the collective to help female DJs (or potentials) to be more confident in their performances and in the business aspect of things. I’ve mentored and helped Magda, Jennifer Xerri and Laura Hardgrove, just to name a few.”
Ten years later that collective became a label on a mission to put out quarterly deep and soulful house tracks. Inspiration to make this next step in her music career came from Kenny Dixon Jr., otherwise known as Moodymann. He advised that she push in a new direction, and onto the next phase of her life.
“I love music because of the way it makes me feel, and the way it makes other people feel. It’s a helluva pick-me-up when I’m down and is a motivator when it’s time for production. I don’t use drugs. My music keeps me high.” – DJ MINX
Eventually she created a sub-imprint W.O.W.B.A.M. (Women On Wax Bangin’ Ass Music). She also has her own productions and remixes out on labels such as West End Records, Third Ear Recordings, Trisomie 21, Soiree Records, Code Red, Liberate, to name a few. The track she became most known for – “A Walk in the Park” – was picked up by Richie Hawtin and released on M_nus in 2004. Initially, Hawtin and Minx were familiar while she was mentoring Magda. After hearing the track in a set by Ricardo Villalobus, Hawtin and his manager reached out to Minx and Hawtin says to her, “Anything you have with bass like that track, I want to put it out.”
To add to her repertoire, Minx also has a prominent presence on the airwaves with two years as engineer and host of Queen Beats Radio on WGPR Detroit Deep Space Radio. On 91.5 FM Minx also hosted “Steamy Windows”, a weekly program through the University of Canada in Windsor.
As an international DJ she has performed in world-renowned clubs like Tresor and Panorama Bar in Berlin, Stackenschneider in Russia, Club Air in Japan, as well as in Paris, Toronto, Switzerland, Spain, and Belgium. Not only did she play the inaugural Detroit Electronic Music Festival in 2000, but she has played throughout the United States including Hot Mass in Pittsburgh, for Sole Rehab and Signal > Noise in Rochester, Deep Sugar in Baltimore, NYC’s Output and Good Room, and more. Of course it goes without mentioning, throughout the venue circuit of Detroit where she still resides.
“What I find everywhere is that people are actually in love with this music. Doesn’t matter what language you speak or where they’re from, when folks are on the dance floor the communication flows all the same.” – DJ MINX
A pivotal venue for Minx was one in the beginning of her DJ career: a residency at Motor, an influential club for Detroit in the mid-1990s. Located in the city’s Polish neighborhood, Hamtramck, the spot was far-removed from downtown Detroit but home to the greatest local DJs with close ties to the Music Institute. Carlos Oxholm, Motor’s co-founder, put together the sound system for the Music Institute and when M.I. veteran Derrick May played Motor’s first year anniversary party the space started picking up some steam.
Shortly after that night, he recommended DJ Bone as a resident for Fridays, which were dedicated to techno. Following soon after, Motor brought on Mike Clark and DJ Minx for house nights on Saturday.
“Motor! Oh my god, what a club! So, I get a call one night from Linda G., who was a promoter at Motor. ‘Hey Minx, it’s Linda G! So, what are you doing every Saturday night, besides being the new resident DJ at Club Motor?’ That’s how it happened!” she says with a laugh. “She gave me some details, asked to meet with me to discuss further, and the following Saturday I was in there like swimwear! One of my fondest memories is when I opened for Derrick May – my influence in all this. He stood behind me and watched me spin. I turned around and he said, ‘I can’t believe that you got into this…and you’re so GOOD!’ I felt like a little twinkly star that night.”
She continues to shine and spread the groovy house music she has fallen so deeply in love with. Once again, catch Minx at Charivari, a small family-style festival in Detroit this weekend. “If you haven’t experienced it, it’s time to make plans to visit the D! I’ll be playing in L.A. for the first time in August, I’m excited about that! There’s also Boston, Atlanta and Paxahau’s 19th Anniversary party coming up. Outside of parties, look for my next release on Women On Wax Recordings in the fall. I also have a new label, Footwerx, debuting in the coming months.”
Eternally encouraging more women to get mixing in the clubs or the underground, or maybe start producing the presses themselves, she passes along a piece of advice for those that are just beginning.
“My advice? Don’t feel belittled by the ‘it’s a man’s world’ mentality. Instead, look at it as being your world. Work hard to achieve the success you envision. Don’t let negative people and situations hold you back. Don’t be afraid to ask for what you want, whether it’s support from others, pay, whatever – PHUCK THAT! Handle your business!”
Do as Minx does. Redefine your world and keep pressing on. Don’t let anyone hold you down. Do it with heart. Do it with soul. And don’t forget to always keep it funky.
Saturday, July 29
9 pm start
2 am end
Sound by Audio Rescue Team
Texture: In the 21st century, we have access to the most information and tools in the history of time – how can we use this to create meaningful experience? TEXTURE strives to use a unique combination of spatial curation, music programming, and intense preparation as a framework to share ideas.
Look a Little Closer.
June is in full swing and thousands of us are still glowing after a stupendous Memorial Day weekend in Detroit. The sounds and atmospheres created at the various clubs and venues around the city continue to inspire and delight music lovers from all around the world. I heard so many amazing records; there were beloved classics, new heat, and tons of obscure beauties time would have forgotten if not for the amazing curation and selection from some of Detroit’s best DJs. Indeed Detroit has not (and hopefully never will) change.
In coming back and flipping through my newest finds and purchases I initially was searching for a new, fresh off the press record to focus on after an entire month of Detroit related material. But as I was flipping through, I stumbled across a 12” that has two of my favorite tracks ever put out by a little, old Detroit label by the name of Moods & Grooves. This label is another staple of the Motor City scene, responsible for almost perfectly consistent releases that span from deep and minimal to soulful and energetic. A simple two track release issued in a plain white sleeve, this record doesn’t exactly grab your attention up front, but the work from Andres and Mr. G give it a status that I would consider imperative for any house music lover’s collection.
The A-side of Moods & Grooves Classics V1 belongs to none other than Detroit’s house sample master, Andres. Everything about “Out In The Open” is expertly crafted with his unmatched subtle style. Straight from the gate, the kick drum is on a completely swung and broken pattern while the crispy stiff snare cuts on a perfect 4/4 pattern. Coupled triplet hi-hats and delicate ride taps gives the entire track a rolling feeling that is incredibly friendly for the dance floor, yet laid back as it slithers through the speakers. It wouldn’t be an Andres track though without the perfect sample treatment. A hearty ballad with a female vocalist – sped up massively – was recruited for use here, though I’m not sure where the sample comes from originally. The only thing that can be said for Andres’ artistry is that this man truly understands how to filter sound, when to soften it with reverb and slip it into a gorgeous quilt of sonic presence. Every small detail ends up being immaculate in the final mix – each noise complimenting its neighbor. This is one of those tracks that you can close your eyes while flowing through its essence and open them six minutes later without being sure whether a second or an hour of time has passed. This track is ready to go for any of those early party starting nights, or tea on the balcony Sunday morning.
On the other side of the slab, vibes totally change up for a more direct hit, designed to keep the party going while it’s at the apex of sweatiness. “The Struggle Of My People (Mr. G’s There’s Hope Mix)” begins with high energy on a full drum break filtered with delicious resonance and looped every four bars. A single transposed string sample descends over and over again while the drums begin to gain eighth note hi-hats and sixteenth note shakers. This is repetition done in the most infectious way. Whereas everything on the A-side fit perfectly around one another, each element on Mr. G’s tune fit perfectly on one another. The cutoff on the filter for the strings opens at times creating this feeling of a wave of sound washing around the dance floor. All the drums pull out of the mix at two separate times just to let a single synth and the strings coalesce around a spoken word sample from Maya Angelou’s poem, “And Still I Rise”. I have never seen this track not light a dance floor on fire. Again we have here a tune that is expertly made and so delightfully warm, the aural result is magnificent if played on any halfway decent sound system.
Although these tracks are so heavily played (my copy has gotten 100 spins, at least) they personify the idea of well-grounded, timeless house music. Some might say they are too safe, or even perhaps cliché, but hearing “Out In The Open” played by Andres himself over the excellent Void soundsystem at Marble Bar during the Sampled Detroit party over the Memorial Day weekend reminded me of how spectacular this record is. It was only fitting to write about it after that truly infinite moment.
Because this record is a 2013 press of two widely sought after early 2000s tracks, I would consider it a great deal. The 12” is trading on Discogs for about $13 stateside. It’s one record I personally could not live without. The two tracks have such wildly different personalities but still resolve themselves to be near perfect examples of all the things we love about house music. The unrelenting nature of the drums and structure truly mirror the undying love and support that true fans of house music display, and to which the massive turnout in Detroit for Movement is a testament to. And if there’s one thing I was reassured of in Detroit, it’s the same thing that is etched into the runout groove on MG-046: “Technology may move forwards, but vinyl will never die…”
Wax Runoff is a weekly feature that will showcase new finds and crate favorites. Nick States, of Boston, bought his first vinyl record in 2010 and has been hooked ever since. The record shop tends to be his first stop in an any city he visits.
An abandoned Detroit building with an infamous leaky roof. Twelve hours of sonic exploration and psychological liberation. Interdimensional Transmissions. Ten years ago, No Way Back became a party like no other that would last throughout the years, constantly evolving yet the unchanging threads have maintained that inexplicable enchantment.
Detroit native Brendan M. Gillen, otherwise known as BMG, founded Interdimensional Transmissions in 1994. Just a few years later Erika Sherman joined as conspirator. With years worth of history and memories, they celebrate their 10th anniversary during Movement Festival in Detroit this weekend (Saturday, May 27 – Monday, May 29) with three very special events. Coined “313: Return To The Source” the name draws parallels of each unique party, and how as a whole they create a story arc between them.
Gillen says, “My original inspiration for the Return to the Source name comes from the Psychick Warriors Ov Gaia “Exit 23” where they sample Timothy Leary saying ‘Return to the Source.’ That song still gives me chills. I heard it when it was new – it just became part of my brain, so when we were trying to name the whole weekend, it just popped in and I felt like it really said it. This is a chance to do just that, through carefully curated events, stellar sound, venue transforming decorations and a strong connection with music. It’s important to do this ritual at least once a year, it ultimately leaves you feeling inspired and refreshed. And in today’s insane news cycle, we need this reset more than ever.”
But first, let’s start at the beginning. A party’s growing years.
No Way Back came to fruition as a means of reigniting the local Detroit scene after a lull at the turn of the millennium. Derek Plaslaiko received a call from Gillen with an idea to throw a 12-hour party to get feet moving and reawaken the scene.
“We kinda just discussed what we thought was needed at the time in Detroit’s somewhat stagnant state. Don’t get me wrong, there were good things going on. But, we kinda longed for the old days when a great party was just 3-4 DJs in a dark room with a punishing sound system. There was definitely a party in mind to model it after: Hardware. That was a small set of parties that Dean Major (Syst3m) put together circa ‘95-96 in an old hardware store up on Jefferson near Belle Isle,” Plaslaiko says. “For me, it defined exactly what I felt an amazing party was. I’m guessing it was about 150-200 people maximum, completely losing their shit in just a simple sweatbox. Things were often like this in Detroit. While other cities were focused on making their parties bigger and brighter, Detroit just seemed to find a pure formula that worked perfectly for us. I hold those times extremely precious, and I think all of the No Way Back crew agreed.”
Plaslaiko continues, “Eventually he told me he thought he had a perfect space for it (he was right!) and Erika, Patrick and Brendan started putting it together. At this time, Erika wasn’t DJing and Servito wasn’t in the mix yet. So, the first one was just Carlos, Patrick, Brendan and myself. The party was perfect! Even with the rain/mud and sweat dripping from the ceiling, the party was incredible. Brendan, Erika, Amber and Patrick all did a phenomenal job of transforming that space into what I remembered best about Hardware.”
The location was an abandoned bank near the Woodbridge Historic District. Regardless of the dilapidated structure, the crew worked together to launch the first ever No Way Back. Gillen paints an image of what the party was like, the space itself and how in just a matter of 12 hours, something special was created.
“Fucking crappy building. It was so bad. We had to bring in a giant jet engine heater and porta johns, there was no running water. The roof shocked up and leaked all night, as the snow melted from the dancer’s heat. Maybe at it’s peak it was around 150-200 people. The party felt magic, I can’t describe it. We had imagined people needed this, and it turns out it was even more profound than we had thought. So many original ravers and promoters came through. A highlight was Dean Major, of Syst3m, volunteered to run the door for us, himself a major inspiration for these kind of parties. His Hardware parties were the last real underground thing in Detroit of the original rave era. This party was a nod to the rave, taking inspiration from that Detroit outlaw vibe, but advancing the music with much finer curation, insanely deep selectors. Many cycles of life experienced in one party, and the energy was just so amazing. We were supposed to end by noon, but went until 5 in the afternoon. Derek ended up running through the wall. It was crazy. It was so special that we wanted to share it with more people, it was what we wanted to show visitors about Detroit. What they couldn’t get anywhere else.”
A rekindling of the grassroots, underground world that the sound was born in, this party served as a reminder. The name deriving from the classic acid track by Adonis perfectly reflects the raw and unstoppable energy the party invokes. Plaslaiko, BMG, Patrick Russell, and Carlos Suffront played records that night into the early afternoon.
“Well, I was in attendance at the inaugural party, and these stories have been told many times…the leaky roof, Derek’s head going through the wall, etc. I had actually gone home and then I got a call around 9 in the morning from a friend who said the party was still going, so of course I gripped a cup of coffee and went back until the end,” says Israel Vines, who records for IT’s sister label Eye Teeth. “That was probably the first time I ever properly met Brendan, but I already knew the rest of the bunch. I do remember thinking early on in the night that this is what an underground party should be. And I must say that last year’s NWB was one of the most intense and immersive party experiences that I’ve ever witnessed. I’m really looking forward to the whole weekend at Tangent once again this year.
The following year the 12-hour party moved to the Atlas Building, this time as an after party during DEMF weekend. A few No Way Back events, including this one, were split-structured with Too Far Gone lasting from 9 p.m. until 1 a.m. and then No Way Back until 9 a.m. the next morning. Too Far Gone, presented by Dethlab, was the segment of the night that had some room to expand beyond just heavy-hitting techno and acid records.
“‘Too Far Gone…’ was a way to have a more free-form, open-minded exploration through music. It’s totally another kind of DJing. It didn’t have be dance floor, dark room, totally lost in it stuff – just appropriate for the time and context, before the main event of No Way Back. Music that represented our wider view on music, and a place for people to be before the party that wasn’t somewhere else,” Gillen says.
Added to the bill was Detroit native Mike Servito, now based in New York City where he also holds residency for The Bunker parties. From this grew a long lasting love affair between Servito and IT, as he played nearly every year following.
“My favorite No Way Back memory is the very first one I played in 2008 during Movement at the Atlas Building on Gratiot. I have such vivid memories about that late night into morning,” he says. “I remember the energy and that space and the excitement. I played an extra hour because someone was having a little too much fun (nudge nudge Plaslaiko!)”
For the next few years, No Way Back nestled into the Bohemian National House, a historic structure built in 1914 by the Bohemian Society on Tillman Street. By 1960 it transformed into a Lithuanian Cultural Center, and then in 1996 was sold and redesigned to be a multi-cultural performance and art space.
“The space initially was magical. Off the beaten path, in a neighborhood, kind of looked like a school from the outside. It’s a building from the 1900s that had been created as a space for people from Bohemia,” Gillen says.
The “Bo House” had a controversial foundation. John Sinclair, co-founder of the White Panther Party (a far-left anti-racist white American political collective) previously resided there and would be constantly bothered by the CIA after a political bombing in the ‘60s. Due to this the space became a target for additional surveillance, which would play into the transgression of the location a couple years later.
“This venue had the most renegade feeling of them all, even of the first No Way Back in the leaky bank. The building itself was a maze of rooms and corridors, with many different spaces contained inside – it had several levels, with many staircases and hallways and rooms,” Sherman says. “Over the years, I experienced so much different music there – bands performing on a stage, jazz musicians moving around the room, a disco party with an elevated dance floor installed for the night. For the parties we threw there, it was possible to create completely unique experiences for each party by using different rooms, dividing or orienting rooms differently – even using rooms that had never been used before, or creating new pathways and connections between spaces.”
Recorded live that night was Plaslaiko’s 4:30-6 a.m. set. Looking back over the past decade, he shares with Sequencer his favorite No Way Back memories over the years.
“Jesus, where do I start!? I guess everything about the first one would be the first favorite moment. Brendan at the one where Serge From Clone played (who was also incredible). There was also the time Traxx jumped on near the end and tagged a bit with Carlos. That was pretty mental. I guess I sorta think of every NWB as a continuation from the previous one. The party generally feels the same, but different records are playing. As a whole, I’ve always felt like we are all playing one long set together at each one so it’s rare when any particular set stands out for me. We are all attempting to play our absolute best because we know whoever is playing before and after our sets are in the exact same mindset. As I stated in my previous answer, this party isn’t for everyone. But, if you like crazy acid freakout records, you’re gonna hear all of us playing our favorites and you’ll likely go home happy and hopefully saying “that was my favorite No Way Back yet!”
The following year No Way Back took place within another area of the Bo House. Gillen says, “Our new space was the Ukrainian room. It’s hard to fully describe, because the place felt anarchic, I think that was the magic – it felt outlaw.” IT also brought back the Too Far Gone…No Way Back format that year, allowing the 12-hour party to diverge in energy as the sounds and sunlight shifted.
“No Way Back has a specific vision, but we enjoy so much more music than what fits it. Too Far Gone let us open up and explore different types of music by having bands play and inviting people to play non-techno sets, starting early and building the vibe before transitioning the room to NWB. It let us explore music within the confines of a single room,” Sherman says.
That year the venue’s longevity came to an end. Gillen recounts, “The owner started to focus on other projects, neglecting to renew his licenses, or to protect the building from mold, and in 2011 a special task force came right at the end of Carlos, Scott Zacharias and Sal Principato tagging as the Too Far Gone portion of the program was coming to an end. They had the crowd divide into two lines, one for people over 21, one for people under. Only one line formed, the youngest person was 23. Then they asked us if we had heaters. CCWs? The crowd had no idea what they were asking and spontaneously laughed when they finally asked us if we had guns. They threatened the sound guys with impounding all their gear if they had to come back. They failed their mission and were disbanded over wasting so much resources over nothing, but we couldn’t do our music safely there again. Rare moments like that never last, but it sure was special.”
A pivotal moment for future No Way Back events, and other parties thrown by IT, safe locations became paramount.
“The prime thing to us is that people be safe. I don’t want the people to have to deal with police, task forces, any of that. The place can’t have mold, toxic waste, all these things in old Detroit warehouses that could alter your health and change your life for the worse,” he says. “The place has to be legal, clean and safe. Tangent has one of the only 24-hour occupancy licenses in Detroit; it’s a very rare license. We even added another fire exit off the main No Way Back room this year, so people can get outside easier.”
From the Bo House, IT made their way deeper into Downtown Detroit to 1515 Broadway.
1515 Broadway was previously known as the Music Institute. Inspired by Chicago, the club was developed by Chez Damier, Alton Miller and George Baker. Sparking the second-wave of the city’s techno producers and performers it served as a unifying place for Detroit’s legendary DJs Derrick May, Juan Atkins, Kevin Saunderson among pioneers Eddie Fowlkes and Blake Baxter.
“I first met the place when I went to the Music Institute as a teenager. I had seen Derrick May annihilate the universe in that room in a way I wish he still did. I want everyone to experience that. The place was small, with a floor made of marble and terra-cotta. They had a few stage risers for shows that we would put out for a partially wooden dance floor, so the DJs and the dancers could be on the same level. It was really dark in there and you couldn’t see what was in front of you, barely. You entered off the street, we had a zone where you could buy records and shirts and buy a wristband to get in,” Gillen says. “That was the entrance, the exit was through the same door, but on the other side of a stairwell that went upstairs, and there they sold juices and coffees and fresh organic food. From either side you could walk into the dance room, which was a hot box. On the left of the DJ you could walk back to the bathrooms and the outside alleyway. The venue was already under siege by investors who were trying to buy the whole block. We had to hire a guard for the back door to explain to people where not to stand in the alley – because the building next door that was owned by a circuit court judge was experiencing ‘demolition by neglect’ – bricks would occasionally fall off of it.”
In addition to a new venue, New York City’s The Bunker began officially working alongside Interdimensional Transmissions to put on No Way Back. This collaboration came to fruition with the connecting link of Plaslaiko. Gillen explains, “Derek had moved to NYC and was The Bunker resident, and introduced me to Bryan Kasenic. I checked out Bryan’s taste in music and it was deep and we really connected on so many levels, we love so much of the same things, that it just felt natural. They had done some other weekend things at Oslo earlier and decided that No Way Back was what they wanted to be part of in Detroit, so we discussed it and it grew naturally from there.”
Kasenic says, “Despite the lineup being almost exactly the same every year, each edition of NWB is it’s own beast, and there are so many great memories attached to each one. I think that’s why people keep coming back for more every year, it always delivers, and is a unique event that can’t really be re-created any other place and time than Memorial Day Weekend in Detroit!”
“One of the defining things for me about NWB at 1515 Broadway was the small size of the room, it would be packed wall-to-wall with people – but not by cramming in like sardines at a rock venue. People were there to dance, so there was room for dancing and expression. The DJ booth was on the same level as the crowd, so you were connected right to the people and their energy, the vibe was a two-way street…the room had a very special, super tangible feeling when it was really going off.” – ERIKA
Carlos’ set was released under IT’s podcasts. The description of the mix paints a perfect picture. “Come experience the edge of your consciousness in distorted rhythms and dirty acid. Here is Carlos Souffront playing the prized 4:30 AM slot at No Way Back At All, Sunday 5/26/13 at 1515 Broadway during the Movement weekend, where Carlos fulfilled the promise of his legendary ‘truth in advertising’ set at the original leaky warehouse No Way Back. Vinyl artifacts intact, set includes one record that was stepped on at the first NWB. Set begins with Carlos mixing in the AFX’s ‘Elephant Song’ over BMG playing the unreleased Shake Remix of Alpha 606.”
Resident Advisor chose Mike Servito’s 2014 No Way Back set as Mix of the Year, which not only gave the party serious exposure but also helped fuel Servito’s career as a DJ.
“2014 was the last year the party took place at 1515 Broadway before it moved to Tangent Gallery. My friend Mike Servito’s set has become rather infamous from that evening. He smashed it. Mike came swinging with new records stitched together in a way only he can do. That was a pretty special moment! Things really took off for him after that.” – JUSTIN CUDMORE
Servito shares his reflections of that night. “All I can really remember about that party was that it was maybe one of the hottest on record, and by hot I mean warm. I can’t believe no one died, seriously. Orphx had just finished and they were so phenomenal. The room was waiting for more. No pressure there. I think I was ready to have a good time. I had specific records that I wanted to play and I think I managed to get it all in and deliver what I wanted to. It’s still a surprise to me that RA recognized that mix as online mix of the year. It was such an honor and a launching point for me! That night and that mix was validation not only for me, but for IT and The Bunker family; that we can doing things our way and succeed.”
Patrick Russell also reflects on that night as one of his favorites. “It’s difficult to pick one favorite moment from all the years, but I’d say the impromptu three-hour tag set with Carlos Souffront in 2014 is right up there,” he says. “None of it was planned whatsoever, it just happened in the moment. Packed, hot, and completely unhinged, I think that night as a whole really made a statement and set the bar for following years. Completely unforgettable!”
As interest grew for No Way Back, so did the need for a bigger space. Tangent Gallery became the new home for Interdimensional Transmission’s annual party. Among the varying transformations, even the decorations have had their own evolutionary process and have become an iconic visual for underground techno heads.
Gillen says, “Before even No Way Back, Amber [Gillen] has always been about creating fascinating environments. I will take this story back to Syst3m, who we threw the Love From Beyond party with in 1998, and Amber and Dean Major collaborated on the Burns Room at St. Andrews Hall. She brought this projector and a series of images, and Dean was so inspired by her aesthetic and her Infinite Dimensions crew that he created this clear plastic shell to the room that she could project on – it was an amazing collaboration.”
Beyond the doors of the Ballroom techno dungeon you become enclosed in womb-like darkness. Large parachutes stretch above with simple (but at times disorienting) laser projections. Military netting drapes throughout the room which sends you to another time and place and behind the DJ stretches the signature hand, glowing like a signal for your surrender. The room allows you to expose the deepest parts of your mind. Memories might rapidly make their way into your conscious vision. You start to deal with it. You have to listen to it. With simple but well-thought out decoration, a box with a door becomes something else.
Gillen explains, “At first the parachutes and netting were a nod to Syst3m and to Tim Price’s decorations at Plastik Produkt parties. But as Amber interpreted these things, they came out in an all new way. She was already an accomplished artist, but with her collaboration with IT a whole new thing has developed with it’s own organic logic. What started as very male and military has morphed into a very mentally liberating environment. She says she thinks about it like a cave, something that surrounds you. I personally feel that when you walk into the space, you see visually and feel viscerally that this is safe space to let go and be yourself. You can actually see that we are committed to this, which makes it easier for the audience to commit and be able to fully connect to the music.”
With multiple rooms the crew was able to construct lineups fitting for two very different, but complimentary, environments. The notable Outer Space Room is where the party explores a more ambient, cooled out setting. Sherman delves deeper into what makes this room special in the scope of the party.
“It’s somewhat similar to Too Far Gone, but since we can run two rooms at once in this venue, we are no longer bound by a strict timeline. So it is an evolution of this idea, designed as a companion rather than a warm-up, allowing the presentation of an even wider range of music, while being tied even more closely to NWB as its true companion, in that the chill out room was separate from the dance room at the parties we experienced in ’90s,” she says. “And it’s a rare opportunity to hear this style of music be so enormous, through such an amazing and enveloping sound system. The focus is truly on the experience of losing yourself in music without dancing, being able to come and go from the intensity of the dance room without leaving the overall experience. The room itself undergoes a complete transformation over the course of the night, beginning as a chill out room but in the morning, it transitions into a slo-mo free-form dance party, as a comedown, not a warm-up.”
“Most of my NWB memories are not for public consumption, however I will say Carlos playing Current 93 in the Outer Space room last year was one of the highlights of my raving career. I was super into Current 93 in high school and kinda put them on the shelf when, all of a sudden, there is Carlos radically re-contextualizing them to make one of the trippiest things I’ve ever experienced. Oh, and my track ‘Ground Score’ was inspired by real life NWB events, but that is all I can say about that.” – JASEN LOVELAND
The Outer Space room happens simultaneously as music beats down in the main room of Tangent Gallery. While the main room will send you into a realm that you may have not experienced before, the gallery is a perfect space to grab a seat, take a deep breath and experience consciousness in an easier environment.
“Ambient, chill, experimental music means so much to us. People deserve a place to decompress, to just be, and explore inner and outer space. That is what this room is about. It turns out that now this is the only place in Detroit where you can experience this kind of environment all weekend,” Gillen says. “Everywhere else you are being constantly bombarded with the beat. It’s at the restaurants, it’s everywhere. So here is a place where you can let go and experience the music. Chill out rooms were always such a pleasure, having seen Mixmaster Morris play so many cool weird records, or Clark Warner or Carlos in the chill room was always a highlight. But to me this is an evolved version of that, with music perfect to let your mind go. It is the perfect contrast and foil to the main room at No Way Back, it really completes the whole vision of a place where you can really stretch out your brain.”
313: Return To The Source will consist of three events: “Berlin / Detroit – Building Bridges” – a night presented by IT and Tresor, the 10th year of No Way Back, and an evening with The Bunker. For those dedicated to completely immersing themselves at Tangent all weekend long, the IT crew has offered a Super Deluxe Weekend Pass which includes entry for all three parties as well as a tote bag and T-shirt from Interdimensional Transmissions among other gifts. Gillen says, “The Bunker is giving us CDs of their new Gunnar Haslam album, one of my favorite artists and people, and he’s on our Acid Series with Tin Man as Romans. Tresor has a few special gifts, the one I can tell you about is Drexciya’s ‘Harnessed The Storm’ album on CD. Drexciya is such a giant inspiration for me, I was very excited at the idea of sharing this music with more people.”
Berlin and Detroit have a long-standing symbiotic relationship when it comes to techno. Respectively shaped by their own unique destructive history, from the struggle grew communities that sought freedom and unification. After techno originated in 1980s Detroit, the German sister city became incredibly influential in the growth, support and reciprocation of the genre’s creation. Among rusty safe deposit boxes, Dimitri Hegemann helped make music history by opening Tresor Berlin in 1991 after the fall of the Wall. “Detroit and Berlin – both cities represent the most singular, resistant and significant correspondence in the history of electronic music – the Techno Alliance,” he says.
On Saturday, May 27 the second annual collaboration of IT and Tresor will pay homage to that history. The title “Building Bridges” discerns this party as an effort to provide a continual bond between the cities that once fed each other during the birth of techno, and have continued to do so since. Gillen says, “The event celebrates the storied history of Tresor and it’s place within Detroit, balancing the past with the future.”
Hegemann offered Sequencer some exclusive insight about the significance of this weekend’s collaborative event.
“In 1989, when Mr. Gorbatschow opened the Berlin Wall, he triggered off an incredible euphoria in Berlin. People and families that had been divided for over more than 30 years came together again. Following the fall of the wall, from 1990 until 1994, authorities had to deal with fundamental issues, such as bringing a socialistic system and a capitalistic system together on one ground, under one administration. Subcultural movements used those years of freedom.
Berlin became the platform for many artists to start an international career. The circumstances of this historic moment were perfect: incredible energy, no curfew, many empty spaces and the new sound that came from Detroit. Germans from both East and West loved this hard instrumental form of music, coming from a hard city. Techno became the soundtrack of the country’s reunification. Yes, the real reunification took place in different dark basements of Berlin.
The peaceful togetherness of people became a mythos that lured people from all over the world into Berlin’s nightlife, to discover a new quality of freedom and tolerance. It was the start of what came to be one of the largest youth movements in the world.
With time, an entire economy shaped around the nighttime, influencing many new startups, transport, accommodation. The spirit of Berlin was the natural incubator for the recently found sharing economy. A new capital was rebuilt based on humane rules. Techno also gave yet another new direction to Berlin: Culture and appreciation for the alternative arts. Today they call it creative industries.
After 25 years, Berlin’s techno-club Tresor continues to identify with Detroit’s techno music.
Berlin’s history has shown how the power of disused spaces mixed with Detroit’s original music has changed the image of a city entirely. Let’s then compare both cities and their creative advantages.
Learning from Detroit – Learning from Berlin.” – DIMITRI HEGEMANN, TRESOR
Last year, the Berlin club celebrated its 25th anniversary during the evening prior to No Way Back during Movement weekend. Tresor’s Diana Alagic had been attending the Detroit party for years. Completely inspired she told everyone she worked with how much it meant to her. Eventually IT and Tresor collaborated not only for the anniversary but have delved deeper, further strengthening the already established trans-Atlantic connection. A round table initiative titled “The Potential” has developed on behalf of the Detroit-Berlin Connection to help bring even more growth to Detroit’s music environment.
Gillen says, “When I first went to Berlin in the early ‘90s, you could feel this visceral connection to Detroit. Underground Resistance had become to their scene what Minor Threat had been to American punk. The kinship is so strong. It was time for the Cold War to end, and who wanted out of that more than Berlin and the forgotten people of Detroit?”
A live debut performance from Berlin’s Flowing and Detroit’s Terrence Dixon will serve as the proverbial bridge. Flowing is prominently known as one half of The Orb and a founding member of 3MB with Moritz von Oswald. In the ballroom you will find an opening set from Silent Servant, a live set by Civil Defence Programme, Christina Sealey of Orphx with a hybrid live/DJ set, and a closing set from L.I.E.S. founder Ron Morelli. Moving the floor in the gallery will be Claude Young, Marcellus Pittman, and Intergalactic Gary. “This year promises to be even more sonically adventurous and fearless,” Gillen hints. “Not to mention all the surprises that you’ll only find out about when you arrive at the party…”
Extending its hours for the 10 year celebration, No Way Back will start on Sunday, May 28 at 11 p.m. and will continue on until Monday at noon.
“No Way Back is special for so many reasons. What started off as a raw ‘back-to-basics’ party in 2007, a real anomaly in the post-minimal Detroit landscape at the time, has grown into a destination of like-minded folks from around the world. Seeing the love, devotion, and energy the audience brings to this party makes my heart swell every year. For me personally, it’s where the IT family gets together to present something sonically unique; we get away with playing some really out-there stuff, music we wouldn’t dare play any other time, and yet people go nuts and love every minute. They just…get it. The party is a true symbiotic relationship, and I feel deeply honored to play for that crowd.” – PATRICK RUSSELL
Sounds from the usual suspects will be heard throughout the caverns of Tangent Gallery: Erika, BMG, Derek Plaslaiko, Carlos Souffront, Mike Servito, Bryan Kasenic, and Scott Zacharias. There will be a special lineup for the Outer Space Room, an unannounced guest, in addition to a live set from Outer Space (John Elliott and Drew Veres), as well as Grant Aaron.
A man who has been influential since the party’s inception, Plaslaiko expands on how he has seen No Way Back change over the past decade. “Well, it’s definitely gotten bigger! The first NWB probably had around 100 people come through the whole night? Maybe more, maybe less… I’m really bad when it comes to numbers for these things. When we started doing them during the festival, we weren’t concerned with getting tons of people there because the spaces used couldn’t necessarily hold tons of people anyhow. This party wasn’t for everyone, and we knew it. So, we started making sure NWB was thrown on Sunday because that’s when the boat party would normally take place. I guess we felt like anyone who might come to NWB and then complain about it would probably prefer being on a boat rather than a dark, dirty and sweaty party on the outskirts of downtown (when it was at the Bo House). It was all about quality, not quantity. It still is, but it’s gotten way bigger than I think any of us possibly imagined. I attribute that to the right people coming over the years, and then they in turn invited the right people for the next year and so on. It’s been amazing to watch, and we are all extremely proud of it.”
Wrapping up the marathon weekend will be the second annual presentation of The Bunker during Movement on Monday, May 29. Although the full lineup will be announced May 28, it’s already pre-loaded with Chicago’s Hugo Ball co-founder Eris Drew, Antenes, Israel Vines, Hot Mix (comprised by Servito, Cudmore, and Haslam) as well as a surprise international guest closing each room.
“I’m part of the extended [Interdimensional Transmissions] family, as it were. We’re all folks from the same era of Midwest techno, particularly the Detroit scene – so there is a particular background that binds the crew, but everyone has their own take on things, which is what I think makes this group a special one.” – ISRAEL VINES
Tweaked to be geared for the energy and context of Monday night, Gillen says one room during the party at Tangent will mirror the classic second room at a typical Bunker party. The Ballroom will have “echoes of the highlights that you would experience in the main rooms of their parties, again altered for this context, and a little more personal and fun – it’s Monday night!” he continues.
Although IT and The Bunker have worked so intimately for No Way Back itself, there is something particularly special about the dedicated Bunker night at Tangent. With many people gone home after the conclusion of the festival the floor is more intimate, elevated and lucid.
“No Way Back could only ever be on Sunday night. Saturday night people are still nervous, they want to achieve something, goals of what they imagined they would do in Detroit during the festival. On Sunday, people have invariably experienced something incredible and now are just in the groove. The Sunday night energy is what makes No Way Back so special. Monday has another energy altogether. People are exhausted but still up for it, the music now has another meaning,” Gillen says. “The whole night starts strong, so you can get there early and be already seeing headliners and if you need to crash early, you will have experienced something special, or maybe the music and the people will provide all the energy and motivation you need to make it through the closers’ sets. I remember seeing Voices from the Lake one year at a Monday of Movement Bunker and thinking I would just go check it out and becoming so captivated and excited for the music that I stayed to the end.”
He says he hopes that The Bunker party will resonate with more people and perhaps this can be an event to be held every year to come.
Interdimensional Transmission’s label has been picking up creative momentum with a project that will be unfolding most likely over the next year. Several records will be released for the Acid Series, each production drawing upon personal inspiration from the evocative energy of No Way Back.
“I began the project last summer after I got so excited by so many demos I was receiving. Anyone who runs a label knows how rare that is. I had been thinking about a way to celebrate there being 10 years of No Way Back and this record series seemed like the perfect way to do that,” Gillen says. “It was a chance for the ideas to come together, for there to be a series of music on IT that directly communicated the sound of No Way Back. The series will last until all the records come out, it may take until next year’s No Way Back because there are so many great ones (all so different from each other) to come.”
The Acid Series will include productions from Tin Man and Ectomorph, BMG and Derek Plaslaiko, Jordan Zawideh, Romans (Tin Man and Gunnar Haslam) and Dona. All of which will be packaged in a special sleeve adorned with a design inspired by the iconic decorations of the party itself. The first two records come from Jasen Loveland and Justin Cudmore and will be available at the merch booths of all three parties.
“NWB is not a party for the faint of heart. You will be uncomfortable. Amber manages to turn the space into a predatory jellyfish. It gets hot. People turn into animals. You can’t get away from the sound system. It gets into your mind. This was what I wanted to try to capture in the EP. The paranoia, the claustrophobia and even the fear that grips you when you are at a party that is too much for you.” – JASEN LOVELAND
Los Angeles-based Acid Camp producer Loveland kicks the series off with his debut recording. “I’m from Chicago and cut my teeth raving in the Midwest during the ‘90s. This record amounts to my raving resume. It’s what I’m about. Each track is stripped to its bare essentials, using only a couple pieces of gear. No superfluous bullshit. Intentionally demented, the tunes aren’t meant to be light-hearted party bangers or even playable outside of a NWB context. Music to embrace The Void to.”
Originally from Illinois and now based in Brooklyn, Cudmore lays down productions for Volume 2 of the Acid Series. The Bunker resident had his debut release on Honey Soundsystem Records in 2016, shortly after Gillen asked him to contribute a record for this series. With instruction from Gillen to “make it sound like No Way Back,” Cudmore says he had two months to produce the four-track record. He continues, “I tried to keep my point of view, but try something a little tougher, headier, bass-heavy. ‘Sleazy’ is the word BMG uses most often to describe No Way Back, so I tried to approach the tracks from that angle.”
Gillen explains, “The idea to represent the sound of No Way Back as a series of records was inherently absurd, we know we can’t do every aspect of the sound, but in a record art kind of way, this communicates something. In this kind of music, there is way through releases that we communicate ideas all around the world, you might connect with something and never meet the person, but still know so much about them. The series starts with artists I met in the crowd at No Way Back. They were inspired by the feel and sound of the parties and started sharing unreleased songs with me.”
With the commencement of this 10 year celebration, let us embrace the expansion of time. Let us reunite together on the dance floor as we share laughter and joy. May we heal together. Embrace the wounds from our past and relish in the beauty of a bright future. Return we shall to our roots. A return to the dark underground of which we were born in. Let us return to the beginning. Return to the source.
The week of the reckoning is finally here. People have gathered their best pieces of black clothing and the requests off from work have been approved. Starting tomorrow and through out the weekend folks from all over the world will begin arriving in Detroit for debauchery and impeccable dance music. There are a lot of great parties to attend and, of course, the festival itself has reached almost legendary rapport.
One thing that strikes me every year at some point or another is the realization that each year I hear a few tracks with out fail. There are records that are so well made – so fantastically funky, that it’s essentially never a bad idea to play them. Pepe Badrock’s “Deep Burnt” always gets a spin or two; Scott Grooves’ “Movin’ On” also comes to mind. But the one that always jumps out exactly when it’s needed is the lead track off New For U, the premier LP on Andres’ record label La Vida.
The record was released in February 2012 and ever since has maintained a massive following of fondness. Astonishingly, 5,000+ Discogs members want LA VIDA 001, which is pretty impressive for a somewhat newer release. It’s a very unassuming little slab of wax; sealed in a flat white cardboard sleeve and featuring track listings and small label logos on a white label.
While A1 “New For U” is the breakout star of the record, the second cut on the A-side is a wonderful piece of music as well. While not a dance floor igniter like the former track, it’s made with such amazing warmth and perfection of sampling that Andres is famous for. Lo-fi drums and delicate vocal looping at a slower tempo make it great track for very early in the night. It’s hard not to love based simply from the skill in the arrangements and mastering.
The flip side gets a bit back to the groove of things with Jazz Dance. A lot of DJs have told me that they actually like B1 the most of all. It’s more stripped back and has a lot of breathing room. From a mixing standpoint it layers very well. The juice of this tune lies in the rolling bassline that doesn’t quit very often. The filtering and frequency of over all of each instrument sit astounding well in the mix, creating a splendid finish to an amazing record.
These tracks all bring a bit of something to the table. Part of the reason people champion Andres’ work so much is because the engineering involved in the sound design is so admirable. When you have these massive, expensive, top of the line sound systems to work with, Andres records will always shine on them very well.
People trade this record around a lot. There are constantly new listings on Discogs and I personally got this record only this year when a copy was found in the backroom at my local shop and then put on the shelf. Stay vigilant for it if you dig the tunes and want to own it yourself.
See you in Detroit!
Wax Runoff is a weekly feature that will showcase new finds and crate favorites. Nick States, of Boston, bought his first vinyl record in 2010 and has been hooked ever since. The record shop tends to be his first stop in an any city he visits.
Historically the dance music scene has been intertwined with recreational drug use and will definitely continue. But a recent uprise of deaths and emergencies, especially in a festival setting, have gotten people talking more and more about harm reduction. This public health approach helps curb dangerous risks by providing information and practical strategies that will ultimately help guide decisions and keep people and dance floors safer when engaging in potentially risky behavior. DanceSafe is one of many organizations that is on a mission to provide harm reduction services specifically within the electronic music scene.
First and foremost it is important to note and disclaim that by publishing this piece I am not encouraging or discouraging recreational drug use. I firmly believe that preventative health and making an educated decision is always the best measure. If you choose to use, be aware of the general effect of certain drugs but also understand that each individual has different reactions. Prepare yourself appropriately and treat yourself with care. Harm reduction efforts throughout the world are striving to help others make confident, educated decisions by ensuring certain levels of safety services are available when taking risks.
DanceSafe was founded in 1998 by Emanuel Sferios in the San Francisco Bay Area. After initially using MDMA in 1986 as a form of therapy, 10 years later he started to learn about the misuse and abuse of substances and the deaths arising from fake ecstasy pills. Inspired to help he established DanceSafe so people that choose to use would be doing so knowing exactly what substances they were taking and how those substances might effect them. As a designated 501 (c)(3) public health organization, DanceSafe embodies an ethos to promote health and safety within the nightlife community by operating under the guise of two fundamental principles: harm reduction and peer-based popular education. The organization upholds a non-judgmental attitude that neither condones nor condemns drug use.
“A nonjudgmental approach denotes an approach rooted in acceptance, genuineness, and empathy. This allows drug users, who are often stigmatized, to feel comfortable talking to us about their concerns and asking questions,” says Kristin Karas, director of programs for DanceSafe. “A non-biased approach allows us to remain credible with our participants. Scare tactics don’t work because individuals will discover what they were told was not true and will develop a mistrust for the information provided to them. Because we don’t shy away from mentioning the positive effects of substances, our participants take us seriously when we warn them of the risks.”
Karas completed her bachelor of science degree in public health studies with a concentration in community health at East Carolina University. In addition to her work with DanceSafe she also founded the Students for Sensible Drug Policy chapter at her alma mater, and has done work with the North Carolina Harm Reduction Coalition, Pitt County Coalition on Substance Abuse, and Insomniac’s Ground Control Team.
DanceSafe, and other similar organizations, use a “safety first” approach to reduce drug misuse and empower young people to make informed choices. Multidisciplinary Association for Psychedelic Studies (MAPS) is a national organization which funds medical research on MDMA, LSD, and other psychedelic drugs. They continue to fund harm-reduction strategies for events where such drugs are taken recreationally. “We need to discuss this not in a prohibition context, but an education context,” explains MAPS Founder Rick Doblin in an interview with the Toronto Star. “You will still end up with the fact that there are risks, but how do we, as a society, respond to that?” Additionally, the group recognizes that cause of death from party drugs is usually obscured by calling it an overdose. “What the person could die of is whatever it’s mixed with, or dehydration, or some other constellation of factors.”
Given the legal climate and general stigma regarding recreational drug use it is important programs such as DanceSafe exist. A prohibition-style approach can often lead to misinformation. This lack of education during an individual’s risk assessment will more than likely result in an uneducated decision, potentially putting a person in physical or mental harm.
“Prohibition, simply put, does not work. It didn’t work for alcohol in the ‘20s and ‘30s and the War on Drugs has failed. Scare tactics have been ineffective and led to a general mistrust of information and treating drug use as a criminal issue has contributed to a wide variety of health issues,” Karas explains. “Harm reduction works best because it recognizes drug use as a public health issue – not a criminal one. Rather than stigmatizing drug users, harm reduction treats them with dignity, compassion, and understanding because harm reduction recognizes that individuals are inherently going to engage in risky behaviors such as sex and the consumption of substances and thus it’s best put in place measures to mitigate such risks.”
It is important to discern that DanceSafe (and organizations like it) are directed to assist non-addicted drug users. Recreational drug users are stigmatized by the public eye and underserved in the health community regarding harm reduction and preventative safety.
“Non-addicted recreational drug users have lacked access to care and have been stigmatized for their personal choices regarding their own body. Many drug education programs, such as DARE, have contributed to the health gap by utilizing scare tactics instead of factual, unbiased education,” Karas says. “Furthermore, many individuals lack access to important harm reduction services such as drug checking. This is especially true in the nightlife community where promoters are hesitant to work with organizations like DanceSafe due to The RAVE Act.”
In the beginning of the new millennium the United States began specifically targeting and utilizing scare tactics as a means to control the electronic dance scenes. The RAVE Act, or Reducing American’s Vulnerability to Ecstasy Act, was introduced in 2002 by Senator Joe Biden; it was passed by Congress the following year and renamed the Illicit Drug Anti-Proliferation Act. As a piggyback on the Controlled Substance Act (otherwise known as the Crackhouse Law), the RAVE Act expanded “findings” that identified specific criteria that would deem an event one that promoted drugs, by legal definition “a rave.”
Rave became defined by this legislation as a movement of young people being “initiated into the drug culture at ‘rave’ parties or events (all-night, alcohol-free dance parties typically featuring loud, pounding dance music)”. Although drug education, free water, and an air-conditioned “chill room” for party goers could help save lives, these findings became paraphernalia and grounds for prosecution under penalty of law. In response, fear began to grow. But the music will never stop, so dance music events pushed further underground and off the radar, sometimes into more dangerous environments.
Many began to recognize that by inhibiting harm reduction services there was an increase in emergencies due to a lack of education and preventative health. Amend the RAVE Act is a campaign developed in 2014 by Dede Goldsmith in response to her daughter’s death. At a club in Washington D.C. her daughter, Shelley, died from hypothermia and then cardiac arrest. Her mother thought, possibly, it was due to an adulterated substance since no one else had died that night. But after receiving the toxicology report they found the diagnosis to be pure MDMA. “I had to look into what MDMA (Ecstasy) was, and the more I looked into it, the more I realized that probably wasn’t what killed her,” Goldsmith said during Catharsis on the Mall: A Vigil for Healing the Drug War. “More than likely it was the situation that she was in.”
Her mother recognized that there were factors about the venue that had unsafe measures such as no crowd control, and inadequate water with bathroom attendees that forbid people to fill their bottles. She identifies The RAVE Act as the fear inducing wall keeping promoters from implementing safe setting measures. With this effort she petitions that language be added to the pre-existing law “to make it clear that event organizers and venue owners can implement safety measures to reduce the risk of medical emergencies, including those associated with drug use, without fear of prosecution by federal authorities.”
For example, the chill out room, has been frequently incorporated into parties for safety measure. Whether using a substance or not, an enclosed dance floor can become hot due to the collective energy and movement of numerous people. If a person happens to take Ecstasy (or any other substance that effects the regulation of body temperature) a chill out room acts as a space for people to cool their internal body temperature and stabilize their heart rate. Doing so decreases the chances of physical emergencies. However, due to The RAVE Act, chill out rooms can now be seen as “paraphernalia” and grounds to be deemed as a drug party.
“Many venue owners and event organizers refuse to allow harm reduction workers into their events because they are afraid that even acknowledging that drug use occurs will make them liable to prosecution under the RAVE Act.” – DEDE GOLDSMITH
In response to that need for education and assistance, DanceSafe’s chapters throughout the U.S. as well Canada can be found at events and festivals to provide a number of services. Most importantly, they provide a safe space to engage in dialogue about drugs and health topics relevant to the dance community. Information provided by DanceSafe is unbiased fact-based information about the effects of substances and potential harms. Volunteers of DanceSafe are also present to offer a first point of contact when someone may be in a risky or challenging situation.
To help people make informed decisions DanceSafe has capability to provide a drug checking service at events and festivals. The adulterant screening, or pill testing, within nightlife communities is pivotal in keeping dancers safe. Karas says “when we do provide drug checking, it is with the consent of key stakeholders such as promoters, venues, and law enforcement. In its most effective form, drug checking is provided openly and combined with an early alert system. Early alert systems will give updates to medical and compassionate care services (psychedelic harm reduction) so that they may be better prepared to treat their patients. Additionally, early alert systems will warn patrons of adulterated or misrepresented substances being sold onsite so that they may avoid the ingestion of such substances.” In addition to on-site testing, DanceSafe also founded the only public accessible lab analysis program in North America for Ecstasy. It is currently hosted and managed by Erowid at EcstasyData.org. This platform provides a public search system for pressed pills, their characteristics, test results, date and location.
“When I was growing up, my father always told me to stand up for myself, others, and what is right. I strongly believe that ‘what is right’ is providing factual, unbiased information to individuals so they may make educated decisions about their own body – free of stigma.” – KRISTIN KARAS [DanceSafe]
Volunteers have water and electrolytes available at event booths in an effort to prevent heatstroke and dehydration. Safe sex tools are provided for free to prevent pregnancy and STIs as well as information about safe, consensual sex practice. Free ear plugs are also available to help prevent hearing loss from booming sound systems.
Beyond the booth, the DanceSafe website houses a multitude of informative content on various topics including safety tips as you prepare for any upcoming events or festivals.
Use the buddy system. Always travel with a friend and communicate openly about what substances you have taken or plan to use. Also, don’t be afraid to let them know how you’re feeling. If you are starting to overheat or maybe things are starting to feel a little too weird, your friend should be able to help you, talk you through it, or get the help you might need.
Non-stop dancing and dehydration go hand-in-hand, especially when you factor in a substance, crowded dance floors and hot temperatures. Heatstroke and dehydration can happen and can cause fatalities, even without the use of drugs. Make sure you take time to cool down, drink 500ml of water every hour and eat a salty snack. Be sure to also replenish your body with electrolytes which serve as a supplement for maximum hydration. Drinking too much water (hyponatremia) can be fatal, causing the sodium level in your blood to dip too low.
Know your dosage and your source. Remember that old adage: you can always do more but you can’t do less. Be conscious of how much your dose is and make sure your source is reputable. Unless your substance is tested, you can never be too sure what you are taking. For example, the New York State Drug Enforcement Administration reported that of all drugs in 2013 reported to be “Molly” only 9 percent were actually MDMA. Also, if you choose to start mixing substances (like combining stimulants and depressants) be aware of the possible effects on both your mental and physical health.
Be sure you are getting proper sleep and nutrition. This may seem difficult to do (especially in a festival setting) but your body maintains a natural balance when you have proper rest and nutrients. Eat healthy meals and be sure to rest before and after dancing sessions.
Use earplugs to protect your hearing. Sound on the dance floor can reach 115+ decibels which can cause irreparable damage in a matter of seconds. The DanceSafe booth has free earplugs available but if you are looking to invest in your own pair there is a range to choose from. Basic models land in an affordable range (check out DownBeats or Earpeace) or you might choose to invest in a pair of custom earplugs, like ACS. Although a bit more expensive, these help protect your hearing while also maintaining better quality of sound.
DanceSafe promotes safe sex practice by urging people to use proper protection from unwanted pregnancy and the spread of STIs. The organization also has tips to protect yourself and others from sexual assault. In safe space environments it is natural for people to let their guard down. Unfortunately our world is not free from predatory people who will try to take advantage of that. Adhere to consent and have open communication and respect for others regarding sex in any form. If something is making you or someone else uncomfortable, speak up and address the situation directly or tell someone else.
What can you do to help? Educate yourself. Don’t spread misinformation. Learn about substances and their effects through academic books and articles, and truthful website sources, such as Erowid.org. If you participate in recreational drug use make sure your body is healthy and fit, be conscious of underlying health conditions you might have and be sure to exhibit self-care before, during and after. Protect each other on the dance floor. Be aware of your surroundings and if you or someone is disrespecting the space and/or others, do something about it.
Don’t forget that if things start getting uncomfortable – no need to freak out, it is only temporary. Find a safe place to calm down. This might require removing yourself from the environment, having some water, taking a seat or getting some sustenance. Just keep breathing!
If you are attending Detroit’s Movement Electronic Music Festival this Memorial Day Weekend, stop by the DanceSafe booth. They will not be providing on-site drug testing, but you can engage in a number of their other services. Say hello, get some information and grab some earplugs if you need them. They are there for you.
Keep talking, keep learning, and remember – just say “know” to drugs.
With Detroit’s Movement festival inching closer and closer by the day, excitement continues to grow across the stratosphere of dance music. Whereas last week’s Wax Runoff contained a few records from the crucial early days of Detroit techno, this week we take a look at some of the modern labels representing for the D.
Visionquest, Planet E, and Blank Code all manage to pump out splendidly solid Detroit tunes, each with their own flavor and take on the booming rhythms. Though bending the rules to be interesting, fresh, and new, these imprints preserve the nature and vibe of the best the Motor City has to offer.
Seth Troxler, Shaun Reeves, and Lee Curtiss’ powerhouse label Visionquest is an instant talking point when discussing the important Detroit players of the last decade. I’ll be the first to admit that there is some really corny and imperfect music on Visionquest, but the releases that do hit the mark always seem to remain on heavy rotation. The 35th release [VQ035] from 2013 Jadore featured one of Norway’s most enjoyable exports – producer Terje Bakke. This record actually introduced me to Terje, who has had some amazing releases across a handful of labels before and after this release. Somewhere between house, minimal, and techno, this record takes a lot of what is loveable about European dance music and breathes in the classic fat and dry Detroit sound. Plenty of loops and subtle changes make it perfect for a pre-midnight DJ set or a relaxing Sunday drive. And if you’ve ever been to Movement in the past, odds are that someone at some point has recommended you find yourself at the Need I Say More party thrown by the Visionquest crew every year on Monday morning. It’s without a doubt one of the best sound systems in the city brought in for a day of delightful classics, rare gems, and forthcoming heat. Definitely not a label or party to sleep on.
Planet E has actually been around since 1991. Carl Craig has been the mastermind behind its development which could play a part in why it continues to put out sturdy, relevant techno tracks. The Last Decade EP [PLE65350-1] is credited to Carl Davis which is a single-use alias taken up by Carl Craig for this release. The tracks are broken down into “Sketches” that truly put classic Detroit styles front and center. Most notable are the nods to the electro and bass styles that originally got Detroit started on the path of electronic music. Dark and stiff tracks litter the A-side, but the true secret weapons of the record are Sketches 5 and 6 that feature more downtempo and chilled out beats. The juxtaposition of production styles traditionally used for hard, slamming tracks against the soft and slower soundscapes is nothing short of fantastic. Carl is always around the Motor City on Memorial Day weekend and his sets are not to be missed; if given the chance, make sure you stop by to enjoy his grooves.
Of course, no modern Detroit sound discussion would be complete without touching on the heavier, more grinding style of techno. Blank Code is the youngest of these three labels, but has wasted no time making a very respectable name for itself. Rituals Of Submission [BCR007] by Luis Flores could not have a more appropriate name. The record features two originals and two remixes containing tight drums that slap and big powerful synth blasts. With kick drums that could knock your wig off, the tunes are wonderful odes to the confusing and at times terrifying sonic onslaught experienced at true Detroit parties. The tunes just feel like a warehouse when you hear them. Blank Code is also responsible for the Interface:Scene after party which happens each year on Sunday night during Movement weekend. The back room of The Works is transformed into a mini warehouse with only a single pulsating strobe light and enough sound to disperse a small crowd of protesters. As one friend once put it, attending the party is like “having your brain-grapes crushed into wine”. Tickets for this year’s shindig are currently at final tier, so act fast if you want to secure your seat in the spaceship. An added bonus: Mr. Flores is on this year’s lineup and promises to be a delightful set.
So whether you’ve been knee deep in 303s since ’92 or you’re just getting into the Detroit sound recently, there’s plenty of tasty sounds and labels associated with and dedicated to Detroit. The city is truly a deep catacomb of influence and output. There’s really so much to find and talk about – this piece could easily be 10 pages long. One consistent aspect is the undeniably crisp style present in all Detroit releases. As for the releases here, they can be hard to find and expensive but at least are not as tough as the classics from last week.
Consider swinging by Detroit Threads during your visit to the 313 to support the local wax peddlers. And if diggin’ in the crates is your thing, Record Graveyard comes highly recommended, complete with an authentic old and dilapidated Detroit feel to it. Even if you don’t have time to support the local record scene, enjoy your Movement weekend by getting out to as many different spots and parties as possible. The wide variety of music bearing Detroit’s proud heritage is seldom matched anywhere in the world.
Wax Runoff is a weekly feature that will showcase new finds and crate favorites. Nick States, of Boston, bought his first vinyl record in 2010 and has been hooked ever since. The record shop tends to be his first stop in an any city he visits.
He is a hustler. He uses music as his platform to inspire, bring growth and spread knowledge. If you have ever seen him play records you will see among the crowd a solid core of community friends up front and center. Bruce Bailey is a true Detroiter.
Being born and raised in Detroit directly developed his love for music, he says. “After all, from Motown to techno, us ‘Motor Citians’ have some substantial musical roots. Detroit is known for hard working individuals and I guess that really rubbed off on me.” Initially entering the scene as a promoter he decided to delve deeper into mixing records as he became witness to the inexplicable energy created by the music, the DJ, and the crowd.
His story’s trajectory truly demonstrates how versatile, grinding effort and an attitude that won’t quit can help you achieve your dreams. Bailey is a DJ, a promoter, a music lover and a businessman. Through various avenues and vessels he has established himself by taking opportunities as they come and perpetuating progress. He says, “It’s like working on my craft 24 hours a day is normal or something. I wouldn’t be able to stay relevant today without that instilled work ethic.”
It stretches back to his time spent as an undergraduate student at Western Michigan University. Centrally located between Detroit and Chicago, Bailey (with a foundation of music history from his hometown) started to become increasingly more exposed to Chicago house music. He and his friends were playing vinyl and at the time he says “the record purchasing craze was unbelievable.” They were able to tune into house music on numerous radio stations picked up with his roommate’s high frequency antenna. “I remember many a night (sometimes day) we would sit in the dorm room with sounds blasting, writing down what we thought were the names of new music we had never heard. On weekends we would drive down to the Windy City and purchase vinyl or send word to the Detroit buyers to grab some of this new music we’ve heard.”
As he started to become more established within the scene, Bailey and his partner Vern English worked together to found Tandem Entertainment Company. They both had been spinning since college. “We were getting booked individually at a ridiculous clip. One day we collectively decided that we needed to emerge from the underground way of doing business. So, we added eight or so additional DJs, sound techs and personalities to the team to help cover the plethora of events we couldn’t keep up with beforehand. It not only helped us to totally legitimize the steady stream of revenue but also assist us in multiple tax related ways,” he says. “Over the years ‘The Tandem Brand’ has covered a diverse number of events as our DJ services became mandatory from numerous corporate and underground bookings. To this day The Tandem is the most utilized DJ company in Metro Detroit.”
Throughout Detroit he has held residencies in the city’s most reputable spots. Bailey’s first was at Cheeks, a legendary establishment where Jeff Mills’ Wizard persona came to fruition. The spot was also home to moments like the debut of Inner City’s “Good Life”. In 1991 Bailey went on to become head promoter and resident DJ at Club 246 where he stayed for seven years. It was during this time that DJ Minx got her start, Delano Smith got back behind the decks, and the stage saw the likes of so many local favorites like Norm Talley, Moodymann, Al Ester, and Terrence Parker.
“This is arguably the most historic club in Detroit history and the stories from this era are nothing less than amazing. Probably the most memorable was – well let me set the stage first…” he says. “Club 246 was located on the street level of The Madison Hotel in the thick of Downtown Detroit. The night I was given to run was a Thursday. In the early ‘90s you couldn’t get a continuous weekend night to promote house music at any venue downtown, hence the Thursday night sets began. So, I’d say halfway through my seven year run (on a Sunday if I recall properly) I got a call from the owner saying there was a fire in the building. Now keep in mind all the other businesses within the hotel (including the hotel rooms themselves) were defunct except the ordinarily designed Club 246 and it’s adequately sized walkout patio.”
He continues, “So as you’d guess I’m in limbo regarding this situation as Thursdays were definitely the hottest thing going in Detroit at this time, house music wise. The fire department came out and extinguished the fire and it was a mess throughout the building. I knew we’d be closed for some time with a good possibility of never reopening. To my surprise a few days later I got a call saying that we were gonna try and move forward with opening up – I couldn’t believe it. Somehow we opened and it was super successful. Outta the disaster we got an upgraded sound system (so needed) and for maybe a week or two you could smell faint remnants of smoke, but unbelievably not even for one week did it deter the capacity crowds from supporting.”
After Club 246 closed he moved on to a restaurant called Lola’s in 2002. This residency lasted him about five years which he says “catapulted my brand and solidified a switch, as a week later I became the first resident DJ at TV Lounge.” At the time Bailey’s friend, Tree Graves, was the owner. Formerly called Half Past 3 (now frequently called TV Bar) this venue remains one of the strongest Detroit spots. “You see, Half Past 3 was more so the cool spot for the cities jet setters before transforming into the house/techno mega club that it is today. Sport players and dignitaries flooded the venue on Fridays and the Salsa community filled the joint every Saturday.”
The list of residencies and artists that have performed either inside, on the patio or down the alley at TV Bar is innumerable. With a welcoming atmosphere the club’s energy continues strong longevity to this day for locals and visitors alike. Bailey says, “TV Lounge is a family and I’d like to think I did my share of work in elevating it to the worldwide iconic status it receives today.”
There is an undeniable uniqueness to the Detroit hustle. It is grassroots, unrelenting and if you have seen it before you know there is a genuine confidence embodied in the energy. This is why you see (in many Detroit DJs and producers) this particular attitude which makes their presence so special. Especially during the time before technology, there was a limited accessibility in sharing sounds. It took, as Bailey and so many others did, pushing out hundreds of cassette mixtapes. Speaking to people face-to-face and developing real-time connections was the only accessible avenue anyone had to make their name known. In Bailey’s mind it’s how you set yourself apart.
“Here in Detroit you’d never solely make it in the DJ business if you sat back and waited for clients to contact you. If you excelled here in The D, you must be liked, have a solid game plan and also the intellect to overcome obstacles – hell, I always say if it was easy everyone would be doing it (successfully),” he says. When you see Bailey play on home turf it is so apparent that he has developed and maintained relationships throughout the years. Keeping those personal connections alive is a foundation for success is just about anything.
“Certain things you do dictate your character and I believe that represented mine in the best fashion. Of course my original saying had to go on this sign as marketing waits for no one – ‘the brand don’t build itself.’” – BRUCE BAILEY
There is plenty on the horizon for Bailey starting this spring with the release of his latest EP The Detroit Room through Open Bar Music. He says, “This two track release has been simmering for quite a few months. Additional production by Oscar P and Delano Smith make this a sure fire underground hit for the deep house music fan.”
Additionally, you can also look forward to a two-day boutique festival in Detroit during the last weekend of June at TV Lounge. With efforts from Bailey, the venue’s staff, Josh Guerin and Delano Smith, talent is booked and “people can expect the official announcement sometime early May. Collectively we couldn’t be more excited about our first stab at a local festival.”
Within Bailey is a deeply motivated passion to create and build. He blends together his entrepreneurial spirit and his love for music in a way that is tasteful, genuine and inspiring. The name Bruce Bailey, is more than just a name. “Music for me is a collection of emotions. I love it for the way it brings people together and how it unites communities. Without music there would definitely be a void in my life. I look forward to spreading my love of music around more this year as I have road shows in China, New York, Houston, Chicago, Dallas, North Carolina, Los Angeles and Virginia already set for this year. Yup, I love music…”
Catch Bruce Saturday night in Rochester for Signal > Noise.
In a world where society is structured by gender being categorized in two opposite forms, Jarvi Schneider’s gender identity lands fluidly somewhere in the middle of the spectrum, free from segmented definition. Fully enveloped in Chicago’s queer scene, the self-identified nonbinary artist and DJ was raised as a child in the house and techno scene of Detroit.
Jarvi spent their adolescence in Ann Arbor, Mich., eventually moving on to Commerce Township until the end of high school, to finally land in East Lansing, Mich. before moving to Chicago in 2012. The move, Jarvi says, was “to finally free myself from a state of no jobs, lack of public transit, and extreme queerphobia and racism.” Due to this atmosphere and being a hairstylist by trade, the salon was a difficult environment to find comfortable footing in Michigan.
While living in Michigan Jarvi says that “even within the queer communities, there is a lot of ideas of what a queer person ‘should and should not be’ or ‘look like’ to really be accepted.” They came out officially as nonbinary about two years ago.
To identify as nonbinary means one does not identify as exclusively masculine or feminine. “I have always been androgynous. I have always been called a boy. I think the worst of it all was being forced into a queer identity (lesbian), because anything outside of the binary was even too much for suburban Detroit queers to grasp. To be honest, I hadn’t even heard the term ‘nonbinary’ until I moved to Chicago, and even then I could hardly grasp it because of what I was accustomed to all my life. After some major trauma in my life, I realized that I had to make sure for the sake of my own brain and my chosen family, I had to be true to myself and who I am.”
Chicago for Jarvi meant better opportunities and was a cheaper and easier move from Michigan. “I sold my car, packed everything I owned into a Ford Excursion, and my cat, and I moved to Chicago knowing only a couple folks from high school, to start my new life.”
Jarvi is a member of the Naughty Bad Fun Collective crew, a resident of Planet Chicago night at Smartbar, and also runs and curates freaky queer club night Acid Daddy’s Haus of Diesel. Their introduction to the NBFC became a pivotal moment for Jarvi’s life in Chicago by experiencing an open, free environment and eventually learning the art of DJing.
“I found this crew (or maybe they found me) shortly after I moved to Chicago. They threw the best undergrounds in the city, always had the most welcoming vibes, and even outside of the rave we all became more than just people you hang with at the party,” Jarvi says. “After meeting Sam and the crew, I pretty much attended everything that NBFC did and started to help out with setup and tear down. Somewhere between that and the DJ lessons, I became one of the crew!”
It was just before Jarvi’s birthday in 2013 when God Particle label owner and NBFC’s Sam Kern (otherwise known as Sassmouth) gave them their first ever DJ lesson as a birthday gift. Jarvi says that “after two lessons we just vibed and kept working together. I think the bond we share is incredible because I have been listening to and attending techno and house events since childhood with my father, and not one friend or other DJ I have ever met had ever offered to teach me the craft. I’ve always known the music industry is a boys club, and having the opportunity to try to do something I loved and admired for years with a person who understands the struggle of not being a cis man in this scene, is easily the best gift I’ve ever received.”
The NBFC is comprised by Kern, Jarvi, Pat Bosman, Ryan Kelley, and a slew of other DJs, producers and artists that overtime have helped create and maintain the collective. The core crew shares roles collectively when it comes to bookings, design and direction. “That’s one of the best parts about working with these folks is that every last little bit of the vibe is created by all of us. I will say though that setting up sound has absolutely nothing to do with me. I can barely set up my TR8 to Ableton without referring to notes,” Jarvi says with a laugh.
For the month of March both Kern and Jarvi continue to use their established music platforms as a vessel to push and strengthen female, female-identified and queer artists, DJs and promoters by participating in Daphne. The month-long festival hosted by Smartbar will incorporate workshops and events to emphasize that mission. According to Jarvi, the biggest obstacle for women and queer persons is commodification.
“The constant struggle of, do you suck it up and go through it in hopes that you will get closer to being seen, heard, understood? I can’t tell you how many times I read an article about some white cis techno dude talking about his struggle not getting booked and having to work his awful 9-5 when all he wanted to do was play his Surgeon records for a packed underground rave. Sometimes it feels like there’s only a certain allotted amount of women-identifying and queer artists, and the recycling of the same ones can be frustrating not because they shouldn’t be getting all the gigs, but because there are so many of us in the world without exposure simply because so many people who are in charge of bookings don’t want to look. Probably because they don’t REALLY care. I think it’s also important to point out that if your women-identifying idols in music don’t help any other queer, women-identifying and nonbinary, or POC artists, they probably aren’t as progressive as you think.” – JARVI
Motivated by the frustration and with a desire to maintain personal and creative freedom, Jarvi started Acid Daddy’s Haus of Diesel a little over a year ago. The stage persona Acid Daddy came to fruition for Jarvi during Plastic Factory, the first party they were ever involved in at Berlin Nightclub.
“The party was a wild latex club-kid party with wacky installations and performances. La Spacer and I were the resident deejays for the Thursday night monthly, and it evolved somewhat from a joke in our group about how me and one of the other members were the ‘daddies’ of our group, and my love for acid house – among other things.”
Long after the Plastic Factory parties, Jarvi continued on harnessing the Acid Daddy energy. “I was up at a camping trip, Tentsex, when at some point in the weekend our generator runs out of – you guessed it – diesel. In a loopy state, I’m arguing with someone about how to get more fuel for the generator so we can get the music back up and running, and in stubborn Taurus fashion I storm off back to my tent. Sam happens to be in a porta potty and overhears me mumbling to myself something about ‘Acid Daddy, gimme that diesel’. The phrase stuck, and when I was given the chance to do my own party at Berlin [Nightclub], Acid Daddy’s Haus of Diesel just made sense!”
Acid Daddy is so much more than just a name. Jarvi says, “I think what is so important to me about this stage name (that may in the future develop into a moniker for music) is that it really represents the evolution of my gender identity and the happiness that comes from no longer being forced by society to be something I am not.” The name encapsulates and empowers Jarvi’s freedom from the oppressiveness of gender normative roles.
The house and techno scene is historically rooted in providing a free space for people of all types and expressions. There are so many artists, promoters, writers and DJs out there that continue to use the electronic music environment as a platform to promote cultural and social awareness, by cultivating a safe welcoming space. Yet, there are places within house and techno where those roots have been lost somehow. Our music scene is just a microcosm of our society at large.
To deviate from the normalities of any facet can result in a negative response from others. That’s what makes the dance floor so unbelievably significant. That’s what makes artists like Jarvi and so many others equally important. To understand that gender and sexuality are on a spectrum is to see that by inherently breaking binaries we are simply forming unity.
“The gender binary is just a way to keep cis men in control and women-identifying folks subservient. Even the most progressive cis folks I know still show me totally innocent ways of being affected by the binary. I think the most obvious is the inability to use gender neutral pronouns. Folks can learn a new hobby, how to operate a vehicle, or get a certificate/degree in a field they’ve never understood in their life but can’t incorporate a plural, nonbinary pronoun into their vocabulary when they already know the word. I struggled with the use of ‘they/them/theirs’ at first, and I identify that way. Sometimes I think folks can’t grasp the use of neutral pronouns because they still don’t really believe that it exists. I connect very much with femininity and that identity, but not 100 percent. I cannot really say that I relate to anything masculine, and honestly spent a lot of time trying to dismantle the binary connection with words, for example, ‘daddy’. NBD (nonbinary daddy) is a term we use out here in the Chicago queer scene a lot. I highly doubt I started that term, but it definitely fits like a glove.”
What does being nonbinary mean specifically for Jarvi?
“Grey area. In between. Not this, not that. I truly believe there are more nonbinary folks in this world that exist than cis folks. Once the term becomes more common in mainstream queer entertainment (because it has to start there before we get it across the board) I think a lot of folks who realized that this binary they’ve been forced into because of tradition and fear, really is not for them. Some days I feel like wearing a dress, sometimes I feel like wearing a suit, sometimes I feel like growing out my mustache and being topless in a leather chest harness, but not one of those outfit choices express any binary gender to me. when you erase that, you have so many less things to worry about because you just get to be you. However you want to feel or look, it’s just you.” – JARVI
Nonbinary folks fall within the overarching transgender category. By definition transgender denotes a person whose identity and gender do not correspond with their birth sex. Gender expression and identity is expansive and complex, yet simple at the core: people are who they are, and they should feel comfortable being and expressing themselves. But we live in a society where transphobia is very real, causing harm (in varying degrees) to those who identify beyond the binary.
Jarvi spoke a little bit deeper about experiences had alongside Chicago DJ/promoter Ariel Zetina. “My relationship with Ariel, be it romantic or platonic, has always provided us with struggles from the outside cis hetero and cis gay male groups. Whether it’s slurs stemming from binary-loving cis hetero normies, or the hyper-sexualization of both our nonbinary trans identities. By cis gay men, we both encounter negativity even in the most unlikely of places (i.e. queer spaces). I have learned so much from her, especially about POC trans and queer-related events, artists, and struggles that are otherwise swept under the rug so to speak in primarily white queer spaces (which is most of the spaces in Michigan).”
How can we help? Javi says: educate. “If you hear something offensive or hurtful, it’s pretty easy to respectfully explain why that isn’t tolerated and to enforce that strict no-tolerance of hate in spaces, whether it’s rave spaces or the dang super market.”
Music will continue to be the space for Jarvi where there is safety and love. It is so very clear that this deeply rooted passion has helped them evolve and grow into a true representation of themselves. Isn’t that what we’re all really striving for?
“I love music because it saved my life. It can say everything I can’t put into words. The music itself doesn’t judge me, it guides me. Without music I would never know the rave scene. I would never have found my chosen family in the underground where you can be anyone you want to be, as freaky and weird and out there as you want. Like-minded individuals all there together because the world doesn’t see us as the creative and beautiful individuals we are. PLUR forever.”
Born in Atlanta, Israel Vines was mostly raised in a small town two hours west of Detroit. By 10 years old he had lived in nearly 12 different houses in six states. After graduating from Michigan State University he moved to Chicago in 1997 where he remained for four years eventually making his way back to Michigan for graduate school. He stayed there for six years before moving to Los Angeles in 2008 where he currently lives with his wife.
He cut his teeth DJing in the early ‘90s and a few years later he delved into production. By 2010 he established his label Borrowed Language and it grew with the help of artists Jeff Pietro and Justin Ivey.
The now retired label nods to the concept that “all music is essentially a borrowed language.” His friend, fellow DJ/producer, Karl Meier came up with that line. For more than a decade the name Borrowed Language was used by Vines for club nights, mixes and the like before creating the label. First and foremost he says that he used this platform to “acknowledge the fact that DJing and making techno isn’t a case of reinventing the fucking wheel. There’s a basic blueprint that hasn’t changed all that much over the years. A lot has changed, but the basic DNA has not. That’s the Borrowed Language part.
“As far as acknowledging the historical background, there are many ways to do that. There are a lot of producers who make sort of throw-back style tracks, which when done right I think is great. Additionally, there are a lot of older DJs who are very much committed to and conscious of playing a lot of older material in their sets – which again, I think is fantastic. I take both of those approaches, but only to a degree,” he says. “I play some classics. I program tried and true electro beats. But more than all of that, I try to keep the original spirit of this music in mind while producing or DJing, and to me that means keeping a sense of wonder, adventure, and tension in the sounds that I’m working with.”
When he speaks about music you will find that he often draws parallels between music and language. Narratives are incredibly present in our lives. In books, film and music we are constantly being told a story. He does so through his sets and productions.
“Without getting too deep, I think that the idea is both basic and difficult. On a basic level, it’s just like anything else with which you create a narrative – words, images, shapes. There are peaks and valleys, there are hot and cool moments, there are things that are soothing, and there are things that are jarring. Fitting them all into a cohesive arc is the difficult part, and there’s no real secret sauce to it. If there were, it would be for sale by now. At the end of the day it’s a feeling that one attempts to translate into something that others can experience with them.” – ISRAEL VINES
Although music has been a driving force for most of his life he says that he is relatively a wallflower to the scene itself. When it comes to the way music has evolved, particularly in the electronic field, Vines speaks on the way trends have infringed on the underground. “I’ve never been all that connected with the ‘scene,’ as it were – but more primarily with the music. One thing that I can say for sure is that I’m glad that the whole ‘MNML’ and tech-house phases seem to have passed. I mean, we have EDM to deal with now, which is fucking annoying, but at least it’s a lot easier to differentiate the underground from what that whole side of things encompasses,” he says.
Underground electronic music can often be misjudged through the surface mainstream lens to be considered EDM. A proverbial tick for the culture, EDM has more or less had an impact on the more authentic lifestyle of techno and house music. “MNML and tech-house producers were sort of wolves in sheep’s clothing in a way, as they were just watered down and non-creative versions of more underground music – but they were close enough in some cases to pass as legitimate. EDM is, in its own way, honest about its awfulness,” he says. But that’s another story for another day.
What makes Vines unique among many other influential artists is his determination to never compromise his vision. His personal inspirations include Marcel Duchamp, Charles Bukowski, Cormac McCarthy, Stanley Kubrick, to name a few. When it comes to producing music he stays true to that mentality. Vines has releases on labels Cult Figures as well as Semantica Records. He has put out remixes for Erika, U.K. producer Makaton, and Chicago’s Stave. Additionally he has been doing collaboration work with Chicago artist Kit Geary and putting our releases under the moniker KGIV.
His WWKD EP launched the Eye Teeth imprint off of Detroit’s Interdimensional Transmissions. The vision for that label is one that encompasses “American Techno” and explores the genre through a contemporary lens. Per the label, Eye Teeth’s output “is Techno from Detroit and America, not Detroit Techno. We would like to see American Techno evolve, and this new imprint is an attempt to be a catalyst in that arena.”
Vines has a long running relationship that is “both old and new” with the Interdimensional Transmissions family. “I was buying Ectomorph records basically from the time that I started DJing, and I came up around the same time as the extended IT family. I was at the first No Way Back party. I played my first DJ gig with Patrick Russell. I had hung out a bit with Carlos and Erika. I knew Servito and Derek. Brendan was the one that I never really hung out with until later. No particular reason, I guess, but mostly because I wasn’t that social in the scene,” he says. “As far as a professional relationship, that didn’t come until I was running my own label. I had put a few records out, and my friend Sarah, who has always been a big supporter of mine, brought the label to Brendan’s attention.”
After he put out a remix for “Gardeners” by Erika, Brendan M. Gillen (otherwise known as BMG) started talking with Vines about Eye Teeth. “Since then both he and Erika have been my biggest support in terms of getting my music out and promoting me as an artist. As far as my music encompassing anything at all – that’s Brendan and Erika’s vision for the label. If that’s what my music does to their ears, well, that makes me happy. I just make the music that I make and hand it over,” he says.
Everywhere he has lived he has explored the music world. Particularly while living in Chicago he worked at the legendary Gramaphone Records and learned more of the intricacies of music history while working there. After opening in 1969 it has seen decades of patrons and has been home to some of America’s most beloved house and techno artists. Currently owned by Michael Serafini, employees of Gramaphone included DJ Sneak, Derrick Carter, DJ Heather, Karl Meier, Sassmouth, Garret David, and Ike Release to name a few.
Vines says, “There are hours of stories there, but the most important thing is that the original owners, Joe, Doug (RIP), and Carl were pioneers. They opened the shop long before house and techno really broke, and they weren’t afraid to welcome it. They had specific buyers for every genre of dance music and ‘trusted the kids,’ as it were, to steer the ship. In terms of what came through – and there were a ton of very knowledgeable people doing as much before I got there and after I left. Michael Serafini continues that legacy today.”
Now living in Los Angeles he can be found balancing two different worlds. During his free time he works on music and performs but by day he can be found teaching high school English. “The worlds don’t collide all that much. I rarely miss school for gigs. Sometimes Mondays are rough, but that’s the way it goes with any DJ who has a day job, I’d imagine,” he says.
Vines received his English degree from Michigan State University where he also studied Political Science, Philosophy, and Religious Studies. He earned his graduate degree at Wayne State University in Detroit and from there pursued his path into teaching. “Teaching is great. It keeps me on my toes and the young people today give me hope for the most part. They’re much more open to people who are different than they are compared to the adults running things these days, and I think that in a few election cycles we’re going to see a huge swing in the direction of a more progressive mindset. This is my hope, anyway. With what has happened in the last year it’s very hard to say with any certainty, but this is my hope.”
Clearly of a poetic frame of mind he says that he previously was a creative writer and in the future, when his music career starts to transform, he may live a life of leisure. “I don’t do much creative writing any more, as music pretty much dominates my creative life. I may go back to it when I get older. I joke with my wife that when I’m older and retired I’ll probably spend my days brewing beer, working in the garden, making drone music, and writing poetry. The joke may very well stick, we’ll see.”
Catch Israel Vines and Kamal Naeem tonight Jan. 7 for his Buffalo debut for the Sequencer/Redux party.