SIGNAL > NOISE v2.3: 2016’s final update in Rochester’s series of intimate gatherings featuring DJs and artists at the forefront of house and techno.
Affiliate of Detroit’s Interdimensional Transmissions and Bunker New York City, loved and respected by everyone who knows him, Derek Plaslaiko is the consummate dj’s dj. Derek has graduated from studious Detroit workhorse to globetrotting techno ambassador by diligently paying dues and djing prolifically for over twenty years. Making his home in Berlin, Plaslaiko remains 100% Detroit at heart, playing the perfect blend of gritty, electro and house-infused techno, with careful attention to detail. Known for seamless blends, staggering knowledge of music, obscure track selection, and a fun vibe behind the decks, experiencing a Plaslaiko set is a revelation everyone should have on the dancefloor.
You’ve witnessed his record-setting 12-hour Boiler Room set, now check him out in Rochester, NY as he commands the SIGNAL>NOISE sound system for the entire 6-hour duration of the night, open to close.
READ ON BELOW FOR INFO RELATED TO TICKETS, VENUE, AND ARTIST LINEUP.
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[The Bunker NY, Interdimensional Transmissions | Berlin]
[Open > Close]
<<< PARTY ESSENTIALS >>>
Saturday > December 10
45 Euclid > Rochester > NY
[10PM – 4AM]
Born and raised in Michigan, the youthful Chuck Hampton (otherwise known as Gay Marvine) could be found turning the dial to explore all that Detroit radio had to offer. Driving his family crazy by constantly tuning into disco stations, he fell in love. From that point forward he used his finely tuned ear and spent his creative energy to share that love with the rest of the world.
What is it about that disco sound? “The bass! The beat! I loved the repetition of the groove. These things all spoke to me, and I couldn’t understand how some people didn’t get it,” he says.
The genre, which was generationally pivotal, had some historically dark times. During an infamous baseball game between the Chicago White Sox and the Detroit Tigers on July 12, 1979, disco arguably became a scapegoat for sexual and racial discrimination. Disco Demolition Night was meant to be a promotional event put on by the Chicago team at Comiskey Park. During the rally attendees brought a record to the game and during the doubleheaders intermission the vinyl was destroyed by an explosion on the field. There were 50,000 people in attendance that day and a riot ensued. More than 5,000 people took to the field to set fire to the records.
Yet, disco prevailed and remained a foundation for music thereon in. Hampton reminisced about his early clubbing days which took place shortly after that time. “Detroit area gay clubs played such great music in the ’80s,” he says. During which he said he would hear alternative sounds such as Ministry, Siouxsie and the Banshees, in addition to popular hits and Hi-NRG tracks. “Then house and techno happened. It changed everything! We had the greats – Ken Collier, Derrick May, D-Wynn, Richie Hawtin – and so many more. They took it all to a higher level. All of this rich variety influenced me as a DJ and how I hear music.”
“For me, editing is all about mining for the funk, and trimming the fat off. Some things that were in the old disco records were superfluous, and distracted from the wicked groove that was happening underneath. Also, I was heavily influenced by disco house records of the ’90s. I love how repetitive they were, but sometimes I wanted just a little more of the original in there and a little less of what was added. I’d say the most evocative of my edits is ‘Anxiety Into Ecstasy’.” — GAY MARVINE
According to the label, “Bath House Etiquette is a manual on how to handle Gay Discos. Everyone needs a little inside information. Follow the stairs to the basement, wait on your knees by the sling and wait for Mr. Marvine (to you) for further instructions.”
There is a raw and visceral energy that takes place in a bathhouse that can definitely emanate through Hampton’s tracks and the sets he puts out. Hampton says, “I think bathhouses represent hedonism. Unbridled sexuality, sensuality.” Beneath a bathhouse in downtown Pittsburgh, Penn. you will find after-hours venue Hot Mass. Aaron Clark booked Hampton as the very first guest for Honcho, a monthly gay party held at that venue, in February 2013.
According to Clark, Hampton is now deemed an unofficial Honcho resident. “We’ve done a lot of parties with him already and plan to do a lot more this year,” he says. “The Honcho sound is pretty diverse, it can disco just as well as it can whip the club into acid house and techno. Chuck really nails all of those sounds. He’s the guest DJ that always feels the most at home with us.”
Beyond the bathhouse and deeper into the music, Gay Marvine helps provide a place that is unlike any other. What makes his set special is “the energy and the celebratory vibe of the music. Even if it’s tougher sounds, it’s always happy. It sounds like family, and the club feels like family,” Clark says.
This environment is a beautiful place that prevails through dark times and embraces positivity. Disco, house and techno inherently inspire energy, liberation and fearless expression. For Hampton, “[music] heals my soul, it brings me joy, it gives me solace, it soothes me, it makes me want to fuck, it makes me dance!”
Signal > Noise, Rochester’s party oasis of house and techno, will be putting together a special intimate event for the first Signal > Noise Sessions. Hailing from Columbus, Ohio, Titonton Duvante [Residual, God Particle, Planet E] is a face to recognized in the world of house and techno. Known for a more abstract take on productions, Titonton began his work creating music in the ’90s. Currently he curates a series of underground events in Columbus as part of the Midwest Fresh collective, maintaining the area’s status as a hub of fine underground dance music.
TITONTON DUVANTE [Columbus]
DJ FLEX [Rochester] [Signal > Noise, Sky Baby, La Selva]
Location TBA in Rochester. 21+ with ID.
Members of Rochester’s Signal > Noise will make their way to Buffalo, N.Y. for the first installation of “Redux.”
Jim Kempkes (Signal > Noise)
Rob Dunn (Signal > Noise)
Rob Morley (Signal > Noise)
Alex Morrison B2B Rufus Gibson (Redux)
Location will be announced day of the event. Capacity will be very limited.
Rochester’s Signal > Noise brings Norm Talley back again, this time with Delano Smith for an official Movement pre-party.
Raised on Detroit’s westside, Norm Talley and Delano Smith began establishing themselves as artists in the early days of house and techno in the Motor City.
Talley was influenced by music at a very young age. “During this time in my youth there was a strong musical presence on the westside of Detroit. Lots of great record shops and parties to go along with that; they even sold records in department stores like Federals along with records shops like Detroit Audio, Professionals, Chaunceys, Kendricks, etc.”
With genuine determination to explore his love of music, he picked up a paper route to earn money for records as well as another turntable to complete his set.
“Motivation comes from within and if I wanted it I went out and got it, so at this time in my life as a teenager my motivation was collecting good music and dancing before I even had two turntables.” – Norm Talley
Smith was born in Chicago, Ill. but he and his family moved to Michigan when he was maybe 4 or 5 years old. Although his roots stem from Detroit, by the early ‘80s he started to develop a taste for Chicago house music. “There was no place like the Detroit’s westside growing up. That’s where the scene started in Detroit,” he says.
Each artist were influenced by the late and great WLBS DJ Ken Collier, a Detroit-native and pioneer to the techno community. Collier was ultimately known for his after hours sets at Heaven, a gay nightclub on 7 Mile and Woodward. Like Frankie Knuckles and others, Collier played a pivotal role in the era of post-disco, when the energy was high, the scene was pushed further underground and a new sound was brewing.
“I opened for Ken a lot in Detroit at many of his residencies … I already knew how to beatmatch pretty much prior to having the opportunity to open for him. He did advise on little things like blending, EQing and volume, but just watching and speaking with him when we played together taught me a lot,” Smith says, adding that he has too many fond memories of him to reminisce on just one. Smith did begin to DJ alongside Collier and began gaining most of his notoriety at L’uomo Detroit, a warehouse type club.
Talley lived four blocks away from Collier and regardless of being a bit younger at the time, he was still gaining knowledge through the music he shared. Collier was a mentor and a friend to him, providing him knowledge about disco and progressive which developed that signature Talley sound and energetic set. “One great memory of Ken playing was when he got ready to mix a record he would tell the light guy to ‘blacken the floor!’ which meant turn off the lights and when the mix was complete, and the next record was introduced, the light guy would then turn back on the lights!”
Smith took a break from DJing in the mid/late ’80s around the time that house music was becoming more popular. “I’d already been DJing for a long time making no money, so I decided to get a real job and further my education and eventually left Detroit for a few years. When I returned in the early ’90s the music had changed completely. I was at a friends house that happened to have some turntables set up in his basement — one thing led to another and here we are.”
Fully inspired and on the grind, Smith had his mission at the helm and in 2003 joined forces with Tony Foster to develop Mixmode Recordings. Prior to that, Smith and Talley developed the Detroit Beatdown Crew, along with Mike ‘Agent X’ Clarke. Their first compilation LP was released through Third Ear Recordings in 2002. As a trio their sound began seeping into the European scene, leading Smith to Germany where he developed a very impactful relationship with Yossi Amoyal, head of Berlin label Sushitech.
Both artists have performed on an international level, including places like Germany, the United Kingdom, Croatia, Japan and more.
“When I first began to travel internationally overseas they seemed to pay very close attention to detail as far as sound system which was pleasant for me and now I see a lot of clubs in the U.S. paying more attention to details. Don’t get me wrong, there were some clubs in the U.S. in the late ’70s and early ’80s that had great soundsystems but I guess it seemed as all the clubs overseas had great sound systems,” Talley says.
According to Smith, “The music is taken more seriously in Europe and Japan it seems. A DJ can really play from the heart. People that come to hear you are truly your fans, they buy your records and are knowledgeable about the music and the entire scene in general. It’s a lot different in the U.S., and I’ll just leave it at that. There are many factors in the U.S. that divides us musically and culturally.”
Regardless of international differences, “the D” is the birthplace of techno. Creation and community was so poignant during the early days on the westside, it helped spark and develop a culture that remains authentic. According to Talley, “I think DJs and producers living in Detroit at that time were heavily influenced by the rich history of music coming out of Detroit through radio, our parents, backyard parties, high school gigs, DJ crews … so I think it just carried on into our adult lives.” The city is still growing with new waves in the scene, many shaping the next generation of music from that city and carrying on the legacy. From two artists who have seen the city’s evolution, they shared with Sequencer who they find to be an important player in shaping the next generation of music from the 313.
“Really hard to say as there are so many and I like a lot of them,” Smith says. “Too many to name actually, but I will say – with the new younger generation of music producers, the scene will be left in good hands!”
Talley continued, “A lot of producers and DJs have brought their sons into the music business and I think they will carry the house and techno torch when we’re old and grey. Guys like Jay Daniels, Kyle Hall, Dantiez and Damarii Saunderson, and Generation Next to name a few.”
Tens of thousands of people will make the pilgrimage to Detroit on Memorial Day weekend for the annual Movement Festival. Movement attracts people from all over the world, exposing them to the city and perhaps showing it in a new light, breaking the negative connotation that many people might have in mind. There is a culture of art, music and cuisine that is more than a pleasure to explore.
Each person that has a connection to the festival has a special meaning in their heart for Detroit. For Smith, “I like the fact that Detroit is shown in a good light around the world. The guys at Paxahau have a top notch production in the U.S.A., we need this here, and it’s done in my hometown where techno was born.”
Movement, produced by Paxahau since 2006, will be celebrating 10 years this May and has grown to become one of the largest electronic festivals. “It’s a positive thing all the way around exposing people from Detroit – and worldwide – to electronic music from Detroit and abroad,” Talley says.
Talley will be returning to Rochester, N.Y. along with Smith on Saturday, April 23 for the seventh installation of Signal > Noise who have previously presented The Black Madonna, Claude Young and Eric Cloutier. This event has also been selected as an official Movement Pre-party.
Both artists have been friends and DJing with one another for decades. Smith says that he and Norm are like family. “I’ve known Norm for many, many years and we’re very close friends, like family,” Smith said.
“Great friend of mine for many years, and we have held residencies together here in Detroit for over 20 years,” Talley says. “[He is] very passionate about music and pays close attention to detail which is right up my alley. Great DJ and label owner of MixMode recordings which we have done records together in the past and more coming in the near future!”
Signal > Noise 2.1: Norm Talley and Delano Smith
Saturday, April 23
45 Euclid (45 Euclid St., Rochester)
See the Facebook event page for more details.
Detroit native Mike Servito needed a clear slate when he decided to move to New York City. Inspired at an early age he would tune into The Wizard, Jeff Mills’ nomenclature while on air for Detroit’s WJLB. Servito debuted in 1995 and continued to build his repertoire throughout the years, establishing a reputation that incites early feelings of house and techno roots.
Starting with the Poorboy parties, he then became an originator of Detroit’s decade-spanning party Dorkwave. Branching off with DJNathan Rapport they developed SASS, a popular monthly queer party. Servito has blown minds playing the beloved No Way Back parties, hosted by Interdimensional Transmissions, during Movement (Detroit Electronic Music Festival). Resident Advisor named his 2014 set as mix of the year and the publication commented, “His headsy but party-rocking selections are ceaselessly flawless, his quick and cut-happy mixing style is a riot, but perhaps the real winning ingredient is the pacing and programming.” Additionally, he holds residency under record label Ghostly’s UNTITLED and is represented by Beyond Booking in North America and Odd Fantastic in Europe.
His residency with The Bunker is what really got the gears in motion, although he says “I spent the first year in New York detached and quickly becoming disillusioned by the vanity of the city. I think when you leave a city for another, it seems like a fresh start but it was isolating and depressing.” Luckily, the spark reignited in 2012 when Bryan Kasenic asked him to become an official resident of The Bunker, a party based in Brooklyn, NYC.
Servito says, “That was the affirmation. I was having a good run with Movement in Detroit doing No Way Back and a few Bunker events prior to my residency. I was playing really solid sets and then it escalated to this point of wanting to play more and more. Bryan asking me to become a resident reignited the spark. It came out of left field honestly and I am so glad it happened. It’s pushed me and driven me to become a better, more focused DJ.”
“I feel super lucky to have come into my own over the past few years. I would’ve never foreseen this outcome, getting gigs and traveling as much as I am right now. I know I’m in a really good place with my Bunker family: Bryan, Seze, Derek, Eric, and all our extended family,” he continued. “It’s really important to make those connections as friends and as colleagues. There is a mutual respect. I want to do my best for The Bunker and I know they want me to succeed.”
Inspiration derives from so many places for an artist and Servito constantly nods at his fellow influences like Mike Huckaby, Derrick Carter, Derek Plaslaiko, Richie Hawtin, Derrick May, and Theo Parrish to name a few. However, inspiration may be found beyond the realm of the art form we work in, often reflecting something significant. Servito has been finding meaning through dreams and similar to his classic way of performing, he gains creativity through looking back on what was to create something new.
“I’ve been having dreams about my youth a lot lately. Sometimes lucid, sometimes not. I don’t know what that means but, I guess I am inspired by my youth currently. But not in a retro sort of way. I really enjoyed my freedom as a kid, exploring and learning about new music and art and discovering things in a way that we don’t necessarily do present day,” he says. “I find inspiration in my dreams, reading about art I enjoy, watching old film clips and videos, old fashion-related things. I find inspiration in the past a lot. I love a good reference point.”
The artist’s vinyl collection is heavy weight, and with such an extensive library he maintains flow with track selections to feed an ultimately seamless set.
When it comes to selection Servito doesn’t think of classic versus modern productions. “I think about how this track fits with this track. How this hi-hat sounds over this bassline. It’s really interesting to be playing music from 1988 with music from 2015. It’s about connecting the dots, but, it’s also about blurring the lines too. I have a thing for cohesiveness. I think the newer generation throws that out the window completely and that’s fine. But, I need to stay locked into my groove. I don’t want to jump from 125 BPM to 140. That’s just not my style.”
Servito chooses his tracks based on feeling. “I know it when I hear it. There is an excitement that occurs when I hear a bassline or a drum kick or a really good sample. I am just well aware of what kinds of sounds I like. It’s basically whatever moves me and what I want to dance to. Those are the biggest factors. Would I personally wanna dance to this track? Is this going to make me lose it?! Those are the prerequisites to enter my bag.”
With a steady uptake of records he says “it’s important to keep things changing. I have my staples, the ones that I play a lot. It just depends. I’m always putting things in and out of rotation. I try to buy new records at least once a week. I have a problem. It’s a big vice for me.” Swinging between house and techno he curates a set and pulls records appropriate for all aspects of the party.
“I think that’s important. Making sure you are pulling the right music. You don’t want to be playing deep house records if you’re opening for Silent Servant, or you don’t want to play too aggressive when you are opening for Kerri Chandler. You have to be aware.”
During a set there is so much stimulation: the lights, the crowd, each person reacting to the music on their own, yet the whole space is simultaneously emitting a general feeling. The Sequencer asked Servito about his headspace during a set. Does it become lifted into a meditative state, or perhaps to maintain such fluidity of motion does he require meticulous and mechanical focus?
“I like this question. There’s definitely a lot going on. There are so many elements all at once. I’ve always been a person who is easily distracted. I think being focused and being insanely meticulous leads to a meditative state when I am playing. There’s definitely a zone state that is acquired while I play and it needs to happen. I’m at my best uninterrupted,” he says.
An uninterrupted state is not a constant for a performing DJ. Continuing on, he discussed this as a major issue of depiction that is very prevalent for performers in the scene.
“I am not a hype man. I’m a DJ. I think people have to realize that there is some technique and effort to what we are doing. I think that it’s undervalued. You would never interrupt someone playing the piano or the drums to tell him those notes sound nice while they are playing. It’s the same idea. I wonder when people will take that into consideration. It is tremendous work to create this experience and environment. I find it funny that people always want to talk to me while I am mixing. I seriously don’t get it. I’m sure people think I am a bit of a diva, but I am a perfectionist. I want things to go well 110% full on. That requires all my attention to the work. It’s always about the details.” – MIKE SERVITO
For an international DJ, parties from New York City to Berlin more or less have an established crowd. Although with the heart of the same animal, those major scenes beat differently than those tucked away in smaller cities. Yet these lesser populated places are receiving rave reviews from high-caliber artists. Norm Talley, Sassmouth, Black Madonna and Shawn Rudiman have all played Signal > Noise parties in Rochester, N.Y. and speak well of it. What is it about these places that evokes such excitement?
From Servito’s perspective he says, “I think an environment in which it is more intimate is preferred. You are more likely to have everyone’s undivided attention. You know everyone is there for you. The allure is quality programming and a quality crowd. When it’s intimate, you know everyone is there for the same exact reason. There is just a greater, direct connection with artist and audience. You lose some of that when you are playing these 4-5 thousand [or more] capacity events. Everyone needs an escape so it’s really important that more cities — such as Rochester — do these kinds of events with extended sets. You get the full experience. Not just a sample.”
The spotlighted artist will be making his way to Rochester for the next Signal > Noise installation, to be held on Saturday, Dec. 12 at 45 Euclid in Rochester, N.Y. His message for all those making their way to the ROC: “GONNA MAKE YOU JACK. ;)”
Find more information on the Facebook event page.
The year was 1989 in post-industrial Northeastern Pennsylvania when Shawn Rudiman and Ed Vargo created Total Harmonic Distortion, Rudiman’s first introduction to making electronic music. The two artists became self-taught creating a band that became a solid influence in the world of Electronic Body Music, a varied Belgium-born genre that takes influences from electro, punk and post-industrial.
Currently based in Pittsburgh, Penn., Rudiman is fervently creating and exploring the techno world. Why techno?
“Music is the best escape, therapist, and consoler I’ve ever known. Techno is forever the future, alternate reality and unwritten parallel universe that will always have a hold on me. It’s home.” – SHAWN RUDIMAN
During the 1990s he developed an affinity for vintage hardware and is now known for his solo work performing live analog sets. His rig consists of: Roland TR-8, Access Virus A, Alesis MMT-8, Korg Electribe Sampler 2, Arturia MicroBrute, Future Retro 777, Future Retro SWYNX, FMR RNC Compressor, and the Boss DD-7. This hearty collection of gear allows him to take things anywhere stylistically, he says. When he is not performing with them, Rudiman is maintaining, fixing and modifying vintage synthesizers.
“Analog is as valid as any other form of synthesis really. To me … it’s just where I fell into. I’m no purist. I’m more a road warrior or rogue samurai looking for the most comfortable sword or weapon. I can’t expose one form of synthesis over any other, since they all have purpose and times to shine,” he says.
This free-flowing way of performing for Rudiman means breaking through structure and playing off-the-cuff, allowing emotional adaption during a live set.
“I started out 17 years ago now, playing sets that were very formatted, and rehearsed. It’s crushing to me. And massively limiting. I can’t play a set more than once. It’s boring. I don’t want to be bored. I never want to have to play that way with techno. To me, techno is always on the edge of failure — that thin razor edge. That’s what gives it feeling, not perfectly rehearsed or choreographed. It’s raw, wild, and possibly a car wreck. But also enthralling, gripping and demanding your attention. It’s responsive and operates on the crowd’s output, as well as my own feelings.”
He now has releases on 11th Hour Recordings, Bleepsequence, Cache Records, Detroit Techno Militia, Integrated Recordings, and Minimalsoul Recordings. Additionally, he established the store and label HyperVinyl Records with Trevor Combee, leading to a friendship with the notable Detroit techno musician Anthony “Shake” Shakir.
Along with Jwan Allen and Adam Ratana, Rudiman runs Technoir Audio out of Pittsburgh, Penn. He has toured internationally playing in places like Detroit, New York City, Berlin (like the Berghain and Tresor) and other areas of Europe; his most recent performance was held earlier this month at the Great American Techno Festival in Denver, Colo.
“Honestly some of my favorites aren’t the big or famous clubs. This past year playing Movement at the festival itself was one though. It was a life goal for me. Another was a gig in Glasgow, Scotland about 10 years ago. Just great people and crazy, wild times. Those are the ones that you cant put a value on, for me,” he says.
Rudiman will be performing alongside Sam Kern, aka Sassmouth, this Saturday, Oct. 17 in Rochester, N.Y. for the next Signal > Noise installation. Not only are the two friends but they have worked together professionally with a recent release by Rudiman under Kern’s label, god particle.
“Sam’s one of my favourite humans. It was complete chance we met really. I can’t say enough good things about her. She’s family. She’s easy to work with, to me, and we see fairly eye to eye. She picked those songs from a pile I sent her; she chose wisely. Working live with her on the decks and me on my crap is easy — she can feel flow and knows how to make it happen. She reads the crowd. So we work well as a duo going back and forth. We are on the same page so it makes it easy,” he says.