Jack Shack TV is a boiler room-esq video mix show that our own local (I count Athens as part of our broader scene even though they have their own distinct community) jack-of-all genre’s DJ Barticus runs out of his basement in Athens, Ohio. You may recognize the name. DJ Barticus was one half of the duo (With DJ Self Help) that ran the widely popular Athens & Columbus Dance or Die party that ran for 6-8 years.Just like in the Dance or Die Parties, DJ Barticus has used Jack Shack TV to push an open format approach to music that place hip-hop, dance, and pop styles of music on an equal pedestal. Read the rest of the post and Interview with Barticus HERE
Interview with DJ Barticus of Jack Shack TV about their guerrilla DJ Shows, VHS tape technology, the utility of Youtube, Copyright issues, and beyond is dropping next thursday on the wordpress site.
Brian Eno Short Interview. Really Great. Great Perseptives on Creation, Music, Art, Etc.
Found Martin Denny’s first ever album “Exotica” (1958) (which sparked the proliferation of the genre of exotica music) at goodwill for 99 cents. My friend Jeff Chenault, whom I just published an interview with today, is an exotica historian and collector. He put me onto these sounds. Very interesting to think about the meaning of the music given the appropriation of ideas of island culture. Take a listen to the track Quiet Village to get a taste for the sound:
I did an interview with local Columbus musican Jeff Chenault about the re-strarting of his experimental music label Exoteque Music. Exoteque music was started by Chenault in 1983 as a DIY cassette label to showcase his own and other like-minded artists work. It went into a period of dormancy during the 90s and now its back releasing a wide array of out print and new music this coming year. I use the interview as a jumping point to further elaborate on the statements I made 2 weeks ago about what makes up the infrastructure of the Columbus scene (Read That Here). I emphasize how understanding our Columbus dance/experimental music scene will always be an incomplete endeavor that defies easy categorization and the only way to truly understand the “state of the scene” is to chart the rich array of ways people express themselves artistically in our city.
Read More: An Outpost on the Fringe: Exoteque Music
This coming weekend on Loc Aut: Interview With Jeff Chenault on his restarting of the Exoteque Music Label in Columbus. I also provide some more commentary on why its important to embrace the complexity of our scene and not just give in to simple categorizations.
I just found a copy of the Juan Atkin’s (aka “Magic Juan”) mix of the first big single by Kevin Saunderson’s Inner City Project “Big Fun” for $2. Pretty Excited about my find.
One of my favorite records was Pantha Du Prince’s 2010 Black Noise. The Follow up comes out next month and is a collaboration between Pantha Du Prince and The Bell Laboratory. Check out this track:
Surprise Surprise. I love this achingly beautiful track by wolf maps:
I love these principles. Its very similar to the principles on which loc aut runs.
TWELVE PRINCIPLES UPON WHICH 12K WAS FOUNDED:
1. Don’t tell listeners what they want to hear, let them discover that for themselves.
2. Treat your audience as they are: intelligent, passionate lovers of art and sound.
3. Evolve constantly, but slowly.
4. Stay quiet, stay small.
5. Strive for timelessness.
6. Never try to be perfect. Beauty is imperfection.
7. Simplicity. Anti-Design.
8. Never try to innovate, be true to yourself, and innovation may happen.
9. Explore sound as art, as a physical phenomenon — with emotion.
10. Develop community.
11. Be spontaneous.
12. Everything will change.
John Shima - “Clatter”
There has been much written about the boom and bust cycles of dance music ( i.e. when is the edm bubble going to burst?). The boom happens when certain strands of dance music attract wider “pop” audiences and bring new listeners into dance communities. During this time, audiences swell, more records are sold, and it is “cool” to be associated with that music community. Much like other “pop” fads, these boom-time periods always come to an end. The bust of a cycle results when the luster of dance music fades and many of those new listeners abandoning dance communities. We are entering what appears to be the tail end of one of these boom periods (Its debatable I suppose), and a lot of keystrokes have been spent trying to decide what is going to happen. The resounding answer people give is that it is natural that dance scenes ebb and flow in popularity, but their survival is not in jeopardy. The problem is that writers often stop there and don’t explain why dance scenes will survive. Looking to how our Columbus scene has weathered these boom/bust cycles in the past provides one way to provide an answer to this question. By drawing on my conversations about our local scene’s recent history, I want to argue that dance music persists in columbus because there is an underlying infrastructure that is kept alive by the people who continue to use the music, ideas, and traditions we all share even when dance music culture is not popular.
"[T]he world let down a lot of good musicians" Sun Ra
Sun Ra — “There Are Other Worlds (They Have Not Told You Of)”<br