On the back of the feature mix they recently did for us, we sat down with Joel (Free Magic) and Jason (Faso) from Brooklyn's Discovery Party for a quick interview. 

PL: In 'rock,' there's this desire to discover the music's roots, which leads to blues anthologies, rockabilly and swing revivals, bluegrass fetishists, and weird historical excursions like that.  I have a theory that for aging raver/club goers, disco and dub are sort of roots musics of the dance music family tree.  Do you play disco as an educational or 'roots' music?  Is the history/influence of disco more important or prevalent than contemporary disco?  Do you feel that you're educating your crowds at all? Or that you should?

Joel: Great question! I agree with you on Disco being a huge root of the dance music tree, sure dancing has been a part of many cultures for a long time, but if you think about how things were changing in the states and look at what was happening in New York in the mid 70s, there was this amazing community built around people coming together with no pretense about race, gay/straight and the like all built around the music - coming together and dancing. I feel house music created the same thing, think about the music box or the warehouse this same vibe… everyone coming together and dancing. I think both of us like a pretty wide range of music, if something educational fits in then sure but I rarely have thought about it like that. I like using old boogie or disco to catch people off guard in a house set and we typically play a lot of old soul / disco stuff early on to warm up the night. I'm all for the DJ introducing new things to the crowd and luckily in underground parties people really thrive on it. 

Jason: Years and years ago, I had a shitty weekly residency at a bar where people came to dance without any real preference in music, so it required a lot of hip-hop and pop to get them moving some nights. I got a huge kick out of playing the original tracks sampled by Dr. Dre or whatever. There is a little bit of that these days with so much sampling and so many edits being released. You have a chance to show someone where the material for a song they like comes from, which is great. It more about educating ourselves than the crowd, though. There is so much amazing music to find from all times and it's great when older tracks fit into a modern set.

PL: What's your scene like at Discovery events (I am sad to say I don't know)?  Young, hipster, classic, what?

Joel: You should come and see for yourself! Hard to generalize but there seems to be a really healthy mix of people, the older music heads, young people who just want to dance. When the older house heads and familiar faces from Danny Krivit's party or The Loft show up, we're pretty honored.

Jason: Yeah, whenever the old heads show up, it makes my night. They've been around enough to have very studied, particular ears and if the tunes at Discovery sounds good to them, we consider it a huge compliment. You absolutely have to have the young and wild present too, though. It takes all types to have a good party.

PL: What artists are making waves for you guys right now?

Joel: Really feeling new stuff from Roman Flugel, Steve Summers, Norm Talley, Christopher Rau, Andres, and Atjazz.

Jason: There are a few guys out in LA that we really want to get over here. Cole Medina is absolutely killing it. Suzanne Kraft as well. Kim Brown and Fort Romeau are two newer producers that are really exciting to watch. I've been eating up everything Gerd has been doing for a while, but lately, I really can't get enough.

PL: You state that you're 'playing with the threads connecting House, Disco, and Techno...' Where is that line?  What distinguishes house from techno, and how does disco fit into that distinction?

Jason: Those names are arguably necessary for talking/writing about music, but they only represent a very hazy set of themes. There are aesthetics that run straight across all genres. When you know yourself and have enough material to pull from, your own sense of 'good' or 'beautiful' spans all those genres. Even if the production styles or release year are vastly different, you'll find these songs just working together. Disco is actually the hardest to integrate even though it is a source of material or inspiration for a lot of modern producers, but there are still those tracks 10 years apart that just fit because their essence is the same.

Joel: Like Jason said, classifying everything down to the last detail makes it easier to describe to someone and useful for reviews and telling a friend "this guy makes xxx and you'd like it if you like xxx" but when it comes to a party, it's all about energy regardless of where you'd file that record. Jason has been collecting records for a long time and it's always fun to surprise each other so we fit in a lot of different music, there's definitely still a way to get it all in there smoothly and cohesively... sometimes we don't haha! I feel like our mix for you guys took a bunch of pretty different records old and new, and tried to make them work together. There's a couple of other DJs that move around really well Move D, Krivit, Floating Points, ... really look up to them and enjoy their sets tremendously.  

PL: What's next for Discovery?  Do you book headliners or is your esthetic more local?

Joel: We have a guests with us each month and usually just based of who's music we're feeling. There's a balance we'd like to be at with guests we really want to hear and guests who people know and have some draw in NYC so we try and ride that line and it's worked out so far. Past year been lucky to have some great DJs from smaller labels like Future Times in DC or FutureBoogie from Bristol to house legends like MK, Jus Ed, and Terrence Parker.

Jason: We want to work even more often with promoters in other cities to provide a network for artists we respect when they want to get booked around the States. Growing up in the US, if you get into 'it' and you're not near the right big city, you end up feeling like you're 'missing it', you know? Then at some point, you realize you've just got to make your own 'it'.

Brazilian DJ/composer/sound designer/revolutionary Amon Tobin returns to the East Coast with his re-vamped and expanded ISAM 2.0 tour. Those unlucky souls who missed Tobin and his massive cubic stage setup last year have been given a second chance to experience the evolution of live electronic music; New York, there are still tickets available to tomorrow night's show. 

I caught the second performance of last year's two-night stint at Brooklyn Masonic Temple. I entered expecting a lot, and left more impressed and humbled by an artist's executed vision than ever before. ISAM live showcases not only an exhilirating, overstimulating A/V spectacle, but the apex of Amon Tobin's career thus far. A breakbeat/drum and bass producer who committed himself to sonic experimentation without comprise found more success than I think anyone could have predicted - and I don't just mean financial success.

'Foley Room,' barring recordings of the Kronos Quartet, was made entirely out of field recordings; 'ISAM' pushes that to its logical extreme, turning each sound into otherwordly instruments. Both albums came after five breakbeat oriented releases that pushed the style's boundaries further from the dancefloor, and deeper into film noir territory. Successful experimentation is far from easy; yet Amon's had rarely a misstep.

But the best part about the ISAM Live tour? That the whole world took notice. Rolling Stone, Coachella, MTV...the mainstream media has finally acknowledged a wholly experimental electronic artist...that has nothing to do with EDM or Dubstep. Could the EDM craze have helped bring Amon reach such wide recognition? Maybe - but in a world of laptop DJs with fireworks, something about Amon's history, talents, and stage exhibition suggests otherwise.

All to say: if you haven't seen ISAM live, go see it. If you haven't heard enough of Amon Tobin's back catalogue, I've put together a short mix of what records I own from the past decade of his releases. Listen to it here. 

Ahead of his collaboration with Prince Club, Poupon sits down with Percussion Lab to discuss life in Toronto, his new EP on Snatch! and his feature mix.

PL: Hey Poupon! Thanks for the mix. To start it out, I know you're based in Toronto. Tell me a little bit about your startup there.

Poupon: I've been djing in Toronto for a few years, started the Poupon work a little under two years ago. Been playing a few gigs in Toronto, got to open for some great artists coming through, and meet a lot of good talented friends who are making waves in other genres and other scenes. Toronto is a really great place to be a musician and dj. 

PL: What's your favorite venue in Toronto? What type of place do you like to play at the most?

Poupon: Yeah, my favorite place is a spot called Footwork. It's definitely that small, dark room style. Their capacity is probably 250-300 max. It's a straightforward, no bullshit dark room with amazing sound system. Everyone who goes there is into the music. That's the most important thing for me, as long as everyone's there to hear good music. The club can be ugly as hell, but if the people are into it, that's all that matters.

PL: Tell me a little bit about the EP and your inspiration behind that.

Poupon: The EP is a collab between me and Prince Club (Max and Zach). "Technique" was made back in January [2012] when they were in town to play a gig with me. Zach had the idea to re-sing the lyrics from Kelis' "Milkshake" (instead of saying 'boys' we chose 'girls'). Zach is trying to sing a lot more and use his voice on the tracks, and it ended up sounding really good. We sent that to Snatch! and they wanted to release it along with a b-side. I stayed with Max in LA and we came up with the block of the track, which of course has the really recognizable sample used by a ton of people. Zach had the drum line already laid out already and just didn't know how to turn it into the song. I had the idea of using the sample in my head for a while, and I thought it would sound good on there. It sounded tight and we decided to roll with it. And that's the EP, just the two tracks!

PL: I noticed you only have some Toronto dates lined up. Is there anything in the works for new productions or are you touring anytime soon?

Poupon: We're working on me going back to Europe sometime in the fall. Gonna try to go back to the West Coast and some other US dates in the late fall, beginning of winter probably. We're just trying to sort all the stuff out right now. I was in the US back in May and I've done two small European twos in November and last summer, and they were amazing. Trying to go back to Europe again and hit some new spots while there.

PL: That sounds rad, we'd love to have you down in New York as well. Moving on, can you give us a little peek into how you work in the studio or inspiration you gather there?

Poupon: I have a pretty basic setup, nothing too crazy. I use Ableton as my main DAW. I'm very sample-based in my production, and that's how I build my grooves. I use a lot of VSTs for effects and sounds, mainly baselines and synths. I try to keep my sound on a more organic than synthesized tip. I like to keep a human element, play my keys, use an electric piano VST but throw some effects on it to make it sound less digital. I have an electric bass and electric guitar, which I sometimes run in and play my baselines that way. I will also sing a sound if I can't find a sample that I need, and I'll use some effects plugins to make it the sound I want. Definitely want to invest in some analog gear in the future, but it's a whole different world.

PL: It's all sounding great, and in regards to the mix, we dig it. Love some Audiojack, some FCL, Julio Bashmore. Do you want to talk a little more about the mix?

Poupon: For sure. I definitely wanted to venture into the deeper side for this mix. I do like to move around from deep house to tech-house to techno, so this was really fun to do just a deep house focused mix and not get into the tech-house stuff. Just trying to keep it really groovy and something you could party to or just chill out and listen to at the same time. It should work for both occasions.

PL: Sweet. Well we really appreciate it, and dig the mix. Best of luck with the release, and say hi to Riva for us!

Take a listen to Poupon's feature mix for Percussion Lab, and pick up his new EP on Snatch! available on Beatport.

Last Monday afternoon (July 23rd), after battling the machines at my local Y, I received an enigmatic invitation from the team at RINSED. “RINSED gets seasick!” it claimed across the title bar. “Secret guest,” “sailboat,” “garage legend,” “only 100 tickets available, including staff!” were all I needed to read before routing my bank credit to Dan Wender & Blacky II, the two organizers and DJs behind RINSED events. Luckily, I was free that Friday and could think of nothing better to do than spend it on a sailboat. For a mere thirty bucks I would begin the weekend with dance music on the sea.

The week sped by as I worked furiously through my day job. I hadn’t heard from the guys at RINSED, nor from any event listing websites (checking regularly), on whom the guest was to be. Friday afternoon comes and the forecast for the evening through the weekend held rain and thunderstorms. I emailed Mr. Wender asking, “Any chance this trip will be cancelled? Or delayed?” Wender immediately responded with, “Things are still looking good. I’ll update you personally if things change."

Weathersome clouds were hanging over Manhattan. I booked it to Pier 17, near the South Street Seaport, arriving to a line of maybe fifty party-goers along the beautiful Clipper City Tall Ship sailboat, which was set between the Brooklyn Bridge, the Brooklyn Watchtower, and the Financial District. I felt struck with the beauty one finds upon first exploring New York. The string of lights that were the bridge reflected in the choppy turmoil of the river; the massive buildings guarding the stock market muted the city static and set a calm over us. It was comforting, yet foreign, removing us from our comfort zone we had so long established as the tightly knit herd of grumpy New Yorkers.

(party photos courtesy of RINSED )

By 11:30, the sky let up, the threat of rain dissipating, and by midnight, we were carefully steadying our legs aboard the ship. This was my first experience on a sailboat, and my first party on the water. I knew that I would spend the evening out of the city, which alone I felt was worth the thirty dollar cover charge. My fellow sailors had garnished themselves in eye patches, pirate hats, and some in full sailor garb. A man waiting for the onboard, fully stocked bar (quite admirably, with beers on tap, several whiskeys, and even some amaro), repeatedly shouted crude renditions of a pirate’s “shiver-me-timbers,” whilst saluting with a balloon sword. Though the bar area, centric to the boat, was pretty jammed when first setting out, it cleared up as everyone had their first round. The deck was spacious otherwise, the rear offering benches away from the thudding bass. Here the boatswain maneuvered the ship away from the city, towards Red Hook and past Governors Island, grandly lit up like a spectacle only for us.  At the bow were rented Evo X lo-watt speakers with enough bass for the relatively small quarters we sat upon. ChrisUK, who is regularly featured at RINSED events, was spinning tracks like Disclosure’s fittingly orgasmic hit “What’s in Your Head,” as we drifted literally within hundreds of feet of Ms. Liberty.

It was around this time that the night’s secret guest was announced. I have up to this point never been an avid listener of MJ Cole, nor garage. But perhaps because of being stranded on a beautiful sailboat, away from the troubles and anxieties and nervousness of the city, a little niche was carved in my chest for both. Or perhaps it was that everyone around me didn’t take notice of my clumsy two-stepping and clueless fist-pumping that made me realize I was in a good place to be myself. Whatever it was, the vibe there will be difficult to ever beat.

As MJ Cole gained power of the decks, the Clipper City Tall Ship sputtered effortlessly away from the Statue, up the Hudson and back, offering majestic views of the Colgate Clock and the Freedom Tower. It was like a little tour of New York without the business-minded hounds barking at you for money. Actually, you know what it was like? That movie A.I., where they fly over New York (before the aliens find future Earth) and the streets have been flooded over so the buildings stand as islands from each other. As if we were throwing a little post-apocalyptic party among the drowned skyscrapers, playing future music, without the worry of death or disaster. The feeling was freedom.

Cole played an awesome, hour long set, posted here by myself, which--I’m sorry--cuts off ten minutes early. In it, he strays into various genres, delving into Major Lazer at one point, which had the entire crowd moving. We bounced off, back to back, with strangers, dancing over the ship’s scuttle and around the mast, gripping the ropes to steady our jaunty movement. Cole’s sound cut out at least once, I’m sure, because of the natural elements surrounding us. Water and waves and a group of rambunctious bass heads tend to make a boat rock.

The set played through quickly, as did the night. Everything could have lasted until morning. Dan Wender took control of the turntables for the quick return to Pier 17. He gave a speech, thanking us for coming, but really, everyone was thanking the organizers. An after party in Bushwick was announced, but at 3am with work in the morning, I had to dismiss myself. MJ Cole, too, had just arrived from the UK and had a gig at PS1 the next evening. Wender explains that the RINSED crew found a stretch limo in the street that was willing to escort the thirteen of them to the Turrbotax III year anniversary party. There they partied until the lights were up, and then elsewhere until 7am.

Wender also explains that this was the first attempt at a sea-bound party, having cold-emailed MJ Cole’s manager, who consented on the grounds that it was to be unannounced. “It was a bit of a mystery why we couldn’t announce (I don’t think it had anything to do with PS1) but when MJ Cole says he’ll play your boat party you kind of just run with the terms.” He states that hopefully this wouldn’t be the last of sailboat parties, depending on how the Clipper City crew felt the night went down. So be on the look out, guys, because bass music was meant to be felt at sea.


Missed out on the fun? The next RINSED event features Jacques Greene and Krystal Klear at Le Bain on August 17th. Woo-woot!