Massive #8

MASSIVE ENTERTAINMENT FOR MATT FEBRUARY 1995 • FREE Drew Barrymore PROTOTYPE 909 DAVE LEE OF THE HED BOYS TRIPPER INFORMATION SYSTEMS DIESELBOY T-1000 THE BRAIN FARM FRENCH LABELS A RIOTOUS YEAR IN SEX MIKE PAUL MIKE DEARBORN GOES TO MAYDAY TOP REKKIDS OF '94 NICK NICE ON FRENCH LABELS DUBSHACK CRAIG STODOLENAK YANU massive

Name: Dub Shack What do you do: Jungle Drum and Bass record and tape distribution throughout the U.S. Describe what you do: Record distribution for hard to find jungle drum and bass labels out of London, including exclusive distribution for King of the Jungle Records. We are working with Subliminal Records, Firm Handed, E-3, World Bass, Dove, Breakthrough, Aura, Terra, Mad Boy, Face to Face, and more. We recieve shipments every two weeks. Most of the records we are distributing are not being handled by the services supplying the record shops. We also distribute Chicago Hardcore Authority Sound System's mix tapes. We contribute to C.H.A. Fanzine and help with printing and distribution. We are a member of Jungle Ting Productions and are helping to promote Jungle Sound tings in Chicago. Why are you doing it? Our goal is to help support London-style hardcore jungle, drum and bass and help bring it to the Midwest. We are also committed to this style of music we decided to do whatever we could to help make people aware of it. Once you've got the jungle fever and you're hooked it's one of the most powerful, seductive and compelling forms of music to come along in years. For those involved, it is the only music that matters. Many on the scene don't understand this intense commitment. Those that aren't lost in the jungle are the ones still calling it "breakbeat". Your History: We made our first trip to London in March of 1992 and experienced the big london rave sound. Shortly after returning we attended our first Chicago event E-System's "Grooveyear", since then we've been back to London four times and have watched their scene develop through the dark summer of '93 and into the jungle scene. Each time we came back from London we anticipated hearing jungle at Chicago events. Unfortunately we found the only way to cure our jungle fever was to take that trip back to England. In December of 1993 we spent an entire week at London clubs including Sound Shaft, Paridise Club, Orange, Astoria, and Thunder + Jim at Raw Club. We came back to the states, attending New Years in Milwaukee and picked up an issue of Massive Magazine. That was the night that changed our life. After reading an article by Chicago Hardcore Athority we knew these blokes shared our vision. We got together, smoked a spliff and the rest is history. Dub Shack was formed and we've been caning it ever since. With a renewed interest in the scene we became more involved. We began to support Chicago Hardcore Authority, C.H.A. Magazine and began distributing tapes to get more people involved and make this style of music available to the jungle underworld. We were approached by King of the Jungle Records while in Toronto and shortly after began U.S. distribution for their label plus a number of hard to find jungle drum and bass record labels. We are currently distributing throughout the U.S. Jungle Ting is the idea of Jason, Da Bad Girl Squad, and MC Blackeye. It is the combined effort of C.H.A., Junga Vibz, Ripe Productions Chicago, Da Bad Girl Squad, and Dub Shack. All these groups realized a combined effort could accomplish more than individual efforts. We are very proud to be able to work with Jungle Ting. They have done a lot to move the scene forward. Jungle Ting has planned some high quality events in '95 so hold tight. I must also give full respect to Ripe Productions Chicago for hosting Chicago's first hardcore Jungle shows. Ripe's commitment and effort on the Chicago scene have been instumental in making it happen. Ripe was there first to big up the jungle. Dub Shack hopes to play a larger roll with Jungle Ting and Ripe Productions to bring quality jungle artists from London in '95. What is the meaning of life? Be honest with yourself and others. Be committed to what you're involved in. Keep your prospective and see the bigger picture. A quote to be known for: "Thank you for calling Dub Shack. This Suzy...may I take your order." Contact Info: Dub Shack P.O. Box 8106 Wilmette, IL 60091 USA E-mail- [email protected] Updates line: to hear the newest release, have records put on reserve, or request info on Dub Shack and Chicago and Toronto events: 708.604.1983. Dub Shack would like to thank everyone who has supported us in '94. You are in the jungle underground and you the KV. Strength to Strength in '95! Big up!!

How did you get started in dance music and what inspired you to learn the skills of the wheels o' steel? i have been interested in 'dance' music as far back as i can remember. i used to be heavily into electro and 'breakdancing' music back when i was in junior high. at school dances my friends and i used to invade the dance floor and have breaking competitions. it was a lot of fun. during my high school years i was heavily influenced by a lot of club music and synth pop. i was buying records to listen to on my parents beat up turntable in our attic. when i was a junior in high school i used to go to this club near my house and the dj used to show me little beat-matching tracks and stuff. he sometimes let me spin the entire night at the club when he couldn't make it. i didn't actually beatmatch the music or anything (mostly fading the songs together). but it did help me learn the basics of working a crowd and programming. during my freshman year at college i began picking up industrial and synth pop 12"s at a local record store. i had turned away from the club music i enjoyed in high school and dove straight into the electronic side of things (new beat, body music, etc). one day during my sophomore year at school, i heard anasthasia (by t99) on the XL recordings 2 cd, and from that point on began picking up as much 'techno' as i could lay my hands on. it was during this period that i heard of raves and started checking them out. pittsburgh had begun to host a few of them, and after attending a couple i realized how much i wasn't into a lot of the music being played there. so i threw a few smaller microraves and dj'd them myself using a 16 track mixer and 3 cd players. it was a lot of fun (one party actually pulled in 500 people). at my second party i met up with some local college radio djs who had a techno show. they asked me to come on the show and play the music they had heard me playing. one of the djs, a guy named matt drown, took it upon himself to teach me all the basics of beatmatching and mixing. within a couple of months i had picked up the general stuff and started buying as much vinyl as i could get my hands on. it all took off from there. Have you always been playing UK Hardcore or did you begin Djing other sorts of tracks? What other forms of music (dance or otherwise) do you purchase or listen to regularly? i have almost always spun uk hardcore. this is what i started out spinning (such records as digital domain, automation - pink ep, kaotic kemistry - 5 in one night, etc). there have been times when i have been involved with a weekly event at which point i have experimented spinning out different styles of electronic music. everything from house to trance to acid. i have a few 12"s from each genre in my crates at home. i try and pick up whatever i feel are the exceptional records in the different genres. i find that spinning different styles (even just when you practice) helps you round out your skills as a dj. at home i listen to a lot of ambient dub and intelligent techno. when i need a break from all of that i get into movie soundtracks and shoegazer / manchester type stuff. i have all sorts of cds and records in my home collection. i try not to limit my listening to only one or two forms of music. i like all music if it is good. What is your opinion of the current underground scene on the east coast, particularly in Pittsburgh? How about the other places you have travelled to throughout the US (particularly the Midwest)? over the course of the past two years, the east coast has gone from crazy mad hard techno and gabber to a lot of hard house, slow breaks and funky progressive stuff. the bpms have slowed way down. but the scene out here has gotten a lot stronger. there are events (like ultraworld's EMERALD FOREST) that are pulling in 6000 people. i feel that musically the scene is reaching stagnation. i prefer to go to events where there is wide selection of styles being played out. but due to the recent interest in jungle and uk hardcore, i sense that the scene may be ready for a change. pittsburgh's scene is strange. the kids aren't really into it for the fashion or the 'coolness' of it. they just get into the music. djs can come here and spin practically every different techno/house derivative there is and the kids will still dance the night away. i have been able to consistently spin uk hardcore here and i have never had a problem. from what i have seen of the midwest, they have good parties. it was actually a relief to go out into the middle of nowhere (like at FURTHER) and hear some good old "hard techno" and still see so many people getting into it. it reminds me of pittsburgh in a way (there isn't much that happens here unfortunately). and all in all, i have found most of the kids in many midwest cities (like lexington, cincinnati, columbus, milwaukee, dayton, etc) to be very receptive to the kind of stuff that i spin, not to mention all sorts of other genres and bpm levels. i really enjoy playing out there. What appeal does breakbeat have to you and what particular artist or labels do you give props to for releasing quality material? it is a highly charged form of dance music. barring a lot of the cheesy stuff that has come out over the years, i have been really impressed with all the complex rhythms and beats that have been created in the genre. it is just amazing stuff. i could go into more detail, but there is a lot that has to do with personal taste and would be difficult to put into words. suffice it to say that in my opinion, breakbeat is one of the most, if not "the" most progressive form of underground dance music that there is. good looking records gets massive props for putting out excellent mellow hardcore with the some of the best sounds and riffs i have ever heard. ltj bukem is the man. i have always given reinforced and its stable. props for pushing the limits of breaks and not being afraid to experiment with the style. though not always on the mark, they have put out fucking loads of amazing music. dego, mark mac and goldie (now on metalheads) have run serious things. What qualities do you think are most important for a DJ to have? Do you feel that breakbeat is easier or more difficult to mix? i think that any good dj should know how to work a crowd. i have seen too many djs out there with good skills trying to be the king of machissmo on the decks and scaring off a dance floor. who the fuck cares if you can pitch your records up to +8 or play a set of pure noise or machine gun breaks? a good combination of smooth mixing and music selection will win a crowd every time. it is also important to not be afraid to experiment and try different things during a set. for example, there is a columbus dj named titonton that used to throw in joe jackson's "stepping out" over the top of a drum and bass workout and

it sounded really good. people totally got into it. it is fun to hear new and exciting things. and there is always respect for a dj who can let the mix ride and combine two different songs into a completely different one. as far as mixing breaks go, it is a matter of taste and style. i have seen breakbeat djs who are stuck in a rut and find that they are only good mixing breakbeat. and i have seen excellent house djs look physically retarded trying to mix breaks. i think if you aren't used to finding the hidden 4/4 in breaks, or if you aren't used to the style, then you are going to have some trouble. on the programming of things, it is important to utilize all the good music that you have access to. there are djs out there that feel that a good set is comprised of the last three weeks new 12"s. what a load of bullshit. what creativity is involved in that? i do not support a constant stream of old school sets. that gets tired really fast. but there is nothing wrong with sifting through one's musical library and pulling out a selection of records that fit with where you are going with your set that night. of course promoting the newest upfront tunes is encouraged, but it is far more interesting to mix them with classics and good obscure tracks. even danny breaks, the owner of suburban base records, dropped a 1993 skanna classic in the middle of his set at BOOM94 in chicago. i have been dissed by some djs for blending new tunes with my favorites from 1992 and 1993, but realistically that type of attitude is just weak. a good record isn't always the one that just came out, or the one that no one you know owns. and a good set isn't comprised solely of dubplates and test presses. ingredients baby. Which DJ's (breakbeat or others) do you give respect to for being with the program, musically and ethically? there are many. let me start with overload from boston. the boy taught me a lot as far as working a crowd goes. and then there is wink, who really impresses me with his smooth mixing skills and excellent selection of tracks. terry mullen is not only a fat ass dj but his scratching is amazing. i have seen scott henry from baltimore bring down the house plenty of times. he is able to seamlessly mix so many styles together...ugh...the guy is good. as far as breaks are concerned, i give props to karl k and kaos from philly, titon from columbus, drone from minneapolis and geoffe from allentown. musically these guys have their heads in the right place. i give respect to the c.h.a for continuing to push jungle as hard as they can. they are doing a great job in getting people interested in the genre. the same goes for the b.b.c in boston. How has your music been received at your gigs (example of your most memorable DJing experience)? for the most part very well. i have only had a few sit-uation where the crowd was not at all into the stuff i was playing (for example a full moon rave in chicago back in august of 93). when that kind of thing happens it makes me work harder and getting my dj'ing shit together and working at creating tighter sets. lately though, i have been getting an amazing response from people. it definitely has helped me get focused on what i am doing stylistically and musically. i am having a lot of fun.my most memorable dj'ing experience....good question. one of the best times i ever had spinning was at a club in pittsburgh called metropol' when they were hosting their 'rave' nights. the club was packed with 1200+ people. i came in and relieved the dj that was on before me and took the crowd through 4 hours of house, tribal, trance, techno and breakbeat and everyone was going nuts. people were getting passed on top of the crowd. when my mc would yell 'are you having a good time?' let me see those fucking hands!', the whole place would erupt in a huge scream and everyone's hands in the place would shoot straight into the air. the vibe i received from the crowd that night was amazing. What track would you single out as being "the ultimate track of all time?" i don't think i can single out just one track. throughout the time i have spent dj'ing i have found many 'classics' lurking in my bin of records that other djs don't consider to be classics. but if i had to name three of my all time favorite records (based on personal taste, crowd

response, quality, etc), i would have to say, in no particular order: 1) internal affairs - shinin down on me 2) isotonik - everywhere i go 3) manix - alright wid me As far as breakbeat music goes - how is the music scene in the US comparative to the motherland, United Kingdom? the uk has far more support for the music. it was born there. almost all of it is made there. the breakbeat and jungle scenes there are incredibly strong. i only wish that we had something of that magnitude here in the states. we are working on it... Tell us a bit about yourself - aside from DJing and Rave type Stuff? i am currently in my last year at the university of pittsburgh majoring in information science. i spend a lot of time playing this addictive card game called 'magic' with my friends and roomies. it is such a geek thing. i enjoy renting lots of funny, fucked up movies (lots of stuff from the 70s). i tend to eat lots of junk food and sleep 8-9 hours a day. about once a week you can find me raiding the local thrift stores for their hidden treasures. i spend a lot of time screwing around on the internet. i try to have as much fun as i possibly can. What direction do you see UK hardcore heading -more towards da jungle type, the darkside stuff, the more trippy and ambient, etc? well a huge turn has been taken away from the darkside stuff. and the ambient thing seems to be the running its course. jungle is the all the rage nowadays. i think that uk hardcore is going to head into a more and more sophisticated direction musically. an example of this would be the roni size remix of the new metalheads track 'inner city life'. smooth strings and vocals laid over a swirlytrippy beat. music that is excellent for dancing, listening "and" relaxing. breakbeat that doesn't sound like 'breakbeat'. What about psychedelic and other drug usage within-rave culture? Is it appropriate...overdone...a necessary part? drugs are always going to be around us, raves or no raves. personally i have no problem with people that go to an event and take a drug that they can handle (and will actually improve the time they spend at the party). unfortunately, a lot of what i have seen lately are people that go to party, take "way more substances than they can deal with, and either bug out, need babysitting, stand around like a zombie trying to find themselves, or needs a doctor. responsibility is an important role in all of this. drugs aren't necessary for a good time. but if people are going to take them then they should be able to deal with the effects that they bring. nothing pisses me off more than a person going to rave, getting fucked up on two or three different drugs, and needing to be babysat or puking up their guts in the bathroom all night. it is lame. What are your goals as a DJ? Where do you hope to be in the next few years? currently i hope to just continue with what i am doing and see how far i can make it. i am not counting on this to be my life's ambition. i want to stay in the scene for as long as i feel welcome and comfortable. if i see it changing into something that i don't want to be a part of, then i will go on to other things. in the next few years? who the hell knows. hopefully i will become president of the players club international. So...how did you become the pimp, mackin, hustla that we all know you as? <laughter> all i can say is that i drink a lot of gatorade and watch a lot of 70s action flicks. it doesn't hurt if you are sporting star wars bed sheets either. one of these days i am actually going to get a players club gold card. watch and wait. Could you speak to the criticisms of UK Hardcore (ie "I can't dance to It." etc) bottom line - if you need a steady 4/4 thump to dance, then you've got problems. i can understand it if a dj is trying to be the dj gestapo and playing uk hardcore at 185 bpm. it can be hard to dance to the sound of a machine gun. but any decent speed breaks track is fairly easy to dance to. so much damn energy. and a lot of the current jungle out now has the half-speed bassline which makes it a lot easier to get a feel for the rhythm. anything else you would like to add? some words of wisdom to up-and-coming djs out there. no matter if you are getting the evil eye from a crowd of djs standing behind you when you spin - NEVER spin for other djs. spin for yourself and the crowd. i have seen far too many beginners be intimidated by self proclaimed roughneck djs trying to be all hard. fuck them. be true to yourself and spin what you like and what the crowd likes. and remember - 'the right record at the right time will beat the best mix every time'. always let your skills speak for themselves. it is pretty sad to see other djs propping themselves in order to boost their own name. do this, and the reputation you get may not be the one you were looking for. support your favorite djs. drink lots of gatorade. and have fun. 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