Anyone that knows me, knows that I’ve retained a high level of interest in dance music. I guess it stems from growing up in and around London in the early 70’s and the emergence of funk, and especially Jazz Funk, especially through some of the new music put together by people like Johnny Hammond(Los Conquistadors Chocolate), Idris Muhammed(Could Heaven Ever Be Like This) which remain to this day two of my all time favorite tracks, along with many from Quincy Jones.
Later, my interest was retained by the further exploitation of electronics as disco became the plat de jour and although I, like most others became disenchanted once it became metronomic and formulaic, I’m convinced that the style, type and beat of music you like and listen to create pathways in your brain to activate feelings.
As so it was that with time, and energy on my hands over the past few years I’ve re-engaged with dance music. Mostly because I like it, it activates those pathways in my mind that release feel good endorphins, I enjoy the freedom of the dance.
I’ve been to some great live performances, Tiesto and Gareth Emery especially down in San Antonio and Houston, and anyone who thinks these guys are just DJ’s, playing other peoples music through a computer or off CD’s is just missing the point.
However, one electronic music producer more than any other has really piqued my interest, Deadmau5, aka Joel Zimmerman from Toronto. I first saw Deadmau5 during South by South West (SXSW) in 2008, when Joel played at the now defunct Sky Lounge on Congress Ave. The club was small enough that you could actually stand at the side of the stage and see what he was doing, it was a fascinating insight. [In this video on YouTube, one of many from that night, not only can you see Joel “producing” music, but if you stop the video on the right frame at 16-seconds, you can see me in the audience! Who knew…]
I saw him again in March 2009 at Bar Rio in Houston. This time I had clear line of sight to what he was doing from the VIP balcony. It was fascinating, I actually saw and heard him make mistakes, not significant mistakes but ones that proved he was actually making live music. [You can read my review from the time here including links to YouTube videos.] It turns out he was something he was using during that Houston concert was either a prototype or something similar to a monome.
Joel regularly posts and runs live video streams from his home studio, and recently posted this video of his latest analog modular system. It and some of the other videos are a great insight into how dance music producers work. Watching this, this morning, I was struck with the similarities to the IBM 360/40 mainframe which was the first computer I worked on, especially I can remember the first time I was shown by an IBM Hardware Engineer, who might have been Paul Badger or Geoff Chapman, how the system worked. How to put it into instruction step, how to display the value of registers and so on. I felt the same way watching the Deadmau5 video, I got to get me some playtime with one of these.
And yes, the guy in the picture above is me and the 360/40. It was taken in probably the spring of 1976 I’d guess, at Attwood Statistics in Berkhampstead, Herts. UK.
The power and capacity of the IBM 36/40 are easily exceeded by handheld devices such as the Dell Streak. Meanwhile, it’s clear that some music producers are headed in the opposite direction, moving from digital software to analog hardware. The new old.