Word: djs
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...access to the music commercially, then that is underground.” Besides the fact that America’s got too short an attention span for dance music on the radio, Oakenfold neglects to point out that as one of the world’s biggest DJs he gets access to the freshest dubplates not yet on the market...
...head for the beach to do all the things Mom and Dad would never let them do at home: "A glass or two here and a slurp or two there, and I'll spend the weekend dancing ..." Beyond Kusha las Payas, much to the relief of Asereje-fatigued DJs and critics, the sisters have no other plans. "I refuse to even think of the future," says Pilar. "We live in the present." And in the past. Lola has a "been there, done that" attitude when it comes to the whole showbiz success thing. "We've had many experiences," she says...
There's a lingering perception that DJs are hustlers--guys who play other people's records, throw in a new beat and call the result their own. It's true that mixing two hit records (which is what party DJs do) and making one are not equivalent achievements, but Davis, 30, is not a mix man. He's a composer who uses samples as his notes. If making music is like putting together a puzzle with infinite pieces, making music with samples is like putting together a puzzle with finite pieces that don't fit. Tempos clash, keys carom...
...past Davis has sampled music close to his own tastes--funk, hip-hop and R. and B.--but other DJs caught on and started copying his style. Now he looks for the stuff they pass over. In 2000 he struck an obscurantist's mother lode. His local record shop, Village Music in Mill Valley, Calif., bought the entire stock of a defunct 1980s dance-music store at an auction. Davis went mad flipping through 10,000 records--mostly rare new wave European singles--that had been frozen in a storage locker for the past decade. "DJ Shadow is my best...
Obscurity has its virtues. While most DJs use vaguely familiar samples to get a nod of recognition from their listeners, Davis finds familiarity a distraction. On Six Days, one of The Private Press's best tracks, he uses a vocal about the horrors of war from what sounds like a brassy female jazz singer. It's actually a Liverpudlian male psychedelic group from the early '70s sped up to match the song's tempo. If it were, say, Shirley Bassey, the effect would be sabotaged by kitsch. Instead, it's haunting...