Off to see a Battle of the Bands with Klingons versus the Federation, I expected to see ’70s heavy metal clad in Klingon leather and the wildly musically diverse Five Year Mission.  I admit I was way off.  I have seen Five Year Mission live at Local’s Only, but I had little knowledge of what the alien-costumed Il Troubadore would bring.

A door was prematurely opened, and I was allowed in about 30 minutes before the show.   As a Trekkie, I was delighted by the stage set as the bridge of the Enterprise.  I witnessed the final application of makeup to one of the Klingon musicians.  It was obvious from the get-go, this was to be a strange match-up.  Five Year Mission is a five-piece band with seasoned veterans of small venue, old school rock and roll.  Il Troubadore is nothing of the sort.  This group seemed more like a string quartet, even though two of the players were not stringed.  This looked more like a night of rock and roll versus folk music.

The show started with Five Year drummer and cut-up Andy Fark opening the door and shouting, “Oh my God, it’s time!” as the fans outside began to enter.  The MC announced that this was a battle between the smooth foreheads versus the ridges.  The bands shared the stage, watching and sometimes heckling each other as they alternated three-song sets.

Five Year Mission kicked off the night with one of my favorites, “Charlie X.”  Their Vox and Peavy stack of amplifiers were not the best for the airplane hanger-like, acoustically inspired ballroom (not the best place for sound), but their gutsy and gritty rock and roll made you feel like you had stumbled into a local pub on a Friday night.  Their first three song choices perfectly showcased how far up and down they boldly go on the rock and roll genre scale.  One song sounded like a tribute to 1950’s Brtish rock and the next took you right into rockabilly.  Their use of acoustic and electric guitars gave every song a different feel.  Their no-nonsense approach drifted through melodies reminding the listener of the simple function of rock and roll.  They could build a song with a slow rock riff, then just take off, or they could use the absence of percussion to emphasize a mood.  All five of these seasoned rockers took turns leading their original Star Trek episode-inspired songs.

As Five Year’s first set ended, an Il Troubadore member smirked, “When does the rock and roll begin?”  The quartet began with their mandolin, cello, and hand drum sound-driven Klingon music, which sometimes sounded very Mediterranean.  It was very folksy and very somber, sung mostly in Klingon.  Some of their songs hauntingly heralded Klingon Victory while another was about nuclear holocaust.  This music clashed with rock and roll like beer and exotic flavored ice cream.  But it was fun.  Their sets included a culture-filled sound that  belly dancers would rush too.  And just as the audience began to feel overwhelmed, they would break out classic rock and roll covers like “Another One Bites the Dust”, sung only as a Klingon could with deep baritones and maniacal falsetto.  The covers were a total surprise and wildly funny.  This highly skilled group played Klingon, Ewok, Middle Eastern, and even classic rock.  One song sounded like a sea shanty and the next had a Guess Who feel.

The heckling flew ferociously between sets.  My personal favorite came when the Federation band said something like, “At least we don’t eat our children”, and the Klingons responded with “But why not, they are delicious?”

What a night for Indy Star Trek fans.  The night ended in two collaboration songs. One was based on the original Star Trek episode “City on the Edge of Forever”.  The other was a screaming tribute to the Bat’leth in Klingon language.  This was a very strange battle of the bands in deed.  It was often cheesy, but it was an entertaining clash of musical cultures.

Madi Diaz will be releasing her full length, Plastic Moon on January 24th. As a teaser, the indie songstress teamed up Jensen Sportag to remix “Trust Fall.” I contacted Indy DJ K. Sabrosa to employ his knowledge of the Chill and R&B genre to employ his thoughts about the remix.

We would love to hear what you think of this song. Give the song a spin and feel free to comment and continue the discussion, K. Sabroso and myself are available for reaction.

About the people involved:

Madi Diaz is a Nashville-based singer/songwriter who has been making a career as a solo artist since 2006. A well-received debut Skin And Bone and an album—Plastic Moon— coming out this year, Diaz is in a continual state of growth both as a songwriter and a performer.

Jensen Sportag is Austin Wilkinson and Elvis Craig. The Nashville duo has been hypnotizing listeners with their richly infused blend of R&B and ’80′s Synth-Funk, like it came smashing out of some time warp set in Detroit.

K. Sabrosa is an Indianapolis-based DJ with a worldly scope who can be seen in the city spinning Latin and jazzy Breakbeats, House, Downtempo, and Jungle. He has an album coming out this year on Spring Strut Recordings.

Links:

• Madi Diaz
• Jensen Sportag
• K. Sabroso

K. Sabroso
I was never a big fan of 80′s Synth-Funk, but I’ve never heard it approached with this degree of delicacy or production value. This tune has a barely concealed energy that stays sensual without becoming hype or abrasive. I approve.

The vocalist doesn’t have the greatest sound, but she uses her tool to the best of its ability, in a way similar to Doris Day. The result is not game-changing, but she does her job adequately and it’s pleasant and definitely appropriate to the remix that was built around it. The style (but not the tone) of her singing answered the question: What would it have sounded like if Bebel Gilberto had been brought in for Groove Armada’s last LP?

Andrew
I don’t think Madi Diaz is supposed to be supplemented into this type of song structure. She is an indie pop artist foremost. I find it interesting that a remix like this was even sought out in the first place. I can see her leaning more towards shoegaze, but not so much a Synth-Funk remix. But it works. I immediately felt a Groove Armada vibe to the mix from the beginning

Link: Honey Dijon Official Site

Honey Dijon Radio Show Featuring Dog and Pony Exclusive Mix

What was it about DJs like Frankie Knuckles, Derrick Carter, and other cats in the Chicago scene that influenced you and what is it about House music that attracts you? Who are some of your favorite Chicago DJs and why? Outside of this circle, what other elements can you cite is a personal influence to your style?
I grew up in Chicago and house music is in my blood. Derrick Carter has always been a close friend and he influenced my heavily with his technical skills. When I moved to NYC and J became friends with Danny Teneglia his sense of drama and ear for new sounds also influenced me heavily. I like to say my sound was born of these two influences.

Why the move from Chicago to New York City? If it is, how are things different with the NYC club culture and how have you bettered yourself as this is really the beginnings of your DJ career.
It was a breakup and always a desire to be in NYC. I started djing in NYC because unlike Chicago where you would hear all kinds of music mixed together I found NYC linear. It’s still like this! People who like techno go here, people who like soulful house go there. In Chicago we mixed it all up as long as it fit. I still play like that!

It was Danny Tenaglia who really set the ball in motion for you. How did he become a factor in your career and how did he help? What was the experience like for you the first time getting behind the decks?
Well I met him through mutual friends and we clicked. His sets at Twilo and Vinyl are legendary. He really exposed me to the sounds coming out of Europe and it opened my ear. He was a major influence as well a Derrick in development as an artist.

On your Toolroom single “Until The Day,” you have Dajae laying down vocals. How did that come about and what was that like working with the classic house vocalist?
A dream! She is amazing and such a lovely person as well. She asked me to sing it to her how I think it should sound! Can you imagine? I can’t sing at all and hear I am trying to in front of one of the best voices in dance music. But she put me at ease and then it became fun!

How do you feel the remixes turned out? Were you surprised by anything?
I loved hearing how other people heard the song. It was a lot of fun and I love all of the mixes! They all did an excellent job!

One thing I love about the mixes you make is the progressiveness of the music while keeping this underlying smoothness with subtle nods to the a soul/disco vibe. Nowhere have I heard so far do you exploit the sound. Is this an intentional focus to what you do?
That’s how DJs in Chicago learn to play. So much talent there that you have technical skills as well as good track selection. I’m a minimalist at heart and I live be the credo less is more. What can you do with the basic elements. It’s easy to be over the top but it takes thought and a point of view to work with just a few sounds for maximum effect.

From the fashionable and sometimes risqué artfulness of your image, to what extent are you conscious of every aspect of the process. How important is it to you?
Hahaha? You think it’s risqué? I think now image is more important than ever because technology has made been a DJ/producer easier than ever before. Besides the music what else can people connect to you as an artist? Image, personality, and lifestyle is just as important now. Especially with social media!

With many of your songs, you start out with something accessible and add depth to it. It’s subtle but the results are powerful. When do you feel it’s best to crank up the levels of intensity in a mix?
At the end of the mix. That’s where people lest expect it and it’s an element of surprise. Quentin Harris is the master of that! I learned that from him.

You are working on some remixes, what all are you working on? How do you look at a song remix versus a song constructed for a mix?
I just take elements I like or feel are the most exciting parts of the track and go from there. Alot of remixing is editing and creating a new environment for the song!

What all do you have coming up for the rest of the year and into next?
I have some original work coming out with my studio partner Sebastian Manuel and some remixes for Jessica 6 and REM. I’m also excited about getting into the studio with the art band Salem. That will be really interesting!

MP3: Escort – “Makeover”

Link: Escort on MySpace

I cannot tell you how much I hate the Lipps, Inc. song “Funkytown.” It’s like a splinter in the proverbial finger of the when the ‘80s flipped off the ’70s. A disco favorite, it still burns like a cinder that was set on fire for way too long. You hear it in the supermarket and on those radio stations that now play anything. I would hope that the ghosts of radio DJs past are still grumbling over the thought of having to play that one hit wonder, one…more…time. And then to jab at the ashes further, Pseudo Echo revisits the song in New Wave splendor. Punk is blamed for the demise of the disco scene, but New Wave glimmered from the capitalization of the dance music craze. Say what you will, Ministry’s With Sympathy is a great album, and you can thank your shiny disco balls for any House anthem that came roaring out of the genre.

I was in a Half Price Books the other day and A Taste of Honey’s “Boogie Oogie Oogie” came on like a musak heart attack, I cannot help but be consistently intrigued how disco hangs on to society like this leech. All of you who had a record collection from the ‘80s, or a record collection passed on from someone who had a record collection from the ‘80s, I would wager 90% of those collections have the Saturday Night Fever Soundtrack. Out of those 90%, don’t tell me you did not have the curiosity to play the album alone in your room while pawning it off to your friends as a joke. You secretly liked what the Bee Gees did, just admit it.

Disco never died, it morphed. And as bad as that Lipps Inc. song is, it demonstrates the vibrancy of the Casablanca dynasty, even when all that jive talking began to turn into MTV talk.

So what does all of this have to do with Escort? Everything.

Now that the 2010s have brought about a higher awareness of the synth sound — we can argue how Holy Ghost sounds better than anything Yaz has done — you feel the four-on-the-floor foundations move into a modern context. You can be hip and say that your band was founded on the essentials of Italia-disco and more than likely, you will get accepting nods from your peers, but when it comes down to it…it’s still disco and as much as these songs burn blisters in our head, we have to accept it for what it is.

And that is where Escort comes in. This is a band who has studied the genre, dug in deep and implanted their nails deep into the New York City sound. …And Party Every Night is their bible, and the Casablanca scene is their treasure map, digging into album after album of dance floor power. But they go beyond that. Look back to the Fania Records scene and the Fania All Stars where they had exceptional musician after exceptional musician on stage hypnotized into a latin dance orgy that would not quit even after the sun came up.

Not just that, but move ahead to the early ‘80s and the band feeds off of the spark that led to Lionel Ritchie’s “All Night Long” or what the Miami Sound Machine did to the South Beach scene by the mid-’80s, It all comes together into this party cruise that begins with Escort’s song “Chaméleon Chameleon.”

What starts out like a bad ringtone turns into an escapade of synth dance crazy. It’s one dimension to think of this band as something linear, but with 17 members filling the space, you only wished this all happened 20 years ago. If that was the case, this album as we hear it would not be at this level. I can imagine the band initially sitting down and discussing how they could take all of these elements from the past and plan out how they could do it better.

With having this magnitude of a band, they can explore powerful percussive elements on songs like “A Sailboat in the Moonlight.” But when Adeline Michéle puts her vocals into the tribal sound, it sounds like the Love Boat just set sail and Combustible Edison is your night entertainment. Discount it for its ultra cheese and hate it for what it is, but it will infect you like a disease because when this band breaks into a cocktail of horns and hooks, you will change your mind real quick. As Michéle croons, “Sailing, we’re sailing away,” it will turn any situation —even if it’s in your mind—into a dance party. I want to hate this like I want to hate “All Night Long,” but every time Lionel Ritchie tells me we are going to have a party, I’m hooked every time.

Like disco, that is what this band is good for, escapism. “Cocaine Blues” is a power roll call of disco culture all wrapped up in bad cologne, hairspray, and the streets that surrounded Studio 54. It’s the one easy piece of definitive nu-disco. As fun as that all seems, “Why Oh Why” is more expressive, more soulful, and a great song that does not need to rely on schlock to make this song a success. I’m just curious what Donna Summer would think about a song about “Love In Indigo.” Would she think damn, why did I not write this song, or would she think the neon sounds are discounted as a joke. Sometimes, I cannot tell the difference. Either way, you cannot say these songs have consumed this band and have taken on their own form be it the ‘70s, ‘80s or now.

I have listened to this album over and over again, trying to come into some realization that these instantly gratifying songs are just that and nothing more. But what it comes down to is that these are catchy songs that stick to you from the result of amazing musicianship. I cannot find a bad song on this album or a downbeat to pick at. With that in mind, don’t look at Escort like you would Lipps Inc., consider them more a Gary’s Gang for the millennium.

From December 9 – 11, 2011, the greatest “Midwest fan-run sci-fi convention” known as Starbase Indy holds its sixteenth gathering of genre-soaked bliss.   Star guests representing the Trek universe include the legendary actor Tony Todd, John Billinglsley, and Deborah Downey.   Despite the threads of Star Trek woven into its DNA, this year’s event also offers a variety of guests for all levels of obsession: stars and guest-stars from shows such as Stargate SG-1, X-Files, and Chuck will be on hand to add diversity.  A masquerade, another staple of sci-fi cons, is another must-see event and the Klingon karaoke cannot be missed.  In the quest for knowledge that underlies the Trek experience, sessions on actual 21st century science will be offered, and the kids will have an opportunity to build their own Tribbles.

New this year is the first ever battle of the bands, but this year the fate of the neutral zone is at stake.  Yes, this battle of the bands will be waged between Starfleet and Klingons.  If you wear your freak status proudly and you’ve got a flag, this event will be the ideal time to let that freak flag fly.  Full disclosure – I am a self-admitted Star Trek freak on many levels (well, except for ST: Voyager…I was always a DS9 guy myself), and this event alone should be worth the price of admission.

Exploration, adventure, friendship, diversity – Star Trek has always been about many things.  One constant that represents the Federation is its desire to help and defend those in need.  To that end, Starbase Indy will be promoting and accepting donations for its chosen charities: Cat’s Haven, Jason’s Foundation, and LUNGevity.
These days when local and global events seem oh so heavy, we could all stand a little bit of futuristic optimism.  Do yourself a favor this holiday season and visit Starbase Indy, the 16th Generation.  Tell them the Emissary sent you!

Link: Starbase Indy

Mexican, the English Moustache, the Fu Manchu, handlebar, horseshoe, pencil, bushy, walrus—moustaches comes in all shapes and sizes. To help celebrate the illustrious upper lip hair explosion that has rocked manly facial features since the dawn of time, Bearded Flower Productions presented the 3rd Annual Mandatory Mustache Bash.

If you didn’t have one, you got one at the door. The night was filled with hair-lipped sets by Indianapolis’ favorite local bands, as well as Pocket Vinyl from Rochester, New York, and Chicago’s The Damn Choir. And by the end of it all, the bash was another successful venture of great music, great times, all come together by the proud celebration dedicated to the upper lip.

Pravada

Pocket Vinyl

Household Guns

The Damn Choir

Vacation Club

I had a chance to talk to Marshall about his debut release, how 2011 has treated him, and what is in store for next year.

Link:

• Chris Marshall Official Site
• FaceBook
• Twitter

What was going through your mind during the making of August Light? What ideas were you really wanting to get out at the time of writing this album?

My mindset while making the record was pretty much just focused on stretching myself and learning the kind of process that works for me. I put a lot of trust in Jeremy Wilson on the production end and tried to allow for other interpretations on the songs and how they might sound. As far as the writing of the record was concerned, my only intention on that end was to just keep it honest. I don’t think there is any unifying thematic strand, excepting just a general commitment to keeping the songs true. I’ll have to decide if we pulled that off later on down the road.

What is it about the traditional elements of Country music that you were attracted to? How did you see that opportunity to explore the style and make it into your own?

I think it’s probably the immediacy in country music that attracts me to it. You have three or four minutes to accomplish something really specific in a country song, and you either do it or you don’t. There is just not a lot of space to hide behind, and I think that measuring stick keeps it honest. Tell a story, rip a lead, nail a vocal; do what you gotta do to establish a connection with an audience. And while I don’t actually consider myself a straight “country” artist, I think that will always be the barometer I use to decide if something works or not.

All of this transfers to the band of Portland musicians you gathered for this album. How did you get that vision out to this group and what was the process like having prominent indie and alternative rock musicians playing the Country/Americana style?

It was really Jeremy that connected me with the core group of guys that tracked the album, and it really wasn’t a stretch for them stylistically. The grooves were really natural, and Paul Brainard was in the pocket the entire time on steel. I actually really enjoyed watching them flesh out the songs and was able to just kind of get out of the way a lot of the time. Now, that isn’t always the best way to go and I don’t think I’ll approach an album that way again, but for this experience it was a lot of fun.

You took time out to communicate with your bandmates. How did this dialogue help transcend the album?

There was a couple different times where I had unique opportunities to connect with the guys playing the songs, and that was important for me. Allen Hunter actually proved to be kind of a sage in a lot of areas, and there were several times when he offered timely insight that I don’t think I’ll ever forget.

One thing that most impressed me about August Light is that you don’t go out of your way to show off, it’s just a solid album from front to back. Does that have to do with the album’s honesty? Musicianship? What do you think?

Well thanks a bunch, that means a lot to hear actually. I hope it’s all of the above! The only risk in that is that the album might come off to others as being restrained or underwhelming. So I think with the next batch of songs I’m writing, I’m feeling the impulse to take some more risks, but I’ll definitely continue to put a premium on keeping things purposeful and honest.

How did being the son of a minister have an effect on you?

I think to some degree that’s tough to answer, because it’s just my experience and I don’t necessarily have the ability to separate myself from it. I will say that I’m thankful for having been raised with a developed spiritual impulse, because I think it pays off to live the examined life and to be sensitive to meaning, values, truth, poetry, etc. I’m lucky because my folks did a pretty great job of making it a healthy spiritual experience growing up, rather than an oppressive one, which is what a lot of preacher’s kids have to contend with. I was given a lot of room to find myself and my own faith, so for that I’m lucky, or maybe, in this area, I should say I’m blessed.

It’s common for someone with a religious family background to rebel, but for you and this album, you look at natural law and the metaphysics of life. What is it about this time in your life to feel that way?

I think it’s probably just a process of getting older. Because I’ve gone through the rebellion thing like most have, and it was really a cyclical thing all the way through adolescence for me. But at some point it just evened out. I trip up or goof up a lot, but I feel a little more grace for myself these days and am more interested in the larger narrative of existence, not just my own deal all the time, if that makes sense. I guess I just feel more connected to the whole story and I want my contribution to reflect that.

I should also mention that this album is also an homage to the spirit of your friend who unfortunately passed away. What would you like to say to him regarding this album, and what would he think about the sentiment?

That’s a tough one. I’d probably have to ponder that a long while before answering, I’m sorry. Down the road a ways, maybe I’ll get there.

Are you taking the music out on the road? If so, will it be you or any of the other band members involved?

I’ve been doing regional stuff in the Northwest since the album came out, and of course locally in Portland. Right now I’m actually finally able to say I have a full-time band backing me for the first time, and we’re doing an incredible amount of writing, which is what I’m most excited about. The hope is that we’ll get this unit more road-tested here pretty soon, so that is exciting as well. All of the guys that recorded the record are extremely busy with their own projects and other more long-term ones, so I’ve worked really hard at finding the right folks to have on my team to carry the torch forward, and am actually happier than I’ve ever been with where that’s at.

What now and for the future?

Well, just to kind of piggy-back on the last question, the stuff I’m writing right now with the entire band is completely regenerating my love for music. Christoph Cesarez, who plays lead guitar with me, is also contributing songs to the project, and they happen to be really good songs. Such a great group of folks and it’s taking on its own life as a result, so it’s like a whole new beginning really. Didn’t see that coming a year ago when we started working on “August Light,” but it’s exciting to see the evolution and be a part of it.

[Article by Andrew Duncan]

I admit that I was one of those people who geeked out over the 11.11.11 time rarity. I had it all planned from my waking moments not to miss that magical celebration when the clock turned over not once but twice. It was my own personal New Year’s Eve just for one minute. Like when I streamed the final shuttle launch, I knew I will never experience this moment again in my lifetime. My office became the center of the universe as I picked a specific song to help celebrate 11:11 a.m.; it was AC/DC’s “For Those About To Rock (We Salute You).” I felt that to be an appropriate departure from the morning, although a somewhat traditional rock song that bodes a simple call and response. For those about to rock, we salute you! It was Friday, a lovely post-autumn day, and a day filled with anticipation for the night to come. Thank you, I will accept that salute. Not that I was going to rock out in the traditional rock and roll sense of being, but it was going to be a night to remember with arrays of traditionalism meets indie modernism.

I have always wanted to see Beirut. It’s a moment I never thought I would get to experience and maybe never will again in my lifetime. It’s been flowing through my veins since seeing the Take Away Show videos online with them doing “Nantes” and “The Penalty.” It led me to the even more amazing “St. Apollonia,” This video has meant so much to me and perfect in every sense. The way the video starts so simple and organic, built around a mysterious backdrop. How beautiful and delicate the song develops is entrancing. And when the band communicates as a whole and the camera pans around each member, it reminds me of the way Orson Wells used natural sound to filter in and out of clubs in the beginning shot of Touch Of Evil. By the end of “St. Apollonia,” you feel like it was all just a dream.

And maybe that was what Bogarts was to me, just a dream. With a club that is primarily geared to the hard rockers and the rowdy, Beirut was a calm surprise to be listed to perform in Cincinnati’s Clifton area.

I have not been to Bogarts in about a decade. The last time I experienced the club was Mr. Bungle performing their California album. Times have changed. No more is there a Sudsy Malone’s across the street taunting those to come for a late night rendezvous of drink, underground music, and a chance to get caught up on your laundry. A lot of the shops surrounding the club lies vacant. It’s like Bogarts survived the war and they are the lone soldiers of musical justice left standing, a beacon to one of the great rock clubs in the Midwest. And as many concerts I have attended shows at Bogarts have stuck with me as being the most memorable. This night is no different.

A sold out show, Beirut had every open space in the club filled. Despite the sea of people stretching across the floor, it was a kinder, gentler crowd. And when Zachary Francis Condon and his band took the stage, physical space no longer mattered.

The stage set up was simple: scattered instruments were propped within reach of the musician, the band spread across the stage in a traditional manner. Horns on one side, rhythm on the other. Strands of lights trailed from the stage out into the audience, like a charming Old World festival accentuating the group’s song and celebration.

Cheers upon cheers were met by Perrin Cloutier’s accordion as he broke the crowd noise and the band launched into “Scenic World.” As the song developed, you immediately got a feel for the mystic and charm the night would behold. When the horns came together for that chorus, their exuberance was felt by all and waves of approval echoed across the room.

By the time the band went into “Elephant Gun,” the crowd swooned, sang along and swooned again. Beirut sounded great and in true form. You could hear any point of the band from any angle of the song, be it a full blast of horns or the intimate introduction on “A Sunday Smile” from The Flying Club Cup, that ended in the band’s bravado blowing fan’s minds and opening hearts. The dedicated were truly dedicated.

Something surprised me. When the band went into the songs “Sante Fe” and “East Harlem,” both from their recent venture The Rip Tide, the crowd went crazy, dancing and singing along like they were songs that have been with the band for years. It was a true feeling of gratitude that could be felt from the audience, to the band and back again.

The hour plus set gracefully bounced around their three album. And with an encore that featured four more morsels (“The Penalty,” “My Night With The Prostitute From Marseille,” “The Gulag Orkestar,” and “Servian Cocek”), we got one more dose of true musicianship that included a wicked tuba solo transitioning into one horn solo to another in true jazz fashion.

Hoping to fulfill the other side of the 11:11 time orbit with sounds of Beirut echoing into the night, the show ended well before 11 p.m. The only thing I could think about in that one minute of the 11th hour was not just how I wanted more from this band, but how memorable this show was to not just myself but hundreds of other people.

Hailing from the land of hockey, tuques and the Looney, producer/DJ/musician Sydney Blu is taking the club world by storm with her hard-hitting, in-your-face style of spinning. Sydney now spends her downtime in the warmth of Miami trading in a parka for a constant tan.

Watch her spin “Freak” by Auto Erotique:

Nominated for America’s Best DJ of 2011, Sydney is currently on tour in North America promoting her recent release Nervous Nightlife: Live at the Mansion. With hardly any free time, Sydney has gracefully given time to answer a few of our questions.

How long have you been DJing/Producing/ Creating your own music? What is it about House music that makes you want to push the envelope of that style?

I have been DJ-ing for 12 years. I’ve been writing music for about 7 years now. House music is just basically the love of my life. I have played all different genre’s of house through out my 12 years of DJ-ing …..but the bottom line if HOUSE is what made me get into DJ-ing and will always be the reason I do what I do.

Why did you start your own label vs. trying to get on a major label? Is this a harder process to do? What are the drawbacks and the gains of doing this?

Well I was on a major label (Mau5trap) and then i started the label. I started it to get my own identity and to start my own brand. It’s been a success. I am, however, really swamped with it and ready to probably partner up with a bigger label management company that will take the stress off my hands. Artists can only really run their own label for a certain amount of time until they realize …this is just too much!

Is it hard for a female DJ to get noticed in a male dominated industry? For you, what sets yourself apart from the boys when it comes to performing?

I do not consider myself a ‘female’ DJ…..that’s probably why I do as well as i do. I don’t use that as a way to get gigs or attention. The only thing that sets me apart from boys is my body parts. Haha! … and clothes … and, I guess sometimes I dance a bit more like a pop star. I used to be a cheerleader … you can definitely see the cheerleader come out in my sets sometimes. But other than these little things, I’m just a musician working hard.

I see that Madonna is a main influence.. What is it about her that makes her an influence? What are your other primary influences that motivate the direction of your music?

She is my icon, my inspiration. I just love her SO much. The reason I think she is such a huge influence in my life is her long-time career of evolving and pushing the boundaries, her success at literally being the BEST at what she does, her message in life, and hows she’s grown as a person. She really has a message out there for people. Maybe it’s because of having children, but the point is she knows that in life there are things that matter and things that don’t. You can really tell how much she evolved from Ray of Light and her albums onward. Anyway, I think everyone could learn something from her. Other influences of my own music are just the artists that i am currently listening to. I love Funkagenda. I love Thomas Gold. I love John Dahlback. Those guys are my friends but also people who’s music I listen to and definitely get inspired by.

Where do you see the future of electronic music going and how do you want to play a role in that direction?

I see it going commercial. I also see some of it staying underground. I love it all…..well not ALL of it, but I really try to have an open mind to all kinds of electronic music. I even enjoyed a Skrillex set this summer at a festival I played at with him. I think it’s just good for the industry to have such a buzz right now. We’ve been waiting for this for how long? Let’s not complain about it now.

What was your reasoning of releasing “Live At The Mansion?” What was it about that mix that defines who you are? I noticed that one of your tracks on the album “Come with Me” contains a same sample that Moby used on his “All I Want is To Be Loved” of the Move EP with the lyric being “Can’t you see I want to be with you.” Is this a shout out to him or is it purely coincidental?

The album was something I decided to do when I moved to Miami and take up the residency at Mansion. The mix was some of my favorite songs and my own music most importantly. It was 80% my own production. The song ‘Come With Me’ by Manufactured Superstars, Trent Contrelle and Jeziel Quintela is a classic tune remade. I put it on the album because I loved  it then and now!

If there could be one person you would want to either spin or collaborate with, whom would it be and why? What has been your absolute favorite place to spin? And why? Festivals versus the club scene, which do you prefer?

A person I’d love to play with ? I’d love to play with Mark Knight. He’s probably one of the few people who I haven’t played with that I would like to DJ with. Favorite place? There’s a lot …Beta Denver is probably my favorite club to DJ at. I love festivals, they are another thing compared to clubs. I play different music at festivals than I do clubs. So I don’t really have preference over either.

What do you have planned for the rest of the year and into 2012? Any chance we could be seeing you in Indy?

2012 I plan to do a new album and just travel, travel, travel. Expect music from progressive to techno. Expect big things. I’m ready for it all!

The Broad Ripple Music Fest is rolling into town for another spectacular weekend of local music splendor. Every year, the annual local festival continues to amaze and outdo itself with increased and improved showcases, as well as spectacular kickoff events.

This Friday (October 14), at The Vogue, joining local heavy hitters Kate Lamont and Vess Ruthenberg is Cultural Cannibal DJ Kyle Long. If you get a chance to meet or have a chance encounter with Long or Cultural Cannibal colleague Artur Silva, you get nothing but respect and a charming sincerity. Silva’s incredible design work and Long’s knowledge of not only local but world culture is extravagant.

Cultural Cannibals is best known for their spectacular dance parties dedicated to a specific culture, be it Brazilian, Bollywood, Haitian, or Balkan; or, a tribute to a specific artist like Fela Kuti. The charm to Long’s DJ skills is the educational values of his mixes. He not just spins traditional global rhythms, but like artists like Sorry Bamba or Bajafondo, Kyle can mix together modern musical elements like jazz, funk, soul, or rock into ethnic and traditional music that keeps things that he does vibrant.

We caught up with Long to tell ZapTown what he has planned for the Broad Ripple Music Fest and what Cultural Cannibals has been up to.

Links:

Official Site – http://www.culturalcannibals.com/
Kyle Long’s DJ Mix on ZapTown’s “The MixDown”: http://www.zaptownmag.com/2010/10/dj-kyle-long
Broad Ripple Music Fest Full Schedule: http://www.broadripplemusicfest.com/schedule

Cultural Cannibals from Emmanuel Cervantes on Vimeo.

Other Cultural Cannibals videos:

http://vimeo.com/4775729
http://vimeo.com/17418391
http://vimeo.com/22321851

How did you feel when you were selected for the BRMF Kickoff show and what are your thoughts being paired up with musicians like Vess Ruthenberg and Kate Lamont? How do you feel you will fit in to the line up and the mood of the night?

I was very humbled.  I’m a fan of both Kate Lamont and Vess Ruthenberg. I grew up listening to Vess’ work in the bands Antenna and United States Three, and I think Kate is a tremendously gifted performer. So I was completely humbled to be part of that line up.

Overall, I’m just excited to have the opportunity to introduce the Cultural Cannibals sound to a new venue and a new audience. Typically the Vogue doesn’t feature the type of music I work with, so maybe this is a small step towards making that happen.

In regard to fitting in with the mood of the night, I’ll definitely be going for a more organic sound to compliment the music of Kate & Vess. People who only know me for playing Indian or Brazilian music might find it to be an odd fit, but the core of my sound is built around jazz, soul and hip-hop. So it’s no trouble for me to integrate myself into the mood of the show.

With such a vast array of musical styles you can pull from, what can we expect for your BRMF performance?

You can expect to hear the Cultural Cannibals sound in full effect – Nirvana mixed with Nigerian Afrobeat, James Brown blended with Colombian cumbia rhythms – you can expect to hear the funkiest music in the world, from Ethiopia to Brazil.

What you do as a DJ puts you in a unique position here in the city. One of the highlights I think that makes you a respectable DJ in the Indy scene is how well you listen and observe and how you can adapt to any situation and performance space and make it work. Is this a conscious effort for you and how do you plan to mold your style to a venue like The Vogue?

It’s definitely a conscious effort, I put a great deal of thought into what I play and I do adapt elements of my sound to accommodate specific venues and events. However, I never compromise the essence of my work of to pander to the taste of an audience. Although the Vogue is known as a venue for pop music, I definitely won’t be playing pop songs.

My sets are usually about 90% improvised, I don’t prepare detailed set lists. So I’ll just feed off the energy and mood of the audience and try to find the balance between introducing new sounds and communicating in a familiar musical language.

What does an event like the BRMF mean to you and to the enrichment of arts in the city?

BRMF is great, it brings together so many important artists in our scene and represents an impressive variety of styles and genres – all in one night. It provides the public with a convenient opportunity to get familiar with the music community here.

Although I totally support BRMF and it’s mission, I’d like to see it grow to encompass more musical variety. For instance, Latin music has a big presence in Broad Ripple and there are multiple weekly Latin events in that area – yet there’s no representation of Latin music on the BRMF schedule.

I don’t blame BRMF though, I think it’s part of a larger trend in the U.S. where Latino culture is either completely ignored or written off – despite the fact that Latinos represent a huge percentage of our population. Again, I hope my participation is a small step toward rectifying this.

How do you feel Cultural Cannibals fits in to the ideology of the BRMF and the city?

Haha, I don’t feel we fit in at all. I can only say that I would like to have a subversive influence on the ideology and culture of Indianapolis. So much of what we do is about representing lesser known or even disenfranchised cultures, so in that sense we will always be in opposition with the mainstream ideology.

But we do have a large audience and we find a lot of support here, so there’s clearly a rising tide of dissatisfaction with the mainstream culture and I hope that tide continues to swell.

Floating amongst the Indy scene, tell us some of the things Cultural Cannibals is up to these days?

Some of our regularly occurring Cultural Cannibals events have been on hiatus for the last couple months as both Artur and I have been busy working on individual projects.

Lately my schedule has been heavily booked with private events, but I have had the chance to play at some amazing events this year like Oranje and Lotus Fest. I was also honored to play at the opening of the Thornton Dial exhibit at the Indianapolis Museum of Art. I’m a huge fan of Dial’s work, so it was an amazing experience playing for him.

Artur has been busy working on some big commissions, one of them will be popping up soon. It’s a gigantic mural and it will be installed directly across the street from Lucas Oil Stadium in Downtown Indy. It’s an incredible visual representation of the Cultural Cannibals style. I think people will really dig it, and I’m excited to see it make its debut in time for the Super Bowl.

For some, Friday night may be their first impression of what Cultural Cannibals has to offer. What can you say to these people to help educate them about CC?

Whatever they may hear me playing at The Vogue on Friday night is just a brief sample of what I do. I would just ask that they listen with an open mind and if they like what they hear check out one of our events like Bollywood Bhangra or Tribute to Fela.

What are some of the showcases or bands you are looking forward to checking out Saturday?

The Connor’s Pub event looks good and I’m a fan of Slothpop, so I’ll probably check that out.

Why do you think people should attend the BRMF?

We have to support culture or it will disappear, it’s that simple. There’s been some great artists coming up in Indy over the last couple years, Alpha Live, Scott Matelic, We Are Hex, Burnt Ones etc. If these artists don’t find support here, they’ll move on to bigger and better opportunities. So if you love music and the arts, it’s crucial to support events like BRMF.

What do you have planned for Cultural Cannibals in 2012?

We’re focusing on spreading Cultural Cannibals internationally. Our clothing line has helped us do that, as we’ve received support from Seu Jorge in Brazil and DJ Vadim in the U.K. But we’re looking to branch out with our events, I’ve received invitations to play in Mexico and Brazil and hopefully that will happen in 2012.

I also want to continue to introduce new musical styles into the Indianapolis scene. This year I had the opportunity to work with Haitian and Afghan music (among others), and I plan to continue to experiment with new forms of music in 2012.