Link:
ZapTown review of Cass McCombs’ Wit’s End: http://www.zaptownmag.com/2011/05/cass-mccombs-wits-end-domino
Official Site: http://cassmccombs.com/

Cass McCombs has always been an elusive person in my eyes. I have molded him into a mysterious figure who floats in and out of existence whenever he churns out a new album. Like those of legend, you only get whiff of the exceptional talent he puts to recording with very little thought on the man himself. Who is he? Why does create and what fuels it? An Elvis Costello of the new age, you can imagine my reaction when I heard that McCombs was going to visit Indianapolis as a stop on an extensive U.S. tour July 24, at the White Rabbit Cabaret. It was like seeing a ghost.

While shocked that we have the opportunity to witness the flesh of this superb singer/songwriter, the anticipation and butterflies quickly followed, knowing that we are about to witness something rare and unique. We are about to experience Cass McCombs live.

A man who seems every bit as enigmatic and complicated as he visually presents, his latest album Wit’s End (Domino) is an amazing and beautiful work that deserves to be listened to and experienced in the purist context of music appreciation. And when the music speaks for itself, that is as important as it gets.

I had the opportunity to interview McCombs in 2005, surrounding his debut full length PREfection. After several scheduling roundabouts, I finally had my chance only to find out that he began refusing interviews for personal reasons. Psyched up from this surprisingly amazing debut album, the dream died, and I walked away subtly disappointed. But then I began thinking about it, and now that I look back on the missed opportunity, I’m glad I did not interview Cass McCombs.

Why?

When you look at PREfection, and the glowingly receptive Dropping The Writ on to the current release, you begin to think that it is impossible to make any interview do his career justice. The music says it all and what you make of his music is what you make of McCombs.

And not that I couldn’t have taken other opportunities to establish an interview as I feel sure that there will also be future opportunities. McCombs has plenty of prodding. Look online. There are interviews and articles searchable, but most dated, eventually proclaim the same, branding the guy as a “mystery man.” Maybe he wants it that way. And maybe I have the music giving me the answers I seek.

This July, when I peer out amongst the crowd and McCombs is on stage, I may have to blink twice because I will not believe me eyes that we actually have the chance to see this rare and extremely talented musician perform for our city. But I will be every bit as happy and excited to hear these songs that have become a staple in my music collection being played live.

Link: http://www.midlandathome.com/

1. Sunchase – Keyring
2. Bop – Skeptikos
3. Ultracode – Santa Cloud
4. Liquilade – Oneironaut
5. Bulb – Mental Universe
6. Format None – Lullaby
7. Synkro – In Transit
8. Subwave & Stop Thinking – Plastic Heart
9. Alix Perez – 1984
10. Dissident – Evolution Leaps Forward
11. Stray – Timbre
12. Asc – Focus Inwards
13. Ultracode & Stereotype – More More
14. Ultracode & Kor – Dear Deer
15. Ultracode – Manoo
16, Nuage – Diaries of the World Exchange
17. D.Bridge – Detuned Heart
18. Muted – Terror
19. D.Bridge, Instra:mental & Skream – Acacia Avenue
20. Sunchase – Away from Here
21. Ultracode & Stereotype – Touch the Pain
22. Bop – Tears of a Lonely Metaphysician
23. Getz & Nuage – Her Dreams Her Fears
24. Digital – Weatherman
25. Loxy – Gabriel Gray
26. Calibre – Acid Hands
27. Genotype – Dub Drive
28. Sabre ft Alix Perez – Javelin
29. CJ Weaver – 6,000 Degrees
30. Escher – Minimal Bounce
31. Calibre – Steptoe
32. Genotype – Dubwiser
33. Mixmaster D.O.C. – Gangsta Down
34. Calibre – Thirst Dub
35. Genotype – Red Energy
36. Morphy – Warren Dub
37. S.T. Files – Crackden
38. Friske & Re:sound – Kill at Will
39. Instra:mental – Watching You

-G-
FMRL/dnbradio.com

A sucker for nuance & subtlety, -G- has spent the past fifteen years trainspotting & compiling a massive mental archive of the best music of our time. Focusing on break beats & eclectic electronic music, -G- often explores deep sonic terrains that other DJs ignore. Dance floor savvy yet high-brow enough to keep the audiophile’s head bobbin’; -G- takes the listener to a level untouched by most yet craved by all. A co-founder of the Indy weekly Juxtapoze, -G-’s dedication to being an ambassador of underground sounds is apparent. His “FMRL-FM” side-project every sunday night on www.dnbradio.com is further evidence of his dedication to the dj craft. Whether in the studio or in the club, rest assured, -G- will always rinse the diverse spectrum of electronic music onto the masses.

-G- Talks about his Mix for ZapTown

Drum & Bass has always been geared towards audiophiles and breakbeat junkies, this much is true. After 20 years of evolution and exposure to the mainstream via raves, MTV, advertisements,etc.,most forget that Drum & Bass is a genuine art form as opposed to its popular dance-floor incarnations.

Considering the advent of dubstep, future-garage and U.K. bass-music has focused the attention of electronic music fans into the realms of 70-140 bpm, it’s no surprise the best that drum & bass has to offer is nowadays overlooked. The prescription for this amnesia is of course best administered by the DJ…and more often than not your average drum & bass DJ is dialed in to what’s moving the dance floor rather than the progressive contemporary sounds in this mix. This unfortunately leaves you, the listener, in the dark.
The dancefloor is not the audience I had in mind while crafting this 105 minute clinic of contemporary drum & bass. This mix is for those who appreciate the cerebral sounds most DJ’s ignore in exchange for high-energy fist-pumping anthems. If you like your breakbeats fast, dark, atmospheric & dubby with a touch of IDM then look no further…and embark on a cosmic mind-trip through “Synaesthetics in -G- Minor”.

Neon Love Life

Vanity Theft

For November’s First Friday in Fountain Square, I headed out to longtime hot spot Radio Radio to photograph one of my very favorite local bands, Tonos Triad. I was pretty stoked. They were having a CD Release show for their latest album Typewriters And Tarantulas. They ran through every song from the new release, as well as their good ‘ol “oldies.”

(Turn It Up! Photo by Benjamin Swisher.)

This recap is a result of the valiant efforts of the following ZapTown staff: Andrew Duncan, Kimberly Duncan, Benjamin Swisher, Rachel Rubenstein, and Sutiweyu Sandoval.

Introduction by Andrew Duncan

Link: http://www.broadripplemusicfest.com/

It is quickly becoming commonplace to associate October in the city with The Broad Ripple Music Fest.”. What was once a novelty in the Northside neighborhood has now become tradition. For 2010, the festival was bigger and bolder than year’s past. From the opening Kickoff Party with Margot And The Nuclear So And Sos to a day and night filled with over 100 musicians and 15 venues opening their doors.

“I felt great about the turnout and overall vibe this year,” said Daniel Fahrner, festival organizer.  “We saw a 30% increase in attendance and all of the feedback we’ve gotten has been great.  Obviously there were still some low points, but we’re very encouraged for the future of this event after such an amazing 2010.

“Some of the highlights really pushed the envelope compared to past years: an incredibly beautiful backdrop at the Indianapolis Art Center stage, an epic outdoor party at Connor’s Pub with roughly 20 bands, a wall-to-wall crowd for We Are Hex and Andy D at Casba and let’s not forget a nearly sold-out kickoff at the Vogue on Friday night.”

With a percentage of ticket sales going to Keep Indianapolis Beautiful and an enrichment of music and culture to the city, you cannot help but take notice to something of this caliber. It’s one weekend out of the year that will only grow and become more powerful. But that can only happen with further community involvement and more people coming out to help support the local music.

“More venues and promoters stepping into the fold will make this event grow next year,” Fahrner said. “Ultimately, we don’t have enough space for the amount of showcases we’d like to.  We’ll continue to grow, but we certainly need new venues and promoters to get involved to reach the potential of this event.”

For now, Indianapolis has something that is unique and special in its own massive sense. It’s something we can look back and say that we were there. This is our scene.

(Quick Said The Bird @ The Indianapolis Art Center. Photo by Kimberly Duncan.)

(Oreo Jones @ Savvy Salon. Photo by Benjamin Swisher.)

(We Are Hex @ The Casba. Photo by Rachel Rubenstein.)

(Smedley Jergins & His Orchestra @ Luna. Photo by Benjamin Swisher.)

(Mudkids @ Savvy Salon. Photo by Kimberly Duncan.)

(Jackola @ Tru. Photo by Rachel Rubenstein.)

(Rugged Russian Bear @ Wasted Space. Photo by Kimberly Duncan.)

(Deadbeats @ Connor's Pub. Photo by Rachel Rubenstein.)

(Jason Brown @ The Monkey's Tale. Photo by Benjamin Swisher.)

(Wiz Kids @ Savvy Salon. Photo by Kimberly Duncan.)

(The Rocketeers @ Savvy Salon. Photo by Kimberly Duncan.)

(Andy D. @ Casba. Photo by Rachel Rubenstein.)

(Neon Love Life @ Connor's Pub. Photo by Rachel Rubenstein.)

(Hot Foxx @ Connor's Pub. Photo by Benjamin Swisher.)

(Hinks Jones @ Savvy Salon. Photo by Benjamin Swisher.)

ZapTown/Old Soul Entertainment Showcase
Mystikos Quintet | The Right Now | DJ Kyle Long
Words by Sutiweyu Sandoval

I showed up a little early at the Jazz Kitchen so I had enough time to make the rounds and mingle with all the familiar faces. Old Soul Entertainment and Cultural Cannibals are well known for throwing the best dance parties in the city, and I have shown my face many times at events done by both groups.

Aside from the wonderful music, both groups have perks included in their event. With Old Soul, it’s moving around in a group that has a high concentration of creative types from photographers to dancers to musicians. There’s always amazing conversation to be had. Cultural Cannibals parties have a degree of cultural eclecticism which is always a delight in a city with such institutionalized segregation.

This event happened to feature Kyle Long (primary DJ for Cultural Cannibals), but it was more of an Old Soul crowd, albeit a slightly older one than I’m familiar with.

Shortly after I got done casing the place for friends and foes, DJ Kyle Hodges replaces the pleasant Jazz band that had been playing.

Some DJ’s create excitement through the sheer hypeness of their tracks or through turntablist techniques. Kyle Hodges has repeatedly earned my respect above many others through his subtle track selection and detail-oriented mixing. He’s definitely a DJ’s DJ and when he spins Breaks, he’s a Breaker’s DJ. Needless to say, he spun breaks to open up the night that I found to be lovely.

My only real point of contention was apparent early. The seating arrangement was such that tables and chairs covered the vast majority of the dance floor. I’m a dancer so I pay attention to weird details. This was somewhat vexing because the seating was not dense enough to provide chairs for all and yet there were enough attendees that even standing within sight of the stage was a struggle without obstructing the service staff. This in no way diminished the quality of the music but it meant I had to ask a group of ladies (that I didn’t know) if I could sit with them. They were generous enough to say yes.

(Mystikos Quintet. Photo by Kimberly Duncan.)

Mystikos began their set and, to my delight, incorporated “Sleepy” Floyd (a musician’s name if I ever heard one) on drums and Jared Thompson on saxophone. Both musicians are incredibly talented, soulful, and friendly so they were a natural fit. Jared’s addition of the legendary horn part from “Today” by Tom Scott and the California Dreamers was raw business. Possibly my musical highlight of my night.

(Mystikos Quintet. Photo by Kimberly Duncan.)

The one constant throughout the performance was the core of Mystikos: Greg Rode and Kyle Hodges. Now, this is conjecture, but I believe that Kyle cued the songs up with Reason and Greg used his midi-keyboard to play the appropriate sounds for each song. Greg also gave a little background, and a little back story is always nice.

(Mystikos Quintet. Photo by Kimberly Duncan.)

For several songs there were three vocalists that sang in a delightful Neo-soul style. On each song, one would take the lead and the others would back them up. They rotated the lead role from song to song so each one got their time to shine. It worked well since for this performance, Mystikos chose to highlight some of the slower, more chill songs from their catalog. When I realized this, it explained the seating situation a little more clearly.

(Mystikos Quintet. Photo by Benjamin Swisher.)

Another pleasant surprise came in the form of Alpha.Live who is one of Indy’s premier Lyricists. He rhymed over two consecutive tracks, combining both written and improvised lyrics to great effect.

I could make further comment on the set but the fact is that it was a good start for what was essentially a studio creation making the transition into a performance with live instrumentation. I spoke with Kyle after the set and he said that the group is still in the process of rearranging existing tracks and creating new ones to make the integration of live musicians a little more seamless. All of the musicians involved are inspired so I believe that the live show will be something truly spectacular very soon.

(DJ Kyle Long. Photo by Kimberly Duncan.)

Kyle Long hopped on the decks after Mystikos. It sounds weird to say this but Kyle is not known for spinning American music, and he should be. His love of all things funky is evident as he pulls out gems as rare and obscure as local DJ’s that are more famous for their Funk sets. Kyle chose to spin Funk Breaks and they are dear to my heart, so I definitely applaud him for that. Something even cooler was that the musicians from The Right Now were comfortable enough with funk that they were tuning up in time to his tracks and it resulted in a very short but very smooth live/DJ collaboration.

(The Right Now. Photo by Kimberly Duncan.)

The Right Now are no joke. The closest analogy I can think of is that they are to vintage Soul what Sharon Jones and The Dap-Kings are to Funk; a passionate and accurate revival of music that they are clearly passionate about and really dope at playing. The band was extremely tight which makes me think that they either spend an ungodly amount of time on the road or in a rehearsal spot. The way they accentuated each other was amazing. I’m really not even that big a fan of Soul (old or new), but these folks were amazing.

(The Right Now. Photo by Kimberly Duncan.)

Toward the end of their set, they made a point of encouraging the crowd to “Step.” This (to my eyes) is essentially a jazzy form of ballroom dancing which I mainly see when someone starts playing Earth, Wind, and Fire. The thing that most entertained me about this was that the band decided to lead by example so there was some enthusiastic dancing on stage that was replicated on the dance floor (which got maxed out quickly). Sadly, much of the crowd had already left after Mystikos ended, but for those that were left; the leader singer seemed to form a nice bond with. The Right Now was a pleasure both to watch and listen, and I hope they are valued as much in their hometown of Chicago as they were by the crowd that saw them here.

After The Right Now, Kyle Long began his second DJ set of the night and pulled out beats harder than he did the first time. By this point, I had bust out a few moves myself since I could sense the night ending along with my journalistic responsibilities. When he dropped “I Know You Got Soul” by Bobby Byrd, I had to restrain myself from dancing on the ground since that’s one of my anthems.

Overall, it was a great evening, a testament to what’s going right, musically, in the city, as well as what we have to look forward to. It was also a night that perfectly displayed why the Jazz Kitchen is one of the hippest venues in the city.

Bride Of Frankenstein
(1935, 35 mm)
The Toby, Indianapolis
Museum Of Art
Friday, October 29, 2010 – 7 p.m.
Public: $9 IMA Member: $5

Link: http://www.imamuseum.org/toby/films

On Friday, October 29, forget any haunted houses, forget running to the store to pick up the last minute supply of candy, the true gem to kick off the Halloween weekend will be the Indianapolis Museum of Art’s showing of Bride Of Frankenstein.

Tucked inside The Toby, you know you will be getting the best professional quality (the film will be shown in 35 mm) to experience one of the greatest horror classics the way it should be seen.

I grew up with this film as a constant Halloween staple and a catalyst to a further appreciation of classic film making, remembering Bride Of Frankenstein more so than I do its original. However, I remember the story of Frankenstein better, based on Aeschylus’ Prometheus Bound.“The Guardian” ranks it as the number 18 best horror film of all time (http://www.guardian.co.uk/film/2010/oct/22/bride-frankenstein) while Roger Ebert describes the film is as “a sly, subersive work that smuggled shocking material past the censors by disguising it in the trappings of horror” (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19990103/REVIEWS08/401010307/1023).

Where Frankenstein’s censors lit their torches over the scene where the Monster throws a little girl in a lake and accidentally drowns her, the censorship of Bride was more widespread through the film’s script, showing a greater sense of edginess to moral and social standards. Objections were made of the glorification of Gods and Monsters (in one scene Henry Frankenstein was compared to God and another, the Monster stumbles through a graveyard to a crucifixion of Jesus and tries to save the figure from the cross). Indecent exposure also played its mark when censors thought that Elsa Lancaster — playing Mary Shelley — had too much of her breasts visible for film audiences to handle.

In the introduction to John William Polidori’s The Vampyre (2001/1819, “Revolution and Romanticism, 1789-1834, Woodstock Facsimile, Woodstock Books), Polidori was hanging out with Lord Byron, Shelley, and Mary Goodwin at the Villa Diodati near Geneva. Byron suggested that each person write a ghost story while there to pass the time. As this backdrop became the early visions of Dracula, it also became the surroundings for the storyline of Frankenstein.

In a sense, this is how the movie begins, except showing Percy Bysshe Shelley and Lord Byron praising Shelley for the results of her Frankenstein story. It gives meaning to the classic, “it was a dark and stormy night.” Shelley then unintentionally dares the viewer to come a little closer by saying there is more of the story to tell. We become the kid at the campfire fearfully wanting to know more. That is when we return back to the European village where people are gathered around, celebrating the death of the Monster and Henry Frankenstein, only to be found later by his fiancee Elizabeth to still be alive. Frankenstein heals and remains addicted to the God-like, mad scientist that will consume him until his death.

The iconic moment of the film is the unveiling of The Bride. A subtle groan and the bandage ripped from her face, you see what feels like Elsa Lancaster staring into your soul for an eternity as Frankenstein once again remarks “She’s alive! Alive!”

On Friday night, we will once again watch the Bride that frightened early 20th Century cinema-goers come alive with horror and delight.

Each month ZapTown highlights DJs from around Indiana to bring you not only exclusive mixes to showcase each DJ’s unique talent and identity, but to provide you with a proper resource and guide on each individual DJ. This month, we celebrate the work of DJ Kyle Long, someone who has always been in tune with the essence and soul of this city. The person behind the decks for Bollywood Bhangra, Brazilian Night, and more (see the bottom of this article for upcoming events), Long is not afraid to combine a broad spectrum of International culture with the contemporary and the classics, a true artist worth getting to know be it in person or on the dance floor.

Link: http://culturalcannibals.blogspot.com/

Exclusive ZapTown Mixdown: Kyle Long (29:18)

What is it that first attracted you to world music? Tell me about 
your music collection? What are some of your personal gems and why do
 you consider them essential?

I’m happy to address the question, but first I have to say I’m not really into the term world music.  At best, I think it’s meaningless – how can this one word adequately represent the output of a classical Indonesian Gamelan ensemble, the mystic sufi chants of Qawwali singer Nusrat Fateh Ali Khan and the pop-tripe of Ricky Martin? At worst I think it’s divisive and dismissive in the way it implies that artistic creations outside of the Western-European tradition are inherently different.

Around the age of 16, I randomly picked up a recording of Tito Puente’s mid 1950′s work on the RCA label. I was expecting to hear some cheesey lounge music, but as soon as I dropped the needle I was blown away. The music was raw and brutal. Puente was beating the drums with a violent fury while the band played dark, tense, abstract arrangements… somehow it was both visceral and cerebral simultaneously. To my surprise, it was every bit as intense as the Public Enemy and Black Flag records I had grown up listening to.

After that experience, I began obsessively searching for new sounds and new rhythms… I would soon find out about artists like Jorge Ben, Fela, Serge Gainsbourg, Erkin Koray, Os Mutantes, King Tubby, Sun Ra, Kraftwerk, Ananda Shankar, Mulatu Astatke etc. This search for new sounds is what fuels my work as a DJ today, to paraphrase Afrika Bambaataa I’m “Looking for the Perfect Beat”. That’s why for me it makes perfect sense to mix Benga and Flying Lotus with Amadou et Mariam and Congotronics, these are all artists trying to expand the boundaries of rhythm oriented music.

My music collection, both digital and vinyl is out of control. My house is totally overrun with records and I own half a dozen large hard drives filled to capacity with mp3 and wav files. There’s a little bit of everything in my vinyl collection, if I were to point out some highlights I would mention my massive collection of Indian LP’s – 100′s of Bollywood film soundtracks and Punjabi folk LP’s. I would also point out my collection of Peruvian music, I seriously collected Afro-Peruvian LP’s for awhile and have some rarities by artists like Peru Negro and Nicomedes Santa Cruz. I also have some great Peruvian psych and funk LP’s. As for my digital collection a standout area would be my library of Arabic music, I’ve got a deep assortment of tracks from Iraq and Saudi Arabia to Algeria and Tunisia.

I have many gems in my collection, but some of my favorites are the local Indianapolis records I’ve collected: The Rhythm Machine, Wooden Glass, The Highlighters, Uncle Funkenstein, The Zero Boys, Sir Winston and the Commons etc. I consider them essential because I believe it’s important to preserve local culture and history to pass on to future generations.

When did you decide to become a DJ and what kind of music were you
 first spinning? How did that transcend to what you do now?

I never intended to become a DJ. A friend (thanks Marco Spada) pushed me to do it. In the back of my head it was always something I considered, but  I didn’t think I had the talent for it. I would watch someone with crazy skills like DJ Topspeed and get discouraged real fast. My friend Marco convinced me that because of my interest and knowledge in music, I had basically been preparing to be a DJ my whole life. I gave it a shot and after my first performance I was offered a chance to play a show with the legendary tabla player Badal Roy. At that point I decided that it was something I wanted to pursue seriously. That was roughly three years ago and I’ve been doing it ever since.

Not much has changed since I started out. My formula is still the same, mixing important contemporary records with under-appreciated classics. The records I dropped in my first set are still a big part of my sound: Fela – Zombie, Harlem Youth Percussion Group – Welcome to the Party, Fernando Gelbard – Alevacolariea, Jorge Ben – Umbabarauma etc. It’s always been about picking tunes with big rhythms and bringing people together on the dancefloor.

Listening to you perform, thanks to the world music style, you are
 able to throw in unique elements and beats within your DJ set that you
 may not be able to or be as flexible with other styles of electronic
 music. How do you view that?

Every artist sets their own limitations and I choose not to restrict myself to working with one style or genre. I think it has more to do with the DJ’s imagination and creativity than the limits of a particular electronic music style. One of my favorite DJs is Henrik Schwarz. I’ve seen Henrik categorized as a Techno DJ, but if you listen to his sets he’s mixing in James Brown, D’Angelo, Pharoah Sanders and traditional African music. I could point to many other electronic music DJs who do the same, from Laurent Garnier to Diplo. Artists should never accept the boundaries of style or genre, they should smash them to pieces.

What place does Indianapolis have in the world music market and 
what potential does it have for the future? How do you feel about your
 place within that framework?

Unfortunately, Indianapolis currently has no place in that market. Major international artists rarely play in Indy and aside from occasional events and performances in the local immigrant communities there is nothing happening on that front. Hopefully the events that I’m currently doing are contributing towards building an audience for that type of entertainment here in the future. Judging from the success of these events, there is a growing audience for new sounds in Indianapolis.

Let’s talk about your work with Cultural Cannibals, what it is and
 your collaboration with Artur Silva?

Cultural Cannibals takes many shapes, but first and foremost it is a clothing line established by Artur Silva and myself. It’s an extension of Artur’s work as a visual artist and my work in music. We’re fusing these two worlds together through fashion, creating designs that celebrate the underground cultures that have inspired us.

Cultural Cannibals is also an event production company. All the parties I do, from Bollywood to Brazilian are a product of Cultural Cannibals.

Ultimately, Cultural Cannibals is an attempt to create positive social change through art and culture. Traditionally Indiana has been very conservative and isolationist-minded. We are seeking to challenge that mentality by injecting our cosmopolitan, cannibalistic blend of ideas, images and music into the local scene.

You can find our clothing stocked all over the world or you can buy directly from us at www.culturalcannibals.com

Also tell me about the themed nights you present in the city, like
 the Brazilian night for Earth Day and the re-occurring Bollywood 
Bhangra and how all of that came about?

It came from my desire to fill certain voids I saw in Indianapolis. I found it shocking that there were no established club nights for Brazilian or Indian music here. I grew tired of waiting for someone else to make it happen, so I decided to try it myself. It started on a very modest scale, just me and a couple friends, but it has grown quickly. One of our recent Brazilian events attracted over 500 people and our Bollywood Bhangra event has been getting a lot of attention, Nuvo just called it the best dance party in Indianapolis.

We’re hoping to make these events grow even larger and introduce more people to these incredible cultures. We’re also planning on introducing new themes as well, like Afrobeat, Balkan music and Ethiopian Soul.

What does it mean to be a DJ and what does this city mean to you in
 that retrospect?

To me the role of a DJ is multifaceted. Ultimately the point is to get asses shaking. It should be taken for granted that the DJ can and will make that happen. Beyond that is where the measure of a DJ’s skill begins. In the process of making asses shake, a good DJ should be able to educate a crowd, steer them toward new unfamiliar sounds and ultimately uplift their spirit and expand their consciousness.

There’s a popular school of thought that suggests that dance music can’t be intellectual, and that music in general should avoid social or political commentary. I completely disagree with that. In my opinion much of the best dance music is intelligent, for example Marvin Gaye, Bob Marley, James Brown and M.I.A. There’s so much injustice in the world today, from the unfair immigration bill in Arizona to the war in Iraq. As a DJ, I want the music I play to comment on important issues and inspire people to resist oppression.

What does this city mean to me as a DJ? This city has had a huge influence on me. That’s why I find it amusing to be labeled with the tag “World Music”. So much of what I play was inspired by my experiences right here in this community: the cassette tapes I used to buy at the Pakistani grocery store on Lafayette Rd.; the songs I heard the Ethiopian cabbies jamming to Downtown; DJ Topspeed’s mixes on 96.3; the Hardcore Punk shows I saw at the Sitcom on College Ave.; DJ Danger at the Casbah; the tremendous legacy of Indianapolis Jazz music. I feel my style is an honest and accurate reflection of the culture of Indianapolis, not an exotic novelty.

How can we as a community be more aware of our electronic
 surroundings and how can we branch out more so beyond the traditional 
club sounds we are accustomed to?

You only need to keep an open mind and be willing to support artists who are doing something different. Support is the key, particularly in a small community like Indianapolis. Top 40 will always sell and if club owners don’t see a profit booking electronic music and other niche styles, they will stick with top 40.

With all of this said, of course, whenever I think of Kyle Long,
 world music is synonymous. Do you find limitations in that trapping or
 are you happy with your place in the Indy electronic paradigm? What
 would you like to accomplish from that?

Again, I don’t consider what I do “World Music”, but I am aware that the label is attached to me and I do find it restricting. I sometimes feel like a pariah among the DJ community here. Aside from a few exceptions (Yaz, Salad Bar & Metrogmone), I never see DJ’s at my events and I’m never invited to participate at club nights or shows organized by other DJ’s… despite the fact that my events regularly attract 200-300 attendees and receive good reviews in the local press. Maybe they think I’m gonna show up and play field recordings of Albanian folk dances. In reality, I can modify what I do to fit into a variety of situations, from hip-hop to house.

I would love to have an opportunity to play more with other local DJ’s. To have the chance to influence them and be influenced by what they’re doing… that’s how culture grows.

What’s going on? Future plans? Certain shows that we should attend?

I have some events coming up in Chicago and the West Coast, but here’s a rundown of my Indianapolis happenings. I’ll be playing along with DJ Roberto Carlos Lange at the opening of the Indianapolis Art Museum’s Art & Nature Park on June 19 & 20. I’ll be at Installation Nation on June 4. Brazilian Night at the Jazz Kitchen June 5. A Tribute to Fela July 10 at Urban Element. Balkan Beats & Gypsy Heat July 17 at the White Rabbit. Bollywood Bhangra June 26 at the Jazz Kitchen. Check out www.culturalcannibals.com for more details and up to date information.

Each month ZapTown highlights DJs from around Indiana to bring you not only exclusive mixes to showcase each DJ’s unique talent and identity, but to provide you with a proper resource and guide on each individual DJ. This month, we celebrate the work of DJ Deanne.

Link: www.djdeanne.com

Listen to an exclusive ZapTown Mixdown by DJ Deanne (58:17)

How did you get started doing DJ work and what motivated you to learn the craft? What influenced you to get into the type of style and sound you currently DJ? How did that transcend into your life and become a part of who you are?

I have two Bachelors degrees in Finance and Sports Medicine under my belt. My short career in the banking/finance industry was long enough for me to know that’s not where I wanted to be.  I came out, got divorced and moved to Florida back in ’96. I started going to clubs and hearing music and seeing all kinds of things that I had never heard or seen in my life. Remixes, to anything, were like crack to me. This was in the days of Napster and Audiogalaxy and my 56K modem and I would download endlessly. I had built a pretty healthy library while in Florida and I couldn’t get enough new music. I started going to school again and transferred to IU to pursue a degree in Sports Med. When I moved to Indiana I had all this music and made friends with guys who were successful DJs in the city. They introduced me to DJ’ing as an outlet and a more hands-on, personally creative way to listen to my and their music. I bought my first vinyl in 2000 and started practicing at a small little gay bar in Bloomington where I was bartending. I got my first set of turntables as a gift and bought the rest of the equipment that I would need to get started. I found that I had a talent and it kind of turned into an obsession. I started DJ’ing the Monday night drag shows and couldn’t wait for the queens to be finished so that I had the last hour or two to really play. I made a few key connections and was able to play a Pride Festival Tea Dance at Talbott Street. The only people that were there were my 30 friends or so. But what I felt in that big room with the lights, the big sound, the shirtless dancing boys and the fear and exhilaration of playing was enough to seal the deal for me. I had to make a decision between grad school and the chance to maybe play again sometime in the future. I didn’t choose grad school. I just kept practicing and practicing. The residency came and my life as a DJ really began. My sound was influenced at first by what was being played in the gay clubs in the late 90′s – alot of anthems, big remixed vocal tracks with dramatic breaks, and a hard circuit sound that was perfect for the party kids. I still love a little drama, a good vocal and I’m a sucker for a break and a build. But, over the years my taste has evolved. I love the energy of the gay/circuit sound but I prefer music with more variety and depth, fewer screaming divas, and a more sophisticated sound that reaches out to and beyond the gay scene.

How has this city influenced you and your work?

Indianapolis is an interesting and challenging city to spin for and I, myself, wear two fairly different hats.  On the one hand, my initial and continued success has come from playing to a mostly gay audience that likes primarily commercial, vocally driven tracks. Over the past two years, however, I have been more involved with the local EDM scene outside of the gay clubs where there is a greater appreciation for a more underground sound that I have always found myself more connected to.  The challenge for me is to blur the lines between the scenes and appeal to the audience in a way that keeps the dance floor moving, opens ears and minds to new sounds, satisfies the artist in me and, more importantly, the music lover on the dance floor. Sometimes it works. Sometimes it doesn’t. That’s hard to take at times because I want every party to be off the hook, but I haven’t stopped trying to do what I do how I do it. This city pushes me harder to be unique, a dance floor sociologist, and a stronger, more confident artist.

You have been trying to create a more international presence with your work. How are you making that happen?

I have been focusing on that. I tell you it takes a lot of patience and hard work and sometimes the right connection to break out. I was recently picked up by Give Me a Beat Productions, Inc. out of Miami and I am looking forward to more opportunities to come with that relationship. I have begun producing my own work and working on remixes and I’m excited about seeing how my individual sound will develop. But always, my main focus is to continue to put forth  all my energy and my best work every time I hit the stage, produce one of my shows or record a new promo. I’m my best advertisement.

What trial and errors did you encounter while developing your style? How did you know that this is the sound that was right for you?

Hell, every time you play it’s trial and error. Some tracks work and some don’t. A track can drive the floor crazy one night and send them straight to the bar on another. It’s a thinking girl’s craft when you play live and the errors can really mess with your head if you let them.  Knowing your audience, your music and when to drop each track is key. That’s the dance floor sociology I referred to earlier.  The thing that has been most instrumental (at least early in my career) in the development of my sound and my confidence in it are my weekly mixshows. I have been recording a 2-hour show in my home studio every week for the past 6 or 7 years to an audience of one. When you construct a set and you don’t have the pressure of killing a dance floor it eliminates a lot of pressure. Listening to the playback, you can hear technical errors and evaluate the strength of the set. I’m my own worst critic and it’s helped me to fine-tune elements of my performances, to be a better technician and to tell a better story.  I have also used the opportunity to break in new music and develop my own unique sound that really speaks to how I feel in that moment. I don’t like to sound like anyone else, never have and never will. That philosophy has been well received and I have created a national fan-base as a result. I have just translated the production freedom and the formula of that show to sets from 1-8 hours long, for gay or straight audiences, in big rooms or smoky dive bars from here to Miami. Fortunately, it’s worked so far.

Why become a DJ? What gives you the most satisfaction when DJ’ing?

When I started DJ’ing, I didn’t really think that it would really click like it has and that this is what I would be doing. Though I have always loved music, I didn’t use to dream about this as a kid or anything like that.

Remember, I was a late bloomer to the club scene so all of it was so foreign to me until my late 20′s. I entered the game kind of late after I had lived a little bit of a party lifestyle, so I can’t say I got into it to live the rock star life. I just realized it’s really what makes me happy and being successful at this has turned into my dream. I thrive off the interaction, connection and communication with the audience. My job, if you can call it that sometimes, is to play great music that people dance to, to help them forget about all the other crap that’s going on in their life for a few hours and just have fun. That, in and of itself, is very satisfying to me and why I do it. I love sweaty bodies, smiling faces, hands in the air and screams of joy. Let’s face it, like any other DJ, I kind of like the attention, too. But the art and skill of the job, to me, lies in accomplishing all those things by weaving the the perfect connective thread throughout a set – it’s construction, the story. And when I see people get that – appreciate that -  whether it’s a look in their eye, a nod toward the booth, a different groove in their dance step or a direct word from them to me, that’s what really turns me on.

What are your guilty pleasures?

In life…pasta, mushy love stories and Grand Marnier. Musically… Grease 2 (sickening, I know) or any other ridiculous movie musical from the ’80s and ’90s, private unreleased promo tracks, lasers and percussion.

You have performed with a live drummer/percussionist on stage before. How did that work out for you and what did it bring to the stage not only with your impression but the crowd reaction? Are there other unique things you have tried in the past, and any specific plans in the future you might be experimenting with?

Every two or three months Joe Melton joins me on stage at Talbott Street. We have an amazing time together. We never coordinate the set. It’s totally spontaneous and off the cuff. I never plan a set anyway, but he has absolutely no idea what’s coming next. We have built a relationship where he trusts me and the direction that I’m going to take him. In that I love percussion, it’s fun playing a set that is supported and complemented by a live percussionist. Having him there gives me the freedom to go a little harder throughout the entire set than I normally would, too. The audience gets so hyped about having something different there that the energy is off the charts. I can basically play whatever I want and it works. I love it! I have also coordinated production routines with the female impersonators (hot spots), dance groups, live vocalists and performance artists. I’d love to bring in a complete drum line and have them just tear up the stage with a marching band arrangement to a hot tribal house track! I like to keep the crowd entertained and any opportunity to mix it up a bit is fun for everyone.

One thing I think is great about the DJ scene is that there are an outstanding visual presence of exceptional women creating amazing things, as well as men. Growing up in the punk and hardcore scene for me, gender was apparently male dominated. Do you feel that gender and this underlying freedom is important to you, or is it really not something that is as apparent as say the punk scene was? How do you see the role of gender with electronic music in the future and its need of unity for the future of the genre?

Personally, I hate concentrating on the gender aspect of what I do. But, it’s often unavoidable. This industry is male dominated and there is no denying that and, to be honest, it’s more prevalent in the gay scene than any. Many women in that particular scene find themselves fighting the tendency of promoters to lean toward the buff, shirtless, hot, male DJ with questionable or, notably, unoriginal and cookie-cutter talent over exceptional female DJs who have put in so many years of hard work trying to deliver great music. These days it seems anyone with a gym membership, a laptop and a clever marketing strategy can go from go-go dancer or porn star to DJ overnight. It becomes incredibly frustrating to try and get attention when you’re up against something you can’t compete with. The same is true in the straight scene. There is a definite male predominance, but there are also many successful and talented female DJs and the scene seems to be a little more open to women walking through the door. However, there is also an increasing trend in female celebrity and model DJs. They’re hot, they’re barely dressed and they’re hard for a serious jock to listen to. But, they’re getting booked. Is that really helping to create unity or not? It’s hard to say. I have my strong opinions on “DJs” getting gigs for their shtick and not their talent, whether they be male, female or extra-terrestrial. At least in our local EDM scene so many of the promoters are willing to feature DJs that cross all divides, whether they are white or black, gay or straight or male or female. It really is about offering great music to the city. I’m a DJ who is also a girl. I’m not selling sex, I’m just trying to peddle my beats.

Tell me about what you are doing now and some of the important highlights for you that happened in the last year?

You know I have my monthly party, Ascension, at Talbott Street on the first Saturday and the party is still going strong after 5 years. My monthly open deck project, The Side Room at Talbott Street, is getting good reviews and uncovering some fresh talent in the city. That goes down on the last Friday of every month. I still have my weekly mixshows on PartyRadioUSA.net and GayInternetRadioLive.com. I have been really busy in the past 6-9 months playing a lot of the local parties that are coming up, like Jackola’s High Five and Fwd:Indy, Taylor Norris’ Get Down at the Red Room,  and Muzique Boutique’s Keeping It Deep to name a few. Playing some of the big shows in the city with Paul Van Dyk, Donald Glaude and Collette were fun. Getting representation was a big deal and that has resulted in more gigs already. I just got back from Miami and I’m going again in May. It’s going to be a busy summer with lots of things going on around Pride and hopefully a new monthly event will be beginning, as well.

What are your plans for 2010 and what do you want to accomplish in the future as a DJ?

I have a little business venture in the conceptual stage right now that I look to have up and running later in the year. I, obviously, want to play outside of Indy more. That’s my main focus. Whatever I have to do to get out there and jam, I’m going to do. I want to produce, remix & create. You can’t be a DJ forever, but you can make music until you die.

Who do you side with? Team beehive or Team energy dome? Which ever you represent, come on out to Tru Nightclub this Saturday, July 17, for a special Indianapolis appearance of New Wave Night and plan to dance like it was — well — 1984!

What: New Wave Night: B52s Versus Devo plus other New Wave goodness
Where: Tru Nightclub
When: Saturday, July 17, 9 p.m. to the wee hours
How Much: $3

A little bit about New Wave Night and its DJs Mason Williams and Jonny Yuma, but first the dirt:

New Wave Night began with a love for that era of music and all that it had to offer. There is nothing trendy to Mason Williams’ and Jonny Yuma’s record collection, they bring out all the platters and 7 inch collections. Usually located at The Root Cellar in Bloomington, the basement floor gets quite a workout as fans of the event flock to feel the joy and relish in the fun you will have dancing to not just all the songs you once loved, but discover rarities you may have missed or just discovered. There is something for everyone at New Wave Night, and Williams and Yuma will try their hardest to make sure you walk away with your ears and dancing feet satisfied.