“I’m supposed to be the franchise player!”

It was my first time, and with all things late pass related, the prevailing wisdom is that the best days have passed, despite SXSW 2011 being the most attended in all of the event’s 25 years. Assessments of shark jumping are usually based on the indie spirit giving way to mainstream tastes and corporate control. Or in the words of the homie Phonte:

I can dig it. Kanye threw a massive, “secret” concert on Chevrolet’s dime, Pepsi turned an entire city block into a brand awareness playground and I drank gallons of free Miller Lite. But there were still weirdos who would never have any connection to sponsorship or a record label playing in every nook and cranny of the city. And a festival that started out focused on rock music has gradually been making space for hip-hop as well as DJs and electronica. Regarding how the music game has collapsed changed, the genie can’t go back into the bottle. But if one is looking for a new business model, SXSW may hold some clues.

I also must add that for an event of its size, SXSW was very well run. Being an official showcase artist resulted in some great perks. (thanks, Senari!)

If you’re not familiar with my WMC exploits, SXSW is similar, where one must maintain a breakneck pace to keep up with all the fun to be had and talent to be discovered. Since my rookie status required me to acclimate, I didn’t go as hard as I should have. So this roll call is of Artists I Regret Missing Whom You Should Definitely Support:

The Adrian Younge Black Dynamite Sound Orchestra
Andreya Triana
Belleruche
Chromeo
Matt And Kim
Homeboy Sandman
Los Rakas
Tanya Morgan

As WaPo’s Chris Richards smartly noted:

…in 2011, you don’t go to SXSW to discover your new favorite bands. You go to see if they can do justice to the MP3s you’ve been gorging on all winter.

So I did end up seeing artists I’ve seen before and had long since been stanning for. Missing new folks in order to see Kokayi, Black Milk, Quadron, J*DaVeY and Little Dragon deliver exceptional sets in Austin was worthwhile and scratched my fanboy itch.

But I’d be remiss to travel all the way to Texas to only see folks I already like. The best experience I had seeing someone for the first time was an intimate, front porch performance by Meklit Hadero at an Ethiopian restaurant in East Austin. Her mix of jazz and folk was the perfect set of nuances and depth to balance out the frenzy of everything else happening during the week.

As noted above, DJ’s are gradually infiltrating SXSW. I didn’t get to check out nearly as many as I would have liked, which meant not enough dancing to balance out standing around and watching shows. DJ Jaycee‘s set at the Two Sevens Clash really stuck out for me. I missed DJ Nu-Mark, who was superb from what I heard. But ATL’s own Jaycee told a seamless and funky story with the contents of his 45 case. Very classy, and also my first time seeing him spin.

Also notable was witnessing Cousin Cole, Tameil and Tim Dolla demolish shit at the Baltimore Love Thing. I pretty much abandoned B-more Club once the hipsters latched onto it years ago but observing some masters put it down made me consider re-introducing club to my arsenal.

Other DJ nerd highlights included DJ Yoda‘s live video mixing showcase…

DJ Yoda “Stop Look & Listen” from DJ Yoda on Vimeo.

…and a couple demos from DJ Big Wiz at the Serato booth. Learned a lot very quickly about The Bridge, Video-SL and adding MIDI controllers to your rig from a cat whose chops I’ve been studying for a number of years. I’m proud of myself for not shoplifting that SL4.

As for my actual SXSW gig, it started out slowly with the Sol Power All-Stars rocking to a scarce but appreciative group of early birds, and ended with Nadastrom on some punk rock shit throwing beer, breaking things and setting off mosh pits. In between I was most impressed by DJ Sabo and Toy Selectah. Definitely looking forward to rocking with all those dudes again.

Enter Axel F.

’80s and ’90s have been done as well as disco and soul classics. New Jack Swing hasn’t been done PROPERLY (yet). Golden era hip-hop is done a lot. We love all of those and continue to rock them, but there’s a period that hasn’t been examined.

From roughly 1977 – 1987 (folks tend to debate those dates but there are some clear markers) popular black music transitioned between the disco era and hip-hop’s rise to prominence. There were a lot of synthesizers and some androgynous fashion choices, as well as hair disasters. Some call this stuff “boogie”. We file it under the mantle of champagne soul and jheri curl funk, with some new wave thrown in, because we like stuff like Talking Heads and want to play that too.

Per DJ Jahsonic‘s original concept, Eddie Murphy’s turn in Beverly Hills Cop became Axel F’s muse.

Now we’ll be paying homage to a different ’80s movie every month. February is the debut of Black Kevin Bacon.

Join myself, DJ Jahsonic and DJ Adrian Loving for another sweaty, grooving night of synthed out Reagan era dance classics.

Saturday February 26
9pm
LIV Nightclub
2001 11th Street NW
Washington, DC

We’ve already got four mixes up for you to download in preparation. Here’s a glimpse of last month’s fun.

Download audio file (AxelF_Jan152011_part3.mp3)
[download | right-click (PC) or CTRL-click (Mac) > 'Save As']
[subscribe in iTunes]

Seems like a fitting time to share a rare joint I often reach for when on my Kokayi stannery soapbox.

This live recording of Joni Mitchell’s “Free Man In Paris” features Vinia Mojica and Kokayi, when the latter was touring and recording with Andy Milne.

Yes, that Vinia. The “Saturdays/Verses From the Abstract/Climb” Vinia. The original Native Tongue vocal sweetheart Vinia.

*sigh*

*swoon*

Koke did an album for her that never saw the light of day. I wish I could have caught those rare gigs they did together.

Oh well.

And now, the O.G., because it’s amazeballs. Word to Jaco Pastorius.

loosies by DJStylus

Flashback to Meistro’s b-day at Sol Power a year ago:

We’re not only celebrating the anniversary milestone this Saturday, but we’re welcoming back brother Hermon Farahi on the drums. He’s been gone for months traveling the globe, doing important work for the people and accumulating wisdom. We’re just glad to have him back on the beats.

Afro.Latin.Brazilian.House.Disco.Funk
With your favorite Sol Power All-stars:
Stylus, Meistro, Deep Sang and Hermon on percussion:

Come sweat to the rhythms of Cuba, Brazil, Puerto Rico & West Africa.
…Samba Whistles, Shekeres & Cowbells welcome!

Free before 11, just $5 after, and all beers are just $4 all night.

Saturday, Oct. 2
10 pm – 3 am
Dahlak
1771 U Street NW
Washington, DC

Please get acquainted with our special guest for this Saturday. He’s an old friend, great selector and resident at Philly’s Basement Soul, which is a cousin to Sol Power.

Listen to Lil’ Dave at work!

Live at Basement Soul by lildave

His first solo release also makes babies do a combination of rumba and samba. I think this dance is called ‘sumba’, which should be the name of his second solo release.

Afro.Latin.Brazilian.House.Disco.Funk
With your favorite Sol Power All-stars:
Stylus, Meistro, Deep Sang and special guest:

…Philly’s Lil’ Dave (illVibe Collective)

Come sweat to the rhythms of Cuba, Brazil, Puerto Rico & West Africa.
…Samba Whistles, Shekeres & Cowbells welcome!

Free before 11, just $5 after, and all beers are just $4 all night.

Saturday, Sept. 4
10 pm – 3 am
Dahlak
1771 U Street NW
Washington, DC

A bourgie around-the-way girl intellectual friend who retains a taste for the ‘hood and overthinks music as much as I do passed on an essay deconstructing the popularity of Rick Ross’ “B.M.F. (Blowing Money Fast)” among those who should know better. “But it’s just good, ignorant Negroidian fun,” my friend countered. I can relate, as I’m prone to enjoy a brilliant robbery anthem from time to time, even though I’m no fan of actual robberies. Then I came across an amusing B.M.F. YouTube spoof.

The only thing the original and the parody have in common is they underscored how puzzled I am about the song’s huge appeal.

Yes, I know that you know that I’m no Rozay fan. But in order to slow my descent into fogey-dom, I did give Teflon Don a thorough listen after patently ignoring Rawse’s entire ascent to the top of the rap game. And you know what? There are actually some certified joints. B.M.F. just isn’t one of them.

“Super High” is textbook drop-top music that sounds like DJ Quik at the top of his powers with Dr. Dre‘s Chronic era session personnel. “No. 1″ is what club bangers used to be before the term was rendered toothless by snap music’s anemic spawn. “Maybach Music 3″ is sweepingly cinematic and “Free Mason” displays some conceptual flair. There is occasional decent rapping to be found in all of these songs.

But B.M.F? A tedious dirge at best. The cheesy orchestral synth patch and 808 combo is little more than a tortured droning, but the trend shows no sign of stopping. The verses bore after one rotation. And frankly, after 20 years of rappers adopting the names of every gangster and despot from Pablo Escobar to The Taliban and even Al Qaeda, I think the super criminal nickname swag can be laid to rest.

And the tempo? Can hip-hop get any slower in the 21st century? We’ll have to start measuring it not in BPM’s (beats per minute) but in SPB’s (syllables per bar). I think B.M.F. may average a good 12 SPB at most. Bamma might as well just be doing spoken word. More importantly, how the fuck do you dance to this shit? Would dougie-ing be appropriate?

Maybe I’m just old and don’t understand modern conspicuous consumption, fantasy rap. The simplest explanation is usually the most likely, even though I still love me some conspicuous consumption, fantasy rap.

Told y’all not to miss AudioTRIP. Peep the flicks and the video.

Wednesday, May 5
Refuge featuring Nicholas Ryan Gant
Tabaq Bistro (basement)
1336 U St NW, WDC
9pm – until
21+, no cover

Then join us this Saturday for more Afro.Latin.Brazilian.House.Disco.Funk.

With DJs Stylus, Meistro and Deep Sang and Hermon on percussion.

ALL beers are $4 (including Leffe & Redstripe)

Saturday, May 1
10pm
Dahlak
1771 U St, NW (18th & U)
21 and Over
NO COVER (that means FREE)

Meistro, Stylus, and Deep Sang Live @ SOL POWER (3.2010) Part 1 by Meistro

Meistro, Deep Sang, and DJ Stylus SOL POWER (3.2010) Part 2 by Meistro

What is U Street Music Hall?

It has the most ridiculous sound system in the city. The kind where you’re submerged in the bass without feeling assaulted by it. It is the anti-club (no dress codes, table service, velvet ropes, not even photography). It’s all about DJs and dancers. It has a cork cushioned hardwood dancefloor. It’s owned and managed by DJs and while they do bring in the big names, they give locals prime bookings.

I’m pretty amped about this.

What are Red Fridays?

In 2005, Red closed after nine years of operation. This place was little more than a small basement with giant speakers crammed into it. Awesome things happened there. It was the gravitational center of the city for people who loved their house music deep, banging and transcendent. Sam “The Man” Burns tended his flock there, as well as a fraternity of cats I learned from like Doug “95 North” Smith and Oji. The folks behind U-Hall are programming each night of the week around a theme, and Fridays are the deep house night.

So if want to lose yourself in soulful house, latin house, deep house dubs, disco classics, boogie, broken beat and various hues of uncompromising blacktronica, please join me this Friday. It will mean a lot to play to folks who will really go THERE with me in the only space in the city designed for it.

DJ Stylus at Red Fridays
Friday, April 9
10pm
FREE before 11:30pm, $10 after
U Street Music Hall
1115A U Street NW, Washington DC

The Smithsonian Francophonie festival is turning the National Postal Museum into a dance party. I’ll be opening for Make The Girl Dance. They do an electro-house-rock thing. Obviously, they’re French. I wonder if they’re bringing the jawns from the video.

Don’t know what I’ll do yet. Probably a Sol Power type set mixed with deep big room stuff. Won’t really know until I get there. Should be interesting and there will be quite a contrast. Not my target audience but I like to branch out.

There is an open bar too. And they sold out 800 tickets last year before the doors even opened.

Discothèque
Stylus: 9 – 11pm
Make The Girl Dance: 11pm – 1am
Metro: Union Station
Postal Museum, 2 Massachusetts Ave NE
Tickets: $30 instantseats.com or residentassociates.org

With DJs Stylus, Meistro, Deep Sang and Hermon on live percussion.

Snowpocalypse knocked us off track last month but the forecast for Saturday:
Abundant sunshine. Highs in the low 50s.

January the floor was filled all night grooving to afro beat, salsa, samba and more.

ALL beers are $4 (including Leffe & Redstripe)

Saturday, March 6
Dahlak
1771 U St, NW (18th & U)
21 and Over
NO COVER

You might find these bits interesting.

For the lovers…

I went digging in the crates and pulled out a classic soundtrack for seduction.

Projectvibe 2 – Foreplay
Download audio file (projectvibe2.mp3)
[download | tracklist]

For the skeptics…

We’ve put together an evening for those that generally consider Valentine’s Day a day of corniness, or even worse, a source of emotional distress. The happily coupled and the comfortably single are encouraged to attend, but we’ve got some special things in store for those looking for a little help in connecting with someone new.

Suite 202 Sessions: Valentine’s Jook Joint

For the heartbroken…

Because we’ve all been there, check out my Valentine’s playlist for dumpers and dumpees on The Root. Trouble don’t last always. Cry or shout it out as needed.

Love Songs for the Lovelorn: a DJ Stylus breakup playlist – TheRoot.com

So last week, Tami sang a few of her most popular songs to her five fans (not really) then Refuge turned into a juke joint. Here are a few cuts responsible for that.

Omar – “Feeling You” feat. Stevie Wonder

These two could really do a whole album together. Has Omar ever made a less than banging joint? That was a silly question.

Paulinho Da Costa – “Love Till The End Of Time”

The Grammys got me reminiscing on the Black Eyed Peas when they were still dope. And that got me reminiscing on one of my favorite jazz fusion joints ever by one of Brazil’s most esteemed exports.

Unlimited Touch – “I Hear Music In The Streets”

CHOOON!!

Nathan Adams & Zepherin Saint – “Holding On”

I’m glad that I can officially crown this a Refuge staple after giving “Circles” a well-deserved rest. Can these cats keep making anthems every time they drop a joint? Don’t want to put that much pressure on them but if they make a full album it could be a problem (in a good way). Zepherin Saint is on FB too. Go be his friend.

Ty – “What You Want”

I push Ty the way that Jehovah’s Witnesses push salvation. If you dig progressive, soulful, smart hip-hop and you don’t have any Ty in rotation then I feel like it’s my duty to help you see the light. This is one of my favorite cuts from his superb Closer album. Taylor McFerrin on the beatbox.

Petalpusher – “Rely On Me”

Naked Music‘s best years were just magic. The beautiful series of nudes on the album covers and the gems in the record sleeves that never left your crate after purchase. I can’t look at these records without being flooded with memories of rocking sets with or having dancefloor moments to these songs. 10 years ago the Vibe Conductor concept was just forming and these tracks helped shape that early identity.

Fertile Ground – “Take Me Higher” (Waiwan Remix)

Felt like ending the evening with drum & bass so I did. Must do that more often. Maybe tonight?

Apparently this was all the New Year’s partying that some folks needed.

As these events were developing, I was playing out of my “make you shake your ass and sing along” repertoire. But before all that, we was chillin’ and this is how it went down. No categories on this post, just a few noteworthy joints.

Boogiemonsters – “Recognized Thresholds of Negative Stress” (Stressless Mix)

This has always been and will always be my jam. But being the contrarian that I am, I rocked the smoothed out remix last week. It definitely has its own charm.

The Sunburst Band – “Far Beyond”

This is an old staple of mine that I had to put on ice for a few years because I played it too much. Then when I bring it back out of retirement, it’s new to everyone! Another fantastic usage of Ahmad Jamal’s “Swahililand”.

Dorothy Ashby – “Cause I Need It”

Swingingest harpist I know of, and source material for some of Pete Rock’s best work.

As usual, your presence is requested.

Vibe Conductor Pick:

Kidkanevil – “When I Dig” featuring Kissey Asplund, Blu

It almost feels premature to be rocking this now because it’s such a spring jam. Kissey Asplund does her cutesy space kitten thing and Blu’s Dana Dane impression takes me back to happier times. Who’s Kidkanevil? I’m just finding out myself over a year after everyone else did.

Peoples’ Pick:

Eric Roberson – “Wanna Believe It Again” feat. Wayna

I got Music Fan First right before the first Refuge and been banging this tune ever since. It’s almost cursory to highlight it at this point because its jam status was instantly evident. But I love it. The dancefloor loves it. Other DJs reading this, if you like women, you should be playing it.

Nostalgia Pick:

SWV – “Coming Home”

SWV had a lot of great tracks outside of their established hits. Many solid cuts fell through the cracks in that transitional period when new jack swing was waning and R&B had yet to merge DNA with hip-hop.

Digging In The Crates Pick:

Rahsaan Patterson – “It Ain’t Love”

It feels like folks should shed clothing and inhibitions when this song drops. I’ve never seen it happen but perhaps subconsciously I wish it would.

Join us for another session tonight?

The backstory on this cat is pretty deep. He was killing this style on a pair of these when I first met him on the U Street scene almost 15 years ago:

That was back in the Amphibians days. Then he moved on to this:

Eventually he was hauling a whole desktop around to gigs, rocking an array of virtual samplers and synth modules and a MIDI controller. That’s just how mad scientists do. I think he’s on Reason now. But anyway, you know this joint, right? Blackberry Jones + Asheru + Heron Gibran = Black Lincolns.

Blackberry Jones, previously known as Aychell made a bunch of amazing music with this guy that never came out.

They were called K.H.E.Mystery. They both rapped and did beats. Did you know that Slimkat78 (of The Els and Op Swamp 81, formerly known as Akuaman) used to rhyme? You should ask him about it. He was quite good. I have a lot of that stuff in the archives. And now you have some too, thanks to Rule4080.com.

To close, I’ll leave you with Blackberry’s classic Dilla tribute.

I think I’m going to have to do more posts like this. Joey and Shatungwa say so too. Folks talk about DMV hip-hop and have no concept of history.

None of these songs should be a surprise to anyone who heard me play this year, whether in the party or on the air. You loved them as much as I did, because when I felt like I’d have to give them a rest, you would keep asking me about them.

Now go spread the word to those who might have missed out, talking about “2009 was wack”.

Michael Jackson – “Never Can Say Goodbye” (Beatnick & K-Salaam Remix)

For some, the most defining musical event of 2009 was also traumatizing enough to write off the whole year. I can relate, but ultimately preferred to celebrate. It was either that, or fall into the abyss of despair. K-Salaam and Beatnick were on the same program with the best MJ remix since Tangoterje and Opolopo. Those three will have to battle it out for the top spot because the beefed up horns, club ready drum programming, funky synth bass and guitar interplay on this joint… I dare say that this version actually improves on the original. Blasphemy? Listen for yourselves.

Diamond District – “Streets Won’t Let Me Chill”

My favorite song on the best hip-hop album of 2009. There’s so much hip-hop that I can’t even be bothered to listen to, yet I know that none of it is fucking with Diamond District. The established brands are not fucking with Diamond District. Even the significant amount of hip-hop that I actually enjoyed this year isn’t seeing In The Ruff. I’m not saying that just because of my DC hometown zealotry. This is an end-to-end burner. There’s not a single bar of fast-forwardable material. The beats are cold concrete, the rhymes are hammers.

Reflection Eternal – “Back Again”

I’ve been so amped for the return of Reflection Eternal. Rarely is that type of anticipation rewarded with exactly what you hoped you’d get. I had no idea Hi-Tek would come with something like this though. An uptempo brazilian percussive groove with jazz guitar? More please. Kweli’s flow is in the cut and Res lays the sweetness on the hook.

“You can like rap again, you can say that again.”

Mos Def – “Casa Bey”

I was so moved by the grandeur of this song that I had to spin it into a full study of its origins. A song crafted in one context decades ago sounds like it was always supposed to be the way it turned out once Mos put words to it.

“Magnetic, the flows are athletic…” Flaco rocks so effortlessly over the 3-count phrases, not skipping a beat when it transitions to the more conventional 4/4. Rappers, STUDY THIS SHIT. This is superhero music.

“You can’t stop my GO!”

Jay Electronica – “Exhibit C”

“Eating wack rappers alive, shittin’ out chains.”

Emcees like to talk about ending the careers of adversaries, but really, these are verses that should influence hordes of rappers to put their mics to rest and start perusing want ads on Craigslist.

It’s nice to get an actual retail release from this enigmatic hot property. It snuck in under the wire for 2009 consideration. I didn’t believe the hype for a long time, just because I couldn’t get behind snippets on blogs and industry co-signs. I’ve since accumulated enough of his gray market material to see the light. “Exhibit A” should have been enough. Now would an album be too much to ask for or must there be a bidding war first?

Nathan Adams & Zepherin Saint – “Circles”

Everyone who heard Jamil and I play this year KNOWS WHAT TIME IT IS. I couldn’t stop playing this song even when I knew I was wearing it out. You couldn’t stop dancing to it. You couldn’t stop SCREAMING to it. Easily a classic all-time house anthem. Forever and ever. Amen.

Georgia Anne Muldrow – “Run Away”

How much did this song warm the cockles of my shriveled, cynical heart? How many times did I have to physically restrain myself from pinching the cheeks of the little cartoon Georgia on my computer screen every time I hit ‘play’ on the video? This song is precious. I say that the way your grandma does before she hugs you. When Georgia first blew my mind with Worth Nothings, I had never heard her demos that were floating around. And now, Early captures those days of a teenage songwriter crafting music with the skill and emotional heft of an old soul. Wondrous.

PPP – “The Ghost of Aveiro”

As much as I loved the new wave, synth funk direction that PPP took on Abundance, this latin smoker was sitting on the album as if it were put there just for me. Coultrain CRUSHES the vocal. Waajeed sounds like he packed a whole salsa orchestra into his studio.

Joy Jones – “Over”

Joy Jones brings Ronnie Foster’s “Mystic Brew” (my second favorite sampled groove of all time) back into our consciousness in a way that makes me re-think my stance on Auto-Tune. Joy definitely doesn’t need it, but she takes a true artist’s tack on this song, employing a tool to a specific end. In this case that end is a haunting plea for an end to heartache. Everything about this song is perfect.

Anto Vitale feat. Tamara Wellons – “Broken Wings”

It was either this or “Out Of This World”. I damn near had to flip a coin. Smoldering sexual energy or soaring emotion? I had to go with the latter this time. It feels like Tami reached deep into her gut to nail this vocal. And I’m a sucker for a huge hook on a house tune. Vitale’s instrumentation fans the flame of the vocal on the chorus.

• Honorable Mentions
De La Soul – “La La La”
Joe D. feat. Cool Cee Brown – “Aaw Man, Homey”
Op Swamp 81 – “Another Day”
Matthias ‘Matty’ Heilbronn feat. Monique Bingham – “Go Getter” (Soulflower Mix)
Yameen – Light of Love feat. Lady Alma (Mark de Clive-Lowe Remix)

Diamond D – “The Hiatus”

Pulling this out last week was prescient since Refuge is taking a week off.

Kat is in the middle of her birthday week, is closing out Soul Overdose for 2009 and there was no way we could do the final one any other day than Wednesday. We’re suspending Refuge tomorrow and will resume on December 23. Of course, we’ve got a Grammy nominee to help you get over the hump and maybe a dual Soul Controller after party to boost the usual Jahsonic throwdown.

Soul Overdose with N’digo Rose, DJ Jahsonic and special guest Phonte

Wednesday, December 16
LIV
2001 11th St NW
doors: 9PM
tickets available at LilSoSo.com
door purchase availability NOT GUARANTEED.

Download his new project for free and thank us both. Listening to this album has TRULY been a breath of fresh air for me today. We need as many of these in hip-hop as we can get.

My fave hip-hop out of the continent so far has been from Senegal and South Africa along with a healthy dose of K’Naan but between M.anifest and Blitz the Ambassador, Ghana’s about to smash on bammas.

Oh yeah, Blitz. THIS guy…

If I’m “tardy for the party” I blame “you Africans” – © Fela (you know who you are) for not putting me on. Shame on you in advance if so. You know I need constant infusions of happiness inducing blackness to counteract this coonery out here.

I played back-to-back classic hip-hop parties this past weekend. I teamed up with two of my favorite DJ colleagues in DC, we had a blast and smashed on both nights but the crowds couldn’t have been more different. One crowd was full of serious heads who got more excited the deeper we went in the mix. The other crowd was more diverse, significantly younger, and only really moved by the same hits that everyone knows. One party-goer described my set from that night as “hybrid house jazzy hip hop.” Pete Rock in particular got a thumbs down and I double-checked the track list for house music but couldn’t find any.

I was reminded that when it comes to hip-hop these days, most people have no idea what the fuck they’re talking about.

Not exactly breaking news, I know.

When I was younger and wore hip-hop like a shield of identity, I’d be quick to check you on hip-hop dogma, then I’d strike a b-boy pose. Now that I’m getting older, I’ve started to feel like something was wrong with me. Like I’m the fuddy-duddy who refuses to change with the times. Talking to folks, reading these websites and being in the DJ booth trenches with my comrades are making me realize it’s not me.

This isn’t about people showing up to The Main Ingredient and requesting Gucci Mane with a straight face. The folks in that alternate dimension who think the world revolves around “swag”, tattoos and Patron are a separate discussion and might as well be on another planet. I’m talking about the folks who ride for hip-hop as hard as I used to, except their zeal is fueled by ignorance.

Hip-hop raised me and molded me but on my journey as a DJ and creative soul, I’m always adding new sounds, styles and genres to my portfolio of experience. Ultimately I’m a music person. I always seek to paint from an ever widening palette whether I’m spinning records or making them. I no longer identify myself as hip-hop, pretty much because no matter what I do, it’ll always BE hip-hop. It’s a lens that shapes my perception outside of my conscious awareness. It’s my internal rhythm. It’s not something that I have to proclaim or debate. It’s something I’ve lived so long that it’s like breathing, yet it’s still one dimension among many that I can access when expressing myself musically.

You don’t have to have the same experience in order to love hip-hop. You don’t have to spend 20 years and tens of thousands of dollars collecting records. You don’t have make a pilgrimage to the Bronx or perfect a six-step. I understand being zealous about hip-hop. The difference between my experience and what I’m seeing today is the lack of humility about what you DON’T know.

For instance. I love jazz. I started learning about it in high school. I’ve been to a lot of shows and collected a lot of music. I’ve even performed with jazz musicians. But I’d never critique an expert jazz musician without knowing what I was talking about backwards and forwards. So out of all the assholes that regularly give us grief in the DJ booth, why are the most rabid ones almost always on some hip-hop related bullshit?

These days people have a surface grasp of hip-hop combined with a warped sense of entitlement. And there’s a significant thirst for validation involved too. I don’t know if it’s really about the music or the times we live in. The latter is influential, because there seems to be a correlation between talking loud and saying nothing about hip-hop and the ease with which people feel comfortable spouting off on the internet. But I focus on the music because that’s where I’m most engaged.

What is it about hip-hop makes those with the least to say speak loudest? Why are you too lazy to care about anything beyond the same 20 records that we’ve caning to death for 20 years? Maybe it’s because no one listens to albums anymore. I thought I no longer cared but it still gets to me sometimes.

Refuge is about discovering and sharing new sounds. This Wednesday, get an advance listen to the new release from Philadelphia’s Record Breakin’ Music from 9 – 10pm and be one of 5 winners of a Record Breakin’ prize pack:

- 1 copy of the Anthony Valadez Audio/Visual : Sounds inspired by all things visual CD
- 1 copy of the Anthony Valadez Celestial Blues Mixtape
- 1 limited edition Record Breakin’ 7-inch single

The first five (5) people to send an email to ‘refuge AT vibeconductor DOT com’ with “Anthony Valadez” in the subject line will get the goods. You must be present to pick up your giveaway.

Anthony Valadez – Audio/Visual : Sounds inspired by all things visual
Official Washington, DC album release party
Wednesday, Nov. 4
Tabaq Bistro (basement)
1336 U St NW, WDC
9pm – until
21+, no cover

More on Anthony Valadez:

Audio/Visual is the debut full length from artist, club and radio dj, playwright, Anthony Valadez. This album is a collection of beats that became modified with the addition of live instrumentation to add texture. The concept of the album is based on the merger between sight and sound. Each song, sample and layer is inspired by a visual that inspired Valadez.

“I’ve always been inspired by the visual element of everyday life” Valadez explains. “From my college days in taking public transportation to driving home late at night from gigs, my mind takes mental snapshots that stay with me while I play with keys, percussion and the mpc to create sounds.”

The opening track ‘Vibrations’ is a clear indication that this is not your typical beat album but rather experimentation with samples, live bass lines, melodic chord changes and soulful elements.

“I got bored of beat music with simple loops that really go nowhere and I wanted to challenge myself in creating a palette that allows me to change the texture or mood within a song”.

Valadez enlisted the vocal talents of Stockholm’s Kissey Asplund and Los Angeles’ Wendisue on a few of the tracks. Nevertheless, the majority of the project is an instrumental soundscape accompanied with the musicianship of Dexter Story (Life Force Trio, Build an Ark), Shaunte Palmer (Raphael Saadiq, Talib Kweli) and Evan Lasrey. You can tune in to Anthony Valadez every single Monday night live on 89.9FM KCRW and worldwide at www.kcrw.com. He also holds down several dj residencies in the Los Angeles area.

Vibe Conductor Pick:

Hawthorne Headhunters – “She Wanna”

Singing, rapping, banging out them beats… Black Spade is on it. And he’s one of those cats who has so much stuff going on that he creates new names under which to do it all. Please get familiar, and then check Black Sp-, or rather Stoney Rock‘s new group Hawthorne Headhunters.

Peoples’ Pick:

Erykah Badu and Rahzel – “Southern Gul”

Could also be included in the “Songs That DJs Should Play More Often” category.

Nostalgia Pick:

Rebbie Jackson – “Centipede”

I was pretty much only aiming to elicit a squeal from ThePBG, although she wasn’t the only one who appreciated it.

Digging In The Crates Pick:

Chuckii Booker – “(Don’t U Know) I Love U”

When my iPod throws this joint at me on shuffle, I turn into one of those weirdos on the Metro singing LOUD AS HELL in my own little world.

Next week: an album listening party and special giveaways. Stay tuned.

The Black Snob was there too. Her pictures are much better.

Can’t see much in the Sol Power vids, but you can hear a lot of really excited people. They were so excited that they weren’t trying to leave when the lights came up and the music stopped at 3 a.m. We packed up, the drummers kept playing, folks kept dancing. Not a bad way to spend a Saturday night.

Got the album yet?

Vibe Conductor Pick:

As much as I like to smash off a party, I also enjoy just sharing tunes with a room full of folks socializing and appreciating the sounds. Early in the night I dropped one of my favorite tracks from the Jazz Refreshed compilation, Femi Temowo’s “Wood & Strings”.

Click the album cover to listen to the project in its entirety.

When I read that Femi took up jazz guitar after being inspired by Wes Montgomery, I wasn’t surprised. Here’s why:

Peoples’ Pick:

Slakah the Beatchild – “D.A.N.C.E.”

I ended the night with this one, and for those who haven’t heard it in my sets and mixes since this summer, it was an instant earworm. Toronto’s got some freshly ground goodness brewing these days. Been seeing Slakah the Beatchild in album credits, on blogs and in music press for a minute.

Nostalgia Pick:

Brownstone – “If You Love Me”

Sometimes you just want the ladies to get really happy and sing along really loud. We DJs enjoy that.

Digging In The Crates Pick:

Madonna – “Human Nature”

Forgot about this one, didn’t ya? Still goes hooard in the clurb. Word to Madge.

See you next week, right? Of course!