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EDM: Dominating DJs

Being a city DJ brings the challenge of finding gigs. Working hard and staying fresh with music is the number one priority when labeled as a top-notch local DJ. Working at least three times a week is full time job that very few DJs get to have. Not many DJs meet the standards of a hard-working skilled DJ, and I always say the older you get, the better you understand the platform of music deliverance on the floor. Controlling the crowd is a key factor.

At times it’s frustrating when politics get involved. When it comes to promoters and club owners, attendance is key. No matter how skilled the DJ is, if the dance floor is empty and the bars are not making drinks, then it simply does not matter. One DJ I find who is working hard and never seems to find gigs is OG Pauly D. I mean, this guy been in the game as long as I can remember. He’s currently spinning in Providence and at clubs and events, and he’s also entertainment director for In the Biz Entertainment. He’s been spinning on the ones and twos for about 25 years now. He’s formally the only person representing XM satellite radio three days a week from and also worked with many artist and industry people who are personal friends of mine. Being a veteran DJ comes with lots of advantages, from music catalog to massive unreleased materials that become the ultimate testing ground for the dance floor. One of the biggest elements for clubs to add is to employ a resident DJ. Then that club becomes a comfortable setting for club goers. All your songs are played by your favorite DJ and you don’t have to request a single song. That’s one of the reasons why people attend their favorite club many times a month — they just let the DJ take them on a journey. Catch OG Pauly D every Friday night at Kartabar doing video DJ sets.

EDM: Essentials

On the stage is your favorite artist. Behind them their light show bedazzles. Their blasts through some of the heaviest speakers in the industry, sending wave after wave through an audience of thousands who know every word and melody.

EDM artists are today’s rock stars. Forget the guitars and drums — everything is a feeling and massive amounts of people bring unity like no religion can. Some of the best fresh unreleased tracks are played during EDM festivals in July and August for promotional reasons. Fans have plenty of opportunities to see the biggest , electro, house and dub step acts, and DJs from local to global.

As a fan, the essentials needed for events are pretty simple. Stay hydrated, keep the carbs and protein at a constant flow, and let the baseline melodies take you away. DJs creatively evolve during events, from setting up stages to proper sound check. As a party goer it’s very important to be aware of your favorite DJ’s time slot. It’s the best feeling when you’re up close to experience your favorite track dropping into melody.

One of my favorite moments in a show is when the song releases from full drum penetration into complete silence. That’s when all the whistling goes across the crowd. All of the sudden, the heavy climbing pluck synths start filtering through the speakers. That’s when all hell breaks loose — hands in the air and smiling faces all jump up and down dancing as the beat kicks back into its maximum peak potential.

OSHEEN’s Top 10 House EDM Picks for August 2014

1. Ruffneck – “Everybody Be Somebody” 2014

2. Mark Night – “In and Out”

3 – “Night Time”

4 Block and Crown – “Inside My Head”

5 Osheen – “Citrus Acid”

6 Federico Scavo – “Colegiala”

7 Rober Gaez – “Dancintz”

8 Haxton Whores – “Move it Now”

9 Mazi, Fomin, Doctor – “Blue”

10 Tradelove – “Around the World”

EDM Adapts to Summer Okay — I’m not sure how far the US men’s soccer team will advance by the time you read this. I just hope they win. Soccer players love . It’s an international musical language we all love, especially when the weather breaks.

EDM adapts to summer by capturing its die-hard underground fans and providing a learning experience for the newcomers as they adapt to the EDM culture. This is the best season to enjoy EDM as a whole package with amazing lighting, booming systems and a diverse crowd. Record labels schedule the release of summer tracks to give them proper play. They tend to be more luscious in production, making them groovy and melodic. Most producers cater to Ibiza nightlife by following the trendiest tracks being played year round.

Although EDM is accepted in all forms, to capture the best of the season promoters look for the right talent for the right event, from headlining outsiders to local heroes. And every state is different. Looking for a great outdoor event this summer? There are plenty and I’m sure this summer is going to be a very hot one. Recent acts include , Congoroc, Franki Bones, Boris, Tommie Sunshine, Dj Shiftee, and many more.

Featured DJ

Kevin Lepine, aka, DJ Dupe

Born and raised in Germany, DJ Dupe brought his love and passion for the house music culture across the ocean to settle in in the late ’80s. Now a Providence resident, after seeing more than most would dream about, DJ Dupe has become a big part of the scene in . Since the mid ’90s, after working alongside some of the world’s best DJs and producers, Dupe has honed in on the true meaning of being a DJ by trade: passion, diversity, and music selection skills. This knowledge has made him one of the most respected and sought-after house music DJs in New England. Bringing a vibe unmatched by many others in the EDM/UDM scene right now, Dupe is busier than ever with countless gigs across the country and music productions with Blinded Records. facebook.com/DjDupe

DJ Dupe’s Top 10 Summer Tracks

1. “Nexus” (Tomy Declerque Full Vocal Mix) –

2. “Hustles Revenge” (Prok & Fitch Remix) – Joeski

3. “Loudastic” (Original Mix) – Ramiro Lopez

4. “Homeless” (Nite Mix) – Ted Nilsson, Errol Reid, CJay Swayne 5. “Relish Your Soul” (Soul Heaven Vox Mix) – Neil Pierce ft Kadija Kamara

6. “Kuzla Prevarantska” (Original Mix) – Umek

7. “Engine No. 9” (Original Mix) – DJ Dan, WhiteNoize

8. “Inside Job” (Original Mix) – 2000 and One

9. “Want You In My Soul” ft. Stee Downes (Original Mix) – Lovebirds

10. “Truffle Pig” (Original Mix) –

EDM: Providence Is Party Central

Club XS : The Newest Hot Spot

Providence is known as party central with club events happening all across town, and the heavily involved EDM scene shows that we’ll be here for generations to come. Every club has its own unique formula that seems to work just fine; some offer a sexy atmosphere, others explore an artsy appearance and let’s not forget the amazing shore nightlife summer offers.

The club phenomena in Providence has been non-stop since the ’70s when NYC was on top of its game and RI was right behind. There were a few very popular clubs throughout the city, like BT Bogarts, one of the first to have a lighted dance floor, and Play Dan and Club 2001 where party-goers could explore their inner souls. Today, Providence replicates the best experiences of big city night clubs, like in Miami and LA. We offer some of the best sound systems around and EDM is a hundred times better when it’s loud with a pulsating base driving through your body. It’s an instant formula for dancing. For party-goers, a memorable night is driven by special guest out-of-town DJs and popular local DJs who carry a hefty schedule.

Providence’s newest club, Club XS, opened to huge success on its first weekend. Local DJs already lining up to be one of first to bless the turntables is a definite sign that PVD gained another nightlife spot to influence an audience and further an agenda.

As we head deeper into the summer, the club action shifts to our amazing beaches and we tend to get a little nervous around the city — unless you’re Sequel Lounge with an amazing outdoor patio sure to please and breeze everyone. But the city is full of fun and excitement with dozens of clubs to explore. And clubs always seem to offer a top notch menu of exclusive cocktails that you may not find anywhere outside of RI.

Club Highlight:

Club XS, 1 Throop alley, Providence; XSLOUNGERI.com

Sequel Lounge, 178 Atwells Ave., Providence; www.sequelprov.com

DJ Highlight:

Osheen

Offical Numark Artist/DJ and the driving force behind Blinded Records, Osheen, New England’s own veteran DJ and producer, is no stranger to the music culture and house music scene. He began his career in the early 1980s dosing the dance floors of local clubs and events in the northeast. When the rave phenomena hit in the early 1990s, he took his skills and signature sound of chugging tribal proper house music out to the masses and quickly became known as one of the premier underground house DJs in the US. The demand kept growing for his talent as a DJ, leading him to the next logical and creative step, the creation of his own music and record label. Osheen currently has numerous remix and original releases on major and independent record labels.

EDM: From Rivet-Gun Bass Lines To Cascading Piano Riffs DJ Dublin discusses EDM

The term EDM has metamorphisized more quickly than any term in since I can remember. EDM is short for , which could conceivably describe any music with a beat made on a machine. But in practice, it describes something more specific. Everything that’s presented as EDM falls within one corner of the scene, which is generally a more commercialized corner, a corner with more marketing muscle behind it. The term has been adopted mainly by an American audience to apply to things like big tent electro-house and American . It’s difficult to draw a clear sonic line between EDM and other sub-genres of non-EDM dance music, like . Proper house/house was synonymous with older disco music, , soul and , formed into sampled repetitive 4/4 beats, off- beat hi-hat cymbals and luscious synthesized baselines in the range of 118 to 125 beats per minute. It’s easy to describe the sound of house music. Much like organic fruits and vegetables versus synthetically grown, the electronic listening music of the ’90s is a prime of an art form derived from influence. In the early 1990s, the term IDM () was born. In America, it was described as art or intelligent techno, while house music displayed several characteristics similar to disco music with an added electronic and minimalistic twist. During the rave era of the early ’90s, there was no radio, social media or any other outlet for that sound of music. It was very underground, and people who knew, knew.

House music venues are endless, from clubs to cafes, restaurants, hair salons and high-end department stores. After its success in the 90s, house music grew even larger during the second wave of sound in the early with a more aggressive, harder sound with tech and an electro-edgy element. Today, house music remains popular in clubs while retaining a strong foothold on underground scenes across the globe. Deep house music has always been described as the spiritual side of dance music, and it seems logical for deep house DJs to mark the night — or perhaps the sunrise — by ending an event with deep house.

I reached out to local favorite DJ Dublin to share his amazing one-night-a-month event at local downtown club, The Salon.

Rob Murphy, aka DJ Dublin, grew up in Providence. He is curator and resident DJ of Soul Teknology and founding member of the Afrosonic Collective.

DJ OSHEEN: What is your favorite classic dance track?

DJ DUBLIN: There are so many greats, but one that comes to mind is Hardrive’s “Deep Inside.” It’s the quintessential classic house track. Mix that vocal intro into just about any song and everyone still goes crazy, and when that hits, it’s over! And the vocals: “All we need is love,” pretty much sums up house music in one line. DJO: We still very much cherish our vinyl records. Please describe your love for records.

DJD: I still have my vinyl shelved right here in my studio. Just looking at my records makes me want to start thumbing through them! Even though I still regularly buy records through the internet, I miss walking into Skippy White’s and sayin’, “What’s new?” The simple acts of buying, listening to and appreciating music is so different now. No more opening up albums, sitting back and reading the album art and notes as you take it all in. Man this question makes me want to put the needle on the record and fall back into a beanbag with a nice IPA. Yeaaaahhh …

DJO: So what can we expect from your live set?

DJD: Soulful dance music! I definitely steer my sets in different directions depending on the setting, but you’ll always hear something with soul! At my monthly party, Soul Teknology, which I do with DJs MikeDelick and Yummy, you can expect to hear dance music with influences from around the world — Africa, Cuba, Brazil, NY, Chicago — all blended up in the true house music spirit. I also do a party with MikeDelick that we call music of many colors, which is exactly as the name implies: soul, funk, salsa, disco, house and dub. It’s basically a night of really good old and new global dance music, not necessarily electronic all night.

DJO: What’s your current top 10 play list in no particular order?

DJD: Oscar P – “The Drum” (Jose Marquez Remix), Lady Alma – “It’s House Music” (Feel It Mix), DJ Christos & Monique Bingham – “Outta Sight” (Ralf Gum Mix), Quantic – “Duvido,” Hector Lavoe – “Mi Gente” (Ivan Diaz Edit), Juju Christian – “Earth People,” Sonz of Afrika – “Ubuthakathi” (Hand of God Remix), Darque & Black Coffee – “Ready for the World,” DJ Fudge – “Pedogbepa,” Bob Marley – “Redemption Song”

DJO: What sets you apart from your competition?

DJD: That’s a funny one because I never thought about other DJs as competition. I never really cared what other people are playing or how I can be different. I just do what I do — spread my love for music around to other like-minded souls.

DJO: What piece of equipment could you not live without (not necessarily DJ equipment)?

DJD: My snowboard.

2013 Motif Music Award Winners

By Marc Clarkin and John Fuzek

Check out photos from the event here

Best Rock Band 2013 Atlantic Thrills

Atlantic Thrills sweep of the Best Rock and Best Punk categories attest to the fact that they’re just a great no frills rock ‘n’ roll band. I wouldn’t call them a “punk” band per se – more like a rock ‘n’ roll band for adults that grew up on punk. They just completed the mastering of their first recording, which captures all the zaniness of the Atlantic Thrills live. Look for the CD release later in the year but catch the band at Dusk on May 4.

Best Punk Act 2013

Atlantic Thrills

(See above.)

Best Live Act 2013

Vertical Twin

Vertical Twin is one of the best acts to catch live. These aren’t exactly the youngest guys out there but they’re jumping up and down without missing a beat. Their live show mirrors the intensity of ElectroSonicMotherPhonic, which is kind of like stoner rock on amphetamines. Vertical Twin’s standard brand of motor punk meets ‘70s heavy rock makes for a great night out for fans of rock ‘n’ roll.

Best Reggae/Ska Act 2013

Soulshot

Soulshot have been whipping crowds into a frenzy on the dance floor for over a decade now. It’s about time they get some well deserved recognition. For anyone looking for a straight up traditional true vibes reggae bands, Soulshot is your it. They’ve shared the stage with the likes of both legends like Skatalites and locals like The Agents and The Dub Squad.

Best 2013

Fungus Amungus

Fungus Amungus have continued to be in the top tier of local jam bands since 2005 when they were a finalist in the WBRU Rock Hunt. I don’t see that changing anytime soon with marijuana decriminalized. Their annual New Year’s Eve shows are must see pilgrimages for dancing hippies. Fungus Amungus specialize in churning out funk and reggae infused jams for the masses.

Best Act 2013

THR33 Piece Suit

THR33 Piece Suit was born out of local rhyme vets Chanchi Carvalho and Swann Notty teaming up with J. Depina last year. THR33 Piece recently released their debut, Brand New Vintage, which features a collection of old school beats mixed with killer lines. They keep things real with a positive outlook and the beats get the masses bouncing on the dance floor.

Best Female Rock Vocalist 2013

Roz Raskin

Roz Raskin is always a captivating multi-instrumentalist performer whether she’s fronting the Rice Cakes or playing bass in her newer project, Littlefoot. After winning the 2012 WBRU Rock Hunt, Roz and The Rice Cakes have been busy doing a number of tours as well as playing packed hometown shows. The Rice Cakes are as electric as ever, blasting out their patented jams. Roz’s vocals are always a surefire draw that compliment and amplify the tunes.

Best Male Rock Vocalist 2013

Mark Cutler

I always feel sorry for people that get nominated in the same category as Mark Cutler because it is almost an inevitable loss. Mark has been performing for what seems like forever (the man won the WBRU Rock Hunt 31 years ago with The Schemers), but he never comes off as a retro act. Whether he’s playing solo, with his band The Men of Great Courage, or with The Schemers, he always commands a following. Sweet Pain is one of last year’s best. The record kicks off with “Salvation Cruise” that rocks in the vein of the Velvet Underground. Gems like “Walking in the Night” and the enchanting “Come Out to the Woods” are the real treasures on this album.

Best Rock Album 2013

Mark Cutler – Sweet Pain (75orLess Records)

(See above.)

Best Americana Album 2013

Various Artists — Everyone Deserves a Home

A compilation to benefit the homeless through the efforts of Riverwood Housing First Rhode Island, aiming to, “improve the quality of life for persons who experience significant and persistent behavioral health issues or chronic homelessness by providing and coordinating a comprehensive menu of community based services that focus on recovery and personal growth.”

Best Breakthrough Act 2013

Ravi Shavi

It’s fitting that Ravi Shavi took home the Breakthrough this year because well, they’ve had a big breakout year. They played a ton of shows and released their debut album, Don’t Be a Cheater. One tune is reminiscent me of early Elvis Costello and the next song is something else. They have a varied arsenal at their disposal but it’s all energetic rock ‘n’ roll!

Best Tribute Band 2013

Forever Young

Forever Young is like a local super group assembled to pay homage to the many different musical trails blazed by Neil Young, which leaves the door open to folk, country and scorching guitar propelled rock ‘n’ roll. Forever Young packs the house, having played sold out shows in places like The Narrows in Fall River within the last year. If you’re a Neil Young fan, this could be your new favorite band to see for a night on the town.

Best Metal Act 2013

Lolita Black

When Lolita Black came up short in the WBRU Rock Finals, singer Scarlett Delgado said, “Some people say we’re too heavy for WBRU; well they also said that about the band that wrote this next song,” as they preceded to launch into Nirvana’s “Territorial Pissing.” Last year Lolita Black released their second album, Flesh, Blood, & Bone, which was as raw and grinding as the name suggests.

2013 Best Americana Act

Joe Fletcher & the Wrong Reasons

They may be the Wrong Reasons but they certainly have the right stuff. Since 2005, the band’s fluid lineup has been fronted by Fletcher. His story-driven songs have drawn comparison to Johnny Cash, Nick Cave, Leonard Cohen and Bob Dylan. He will be appearing at the legendary Newport Folk Festival again this year where many of his musical doppelgangers have performed in the past. This hard working group keeps on keeping on and chalking up the accolades. joefletchermusic.com

2013 Best Bluegrass Band

The Big River Stomp The Big River Stomp’s web bio touts them as “offering nothing but the best in original, modern bluegrass music. This is the new acoustic!” Obviously they are correct. Big River Stomp has enjoyed a lot of success in a very short amount of time and this is yet another notch, of the many to come, on their stringed instrument straps. Jim Studley, Jesse Burdick, Jeff Budzinski and Matt DiPinto are the men who make the grass blue. reverbnation.com/bigriverstomp

2013 Best Americana Singer-Songwriter

Mark Cutler

From the Schemers, The Raindogs, The Dino Club, The Men of Great Courage, The Tiny String Band, Forever Young and other musical incarnations, Mark Cutler is possibly the hardest working RI musician. In his 35+ year career, he has played just about everywhere in RI and toured extensively, sharing the stage with the likes of Bob Dylan, Don Henley, Warren Zevon and many others. He has taken home just about every area musical award. His music just keeps getting better. It should be no surprise that he just keeps on winning! mcutler.com

2013 Best Open Mic

The Met Cafe Legends Jam.

Sundays haven’t been the same since the Met jams have started. From young to old, beginner to pro, they all play side-by-side during the Sunday sessions at The Met. With rotating hosts selected from the finest RI musicians, the Met Cafe Legends Jam lives up to its legendary status. themetri.com

2013 Best New Americana Act

King Sickabilly & His Full Moon Boys

“Serious songwriting from years of hardship, road experience and inner turmoil all blended together by three best friends with all acoustic instruments.” Guess what? The combination works. This new combo of seasoned pros pepper the lineup further with guest performers whose chemistry will make the perfect blend for a “formula of acoustic madness, sadness and spirit.” reverbnation.com/DaveSasquatch

2013 Best Act

Superchief Trio

Superchief has a super-sized winning streak that goes with a super-sized trio. The Superchief Trio features a unique combination of two-fisted piano, red hot trombone, blazing guitar, rock solid bass, powerful vocals and frenzied percussion antics. Superchief’s top-notch players perform top shelf originals and covers of swing, New Orleans R&B, and boogie-woogie style tunes. superchieftrio.com

2013 Best Choral Act

Providence Gay Men’s Chorus

Their tag line is “Harmonizing Diversity In Song.” Started in 1995, the multi award-winning chorus has been ambassadors of sorts for the LGTB community, breaking down barriers and gaining acceptance with their music. They strive to produce professional quality shows, combining the best of musical theater, cabaret and traditional choral performance. Their struggle for equality has been an uphill battle – but as times change and minds open, someday it will all just be about the music. provgmc.org

2013 Best Folk Act

Lisa Couto

The lovely Riverside resident dealt the Best Folk Act and Best American Vocalist categories a one-two punch and scored a knockout with both. Her soulful singing can be compared to Alicia Keys and Sade. She has toured the East Coast and beyond. She has released two albums as part of the band Most People and is currently working on an acoustic solo project. Lisa can often be seen performing with partner Ray Cook. lisacouto.com

2013 Best Americana Female Vocalist

Lisa Couto

(See above.)

2013 Best Americana Male Vocalist

Bob Kendall

Kendall wound up in RI by way of California, Alabama and Boston. He was a founding member of Lifeboat, The Blood Oranges and The Brothers Kendall. He has shared the stage with the likes of Billy Bragg, Big Country, 10,000 Maniacs and Marshall Crenshaw as well as adding an appearance at the Newport Folk Festival to his lengthy resume. His latest release, Midnight Flower, is the collection of material written over the past decade. Kendall describes his songs as “tales of recrimination and self- deception.” bobkendall.com

2013 Best Act Miss Wensday

The beautifully illustrated woman that is Wensday Greenbaum, also known as Miss Wensday, is a performing artist, singer, songwriter, actress and theatre and voice educator. She’s shared the stage with Alice Cooper, Stephen Stills, Michelle Branch, Tesla and Todd Rundgren. Alice Cooper has been quoted as calling her “the other girl next door.” Wensday also spreads awareness about domestic violence and violence against women and , working directly with victims of domestic abuse and teaching theatre, voice and movement as a means of healing and empowerment. misswensday.com

2013 Best Celtic Act

Pendragon

Pendragon has won this award so many times that I don’t even know what the total is now! The heart and soul core of the band – Mary Lee, Bob and Russell – have been doing the Celtic thing since the mid-1980s. Great original and traditional tunes, talent and a little “luck o’ the Irish” keeps ‘em winning. In addition to the music, the members of Pendragon have been the driving force behind the Blackstone River Theatre, bringing traditional and ethnic performers to the Blackstone Valley since 1995. pendragoncelticmusic.com

2013 Best EDM DJ

DJ Venom

Venom has been a major fixture in the North American rave scene for over 20 years, gaining a wide following through his energetic club performances, on point mixing and wild turntable tricks. Always striving for more, he started up Volume Productions in 1994 to advance the underground electronic and rave scene. His many career highlights include two second place wins at the WMC battles in Miami. djvenom.com

2013 Best Club DJ

DJ Nook

This career DJ spins everything from electro, hip hop, punk, metal, funk and rock. Nook has a deep love for music and a huge knack for remixing, blending and scratching – always keeping the party going all night long. He’s worked a wide variety of places in Boston, Providence and Newport including Karma, The Roxy, Whiskey Park, Pearl, Local 121, Monet and Salvation Café just to name a few. facebook.com/dj.nook.official

Alt-Nation: A Week-Long Music Fest for Charity

It’s with a heavy heart that I’m writing this column after the bombs exploded in Boston earlier today. Like everyone, my heart goes out to all affected. Music can be a diversion and heal wounds. What should be a fun event coming up is something that is called “The Artistic Explosion Music Festival,” which will also benefit Girls Rock RI and The Rhode Island Music Educators Association. This festival is the brainchild of 990WBOB and GoLocalProv columnist Rob Duguay. “To get this lineup of artists together for such a worthy cause is not only a coup for Girls Rock RI and the RI Music Educators Association,” says Rob, “but it’s a major win for music lovers all over Southern New England. This kind of extended musical lineup is one of those once-in-a- lifetime events that will be talked about for years to come.”

I may think “once-in-a-lifetime” is a bit strong of a term because all these bands are locals that regularly play out at the venues where the festival will be taking place. There have been one-day events in the past like Deer Tick’s DudeSmash, Foo Fest, Liberty Fest, 990WBOB’s Boobstock and the Steel Yard’s Wooly Fest, all of which have done similar things as far as featuring local music talent. I do agree with Rob, though, that there hasn’t been quite a week-long fest and there are a bunch of shows here that I definitely want to check out. I caught up with Rob to find out more about The Artistic Explosion Music Festival.

MC: How did The Artistic Explosion Music Festival come about?

RD: I wanted to do something that celebrated the fantastic music that has been coming out of Rhode Island for the past five years or so while also making it happen for a good cause, hence with all the proceeds from the festival going towards two amazing non-profits in Girls Rock RI and The Rhode Island Music Educators Association. From being part of 990WBOB’s annual breast cancer research concert Boobstock, having the pleasure of covering Revival! at The Columbus Theatre this past November and witnessing how much of the local music community rallied around The 24 Hour Music Project to support victims of domestic violence, I was inspired to do something that resonated the essence of all three of those events but at the same time putting my own spin on it.

MC: Who is your pick for the must-see band and must-see show of the festival?

RD: A lot of people have been asking me this question and I find it impossible to pick a favorite. Each show is stacked with some of the best talent in the Ocean State. What I think makes each night a must see is that there is at least one band playing that’s a diamond in the rough – not a lot of people have heard of them but they have a buzz.

April 22 at The Spot: On 990WBOB’s Monday on Blast there’s this 19-year-old soul/R&B prodigy named Clyde Lawrence who goes to Brown and he has a voice that’s a cross between Otis Redding and Ray Charles.

April 23 at Dusk: Pixels will wow some people with their old-school style alternative rock sound. Andy Davis can write some pretty damn good songs and he’s never afraid to pull off a mind-numbing guitar solo every once in a while.

April 24 at Machines With Magnets: I think The Can’t Nots have what it takes to make people’s jaws drop; for a trio they have a monstrous rock sound and Naomi Lee’s voice can peel the paint off walls.

April 25 at The Parlour: A band that has been that everyone should see is Shotgun. They’re a really cool blues band that isn’t weary of turning the amps up to 11 and melting your face.

April 26 at AS220: People should give Songs a listen; these guys are a drum & bass noise band on steroids that can make your brain turn into bubble gum.

April 27 at Firehouse 13: This will be a landmark night for Providence music in my opinion. People should definitely show up early and check out Huge Face. They’re an indie band that has two drummers and Pixies-esque songs that will have the audience bopping their heads.

MC: All the venues hosting regularly have live music and the bands performing play out all the time. Explain why, for example, the Mondays on Blast at The Spot will be different. Or how this is a different show at Dusk or The Parlour?

RD: 990WBOB’s Mondays On Blast on the 22nd will be different because you have four of the best young acts in Rhode Island performing. Dusk on the 23rd also has four very unique and eclectic bands rocking the stage. Machines With Magnets on the 24th and The Parlour on the 25th will have a bunch of bands that make the folk and rock scene in the Ocean State truly magnificent. AS220 on the 26th will be paying homage to Providence’s long history of punk and and the last night at Firehouse 13 on the 27th will have the best of the best including a super-secret special guest who won’t be revealed until the end. Also, I’m pretty sure it’s the only festival in the history of the world that has all the proceeds going to a charitable cause.

MC: Talk a little bit about both of those organizations and what moved you to do a benefit?

RD: Girls Rock RI is a volunteer-based non-profit that uses music creation and critical thinking to foster empowerment, collaborative relationships, and the development of healthy identities in girls and women. They have an intensive one-week music camp every year for 11- to 18-year-old girls and they teach them how to play an instrument, write a song and at the end of the camp the girls perform in front of their peers. They also do the same thing for women over the age of 18 as well. I’ve always admired Girls Rock for their dedication to empower and educate others while at the same time always giving back to the Rhode Island music scene and I’m honored to have them getting a portion of the proceeds from The Artistic Explosion Music Festival.

The Rhode Island Music Educators Association is a non-profit organization that plays a significant role in representing all phases of music education in the schools, colleges and universities within the state of Rhode Island. They put on recitals, concerts and festivals with school bands ranging from elementary, middle school and high school students. If you were ever in band while you went to school in Rhode Island, chances are you know about The RIMEA. I’m also honored to have RIMEA President Donald Smith working with me on The Artistic Explosion Music Festival and it’s very refreshing and exciting to know that something like this awesome event is going towards music education in Rhode Island, an industry that has been getting the short end of the stick nationwide for over 20 years.

MC: In the era of the social media where anyone can plug something, what is the importance of the promoter? I’m curious as to your thoughts being both the organizer and promoter. What has your experience been?

RD: Anyone can plug something. They’ll get a few likes and maybe a couple shares but I think the importance of the promoter is the ability to get the word out consistently while at the same time getting people to do the same thing for your event. The buzz about The Artistic Explosion Music Festival wouldn’t be as big if there weren’t a lot of other wonderful people being as excited about the event as I am and telling all their friends about it. It all has to do with bringing a community together and having them get behind and support an idea that ends up becoming a physical object or event. This experience so far has me awestruck and I’m very touched by the reaction it’s gotten.

The details for the Artistic Explosion Music Festival are as follows:

Dylan Sevey & The Gentlemen, Northeast Traffic, Rich Ferri & The Wealth On The Water and Clyde Lawrence will all be performing at The Spot on April 22 for 990WBOB’s Mondays on Blast. Admission is a $1 donation or more.

The Universes, Volcano Kings, Pixels and Transit Street Collective bring the thunder to Dusk on April 23. Admission is a $5 donation.

Torn Shorts, The Can’t Nots, The Skinny Millionaires and Chris Rosenquest will be at Machines With Magnets on April 24. Admission is a $5 donation.

Northern Lands, Shotgun, The Denver Boot and Nymphidels rock The Parlour on April 25. Admission is a $5 donation.

Weak Teeth, Olneyville Sound System, Songs and Gertrude Atherton are at AS220 on April 26. Admission is a $5 donation.

The Viennagram, Tapestries, Consuelo’s Revenge, Littlefoot, Huge Face and a special guest will rock at Firehouse 13 on April 27. Admission is $5.

Odds & Sods:

There are two huge shows this week. Andrew WK at Fete with Roz Raskin & The Rice Cakes and Herra Terra, Casey Desmond and Born Casual bringing the thunder to the dance floor for the aftershow party on April 18. As of now, there are very few tickets left so anyone intending to go should hit up the Fete box office yesterday. The other big show is Fitz & The Tantrums with Hunter Hunted at The Met Café on April 19. Same deal as far as advance tickets; hit up the Lupo’s box office because there isn’t likely to be tickets at the door.

WXIN Rock Hunt Finals go down at Fete on April 19. The combatants this year are Sic Vita, Tony Jones & The Cretin 3, Llama Tsunami and Evil Andrews. I lost my shirt betting on the WBRU version, but I plan to make it all back going big on Tony Jones & The Cretin 3. They have way more experience playing out and put out good punk sound that isn’t too heavy to turn non-punks off. Plus I just feel like they are due, they’ve been doing the WXIN Rock Hunt for like five years. It is their time.

For fans of , check out Slow Magic at Fete with Magic Man and Ravi Shavi on April 23. Slow Magic has been blowing up with successful performances at the SXSW Festival in Austin. Slow Magic protects his identity and performs wearing tribal masks. Check out his tune “On Yr Side” from his forthcoming LP online at https://soundcloud.com/slowmagic/slow-magic-on-yr-side. Ravi Shavi is reason enough to go to this show as an opener.

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Jeff Leclair: Going from a Fan to “The Man” If you are part of the electronic dance scene in New England, you most likely know Jeff Leclair. Maybe not on a personal level, but you’ve probably danced to one of his DJ sets, or gazed at a flyer he designed, or attended a show he put on. If you still don’t know him, we put Jeff through a question and answer session so everyone can get to know this DJ/promoter kingpin as reflects on the past and looks toward the future.

1) Describe your evolution from partygoer to major player.

I started going out around 1996. At the time, I had very limited knowledge of the music and where to go. I would go by Club Hell on random nights and went to a couple afterhours at East Providence Lanes. The first big event I went to was Whistle 3 in New Jersey, and then I started regularly attending Energy at the Living Room and Twist at Bootlegger’s, both run by Volume Productions. I was in college at the time, taking courses in graphic design and web development. I was trying to develop a music and media website, so I approached Volume Production’s DJ Dirty Ol Frank and began redesigning their website. Soon after, I was given the promotions director’s job, flyering cars downtown for Volume as well as a dozen other clubs. With the money I made, I was able to throw my own events and book headline DJs, which led to the weekly Plastic on Thursdays at Kamp, and eventually the Therapy events. I think what helped me progress further was working with so many clubs. I was able to meet a lot of DJs, promoters, venue owners, staff, etc. It allowed me to see it from different angles. Over that time, I was given the job of running Volume events and then Therapy.

2) People see you posting shows online or handing out flyers and think, “Throwing events is easy.” What is it that people don’t see?

You need to have the right location, right time, and right performers, all for the right price. There is very rarely a “book it and they will come” event. I take a lot of time to book appropriate talent for an event — artists who will fit the theme we’re doing and will appeal to the crowd we’re looking to attract that particular night. Aside from bookings, there’s the foundation of having the right equipment, sound, and lights. You have to have the right setup for all the artists you have in, and a lot of the time it’s a contractual obligation to do so. There’s a huge financial risk involved, which a lot of people just never seem to understand, like it’s not real money. There’s a of potentially losing a lot of money, and most of the time with my events, it’s my own personal money that I’m risking. A lot of times the risk does outweigh the reward in strictly financial terms, but in the long run, with reputation, and the perception of the event in general, the payoff comes in other ways. There’s a lot of different ways to be involved in throwing events, but I like to be involved with most aspects. It’s a little more stressful and time consuming, but in doing it that way for so long I feel like I’ve learned a lot more about all the elements involved.

3) What’s the whole Therapy story? How did you get involved with the club, what did you do there, and what happened at the end?

I got started at Therapy just passing out flyers for the events that were there. After doing that for a while I inquired about doing an event and threw RELEASE in June 2004. It was successful in getting a different audience to the club, but didn’t quite make the grade financially. I continued to do shows there for a couple of years, and gradually became more involved with the operation of the club, though I wasn’t a named part of the staff. I brought needed equipment, did decorations, setup and breakdown, and continued to do promotions (for the club in general in addition to my own events). I took some time off in 07-08 to reevaluate my role there, as I was growing frustrated with being (as I felt at the time) a freelance consultant and equipment provider. After some discussion and negotiation, I was given the management position and it progressed from there. In my opinion, Therapy had become stale over the past years, and anyone coming in seemed to just inherit the past opinions and judgments of the former attendees. What changed the club were the promoters and DJs who came in. There were a lot of audiences even within the electronic scene that the club wasn’t tapping into and DJs who wanted to play there. My goal was to involve as many interested and excited promoters and DJs that I could. Over time, more and more became aware and it grew to what it became through the end.

The way Therapy closed was a horrible way to go out. Everyone seems to think it is a big secret or there’s a hidden reason even though I’ve explained it publicly a countless number of times. Therapy was on a 10-year percentage lease. The lease payments increased every year for 10 years, and they were based on the amount coming into the business. If it didn’t close in 2011, a new lease would’ve had to have been negotiated. However, the lease holder (Therapy owner) and the landlord did not see eye to eye and the doors were locked abruptly. It wasn’t an easy time for anyone and I had to hire a lawyer to get my own personal equipment back. The ‘Therapy’ reopening posts that came soon after were the result of others trying to take advantage of the reputation and capitalize on it. It was the landlord seemingly coming into an agreement with ‘new’ owners and promoters and trying to push it through as quickly as possible. It wasn’t us, it wasn’t Therapy. They were unable to do so, as the business and the licenses didn’t roll over with the venue as they predicted or hoped. A lot of people, both involved and just fans, were hurt by that whole process as well, not knowing that it wasn’t as legitimate as they were told. Regardless, at this point we are looking forward to opening .:therapy in Miami just in time for WMC in March, and I’m also involved with Afterlife in New Haven.

4) Describe your new club Afterlife in New Haven and your vision for the spot.

Afterlife is a coordinated effort between me and three partners. The location has been an afterhours spot for longer than Therapy had been open, and we’re looking to bring in a new and bigger audience. We’ve done a lot of work in terms of aesthetic and layout, and brought in new sound and lights. The outlook for the venue is similar to Therapy; we’d like to involve different scenes and promoters on a regular basis. We’re also bringing in acts that haven’t ever been to the area or are long overdue for another appearance. Diversity is key as well; we want different genres and different crowds, in addition to a loyal audience. The one thing that’s been the most difficult is that it’s two hours away from where I live, so I can’t really spend as much time getting involved in the local scene as much as I’d like.

5) If you weren’t doing this, what would you be doing?

I would probably still be involved in the entertainment industry in some sense. I’d love to devote some more time to music production and possibly get involved in movies and television. I would still be doing graphic design, regardless; I’ve been doing that longer than anything else.

6) Describe and predict the future of the EDM scene in New England.

I’ve seen three upswings in popularity since I first got involved with the scene. This is by far the biggest it has ever been. What I foresee happening is a number of things. I think there will be a number of people whose tastes will mature and they’ll develop specific tastes in particular styles. The music will grow overall, but these individual preferences will lead to a number of niches. Fans of EDM will eventually prefer a particular genre and/or a crowd that they like to be a part of. What’s interesting, and positive about the scene today, is that fans are very aware of the producers. In the past they had limited knowledge of CD compilations. Mixes were put out and they knew the tracks and the DJ, but not the names of the artists actually making them. Unfortunately, the negative aspect of this is that there can be a watered down version of the delivery to the audience and the art of the DJ can be lost. Some producers are getting booked and don’t really have a method to play live, with some of the audience not caring how they’re playing their favorite tracks, as long as they hear them. New DJs are coming up seeing this and hence, believing they can do the same thing. This is why you hear a lot of the same music with sets of peak hour big tracks, and why there’s a lot of articles lately dealing with the lost art of the opening DJ and rants about laptop and push button DJs. I have no problem with DJs using whatever method they choose, as long as there’s an actual awareness of what they’re playing, and how/when they’re playing it. And a respect for other DJs and most importantly, the audience in general. The audience that is being exposed to the same regurgitated music and methods will just grow tired of it and move on to something else. For those playing to that type of crowd, there should be a balance of appealing to the audience and exposing them to new things; it’s the only way it will develop. I think that because of these more specifically geared shows, a lot of promoters and venues may back off because they can’t pull the overall numbers that they used to, leaving those who are knowledgeable about those genres to book and promote the shows. There will always be a place for the multi-genre event, but it will also be left to those who are a part of and know the audience they appeal to and are not a distant entity looking to capitalize quickly on what they see as a trend. I also see further separation of the EDM concert and the club and rave scenes. The shows are all so different in feel, but there’s a lot of crossover now. Eventually, that too will dissipate as fans determine what they like most.

Psytrance: The Lost EDM So, what is psytrance? Here is a short history: In the 1960s, hippies flocked to Goa, India, because of the free lifestyle, warm climate and abundant beaches. Back then, DJs in Goa were spinning psychedelic rock influenced by The Doors, Pink Floyd and the Grateful Dead. Then in the 1980s, they started spinning psychedelic music with an electronic bend. It was Goa Gil, a famous Goa music producer, who drew a link between and tribal ceremonies. Goa trancing wasn’t defined as just a gathering of people dancing and getting high; rather, it was a mind-altering cosmic experience.

So why did the scene leave Rhode Island?

“The only thing I can say about Rhode Island,” says Kalomo Sala Jordan, a psytrance DJ native to Connecticut, “is that it was the first place I heard psytrance.” Kalomo founded a production company called Awake Productions and belongs to Fractaltribe, a New England psytrance community based in Worcester, Massachusetts. Kalomo is the oldest member of Fractaltribe, but looks ageless with his long dreads and dark ethereal eyes. “To my knowledge, Fractaltribe was the first organization to host a strictly psytrance party in Rhode Island in 2009. It’s possible that there were others before that time, but there have been no Rhode Island psytrance veterans who have mentioned anything,” he explained. “We started the Subculture series at club Therapy, which ran six events in all, culminating on 11-11-11, the night before Club Therapy closed its doors. Once there were no after-hours venues in Rhode Island, the psytrance candle was snuffed out.”

Aaron, or “Aaron Fractaltribe,” is the co-owner of Fractaltribe. His mission, he said, is to “create the ecstatic moment.” As he put it, “Psytrance acts as a filter to gather the type of people we want to share a spiritual experience with. The music intrigues me because of its inherent tribal nature, and most of the producers are focused on active meditation through dance, self-development and healthy living. In an area of the world where EDM is quickly gaining interest in the mainstream, it is refreshing to stumble into a soulful, conscious subgenre that still has meaning and purpose.”

Tim Howe, a graduate of the University of Rhode Island, a bona fide “Fractilian,” and now an international Psytrance DJ, first heard psytrance in 2009 at Firehouse 13 in Providence. “Psytrance,” he said, “has frequencies you could never hear by nature or instruments. [It is] pure electricity.” Like Aaron, Tim and the rest of the “Fractilians,” I am drawn to psytrance because of the community. My hope is that the scene will one day return to our state. I’ll be waiting. Yosefa Leora is a journalist (and psytrancer) based in Rhode Island. If you have an interesting story or event you want covered, she can be contacted at [email protected] or at DareMe Yosefa on Facebook. She can also be followed at @goagnome on Instagram.

Photo Credit: Yosefa Leora

The Birth of the Rhode Island Rave Scene

by DJ Venom

The year was 1992. Buddy Cianci started his second stint as the mayor of Providence while an Arkansas governor named Bill Clinton campaigned his way to the White House. Kurt Cobain and his grunge movement brethren had ousted the hair metal bands from their throne atop rock radio while hip-hop could only be heard off the cassette tapes of boom boxes and walkmans. The walls of the city were colorful canvases decorated by graffiti master Wizart Spoke. Thayer Street was filled with artists and musicians bustling around Taco Maker, Luna Sea skate shop and the College Hill Bookstore. The social climate was in a changing state and many of the different subcultures were looking for a sort of neo- hippy renaissance to help wash away the taste of glam and excess that the ’80s left on their palate. And here in this tiny state of Rhode Island, the local rave scene took its first breath.

The thunder from Sonic Groove’s Storm in New York echoed throughout New England, and a few visionaries knew that it was time to deliver. Promoters like James Draper and Tim O’Keefe were organizing electronic dance events with names like Michelangelo, Rave Called Quest and Oracle. Bright flyers with hand-drawn art secretly advertised these parties at venues such as the Home Planet loft on Harris Ave., the Atlantic Mills in Olneyville and even the Providence Port Authority. The people came out; all types of people.

The archetype raver had yet to be invented. We were a motley crew of hippies, b-boys, thugs, preps, rastas and punk rockers, all just looking for place to hear this cutting edge music and party ’til sunrise. We danced to a lineup of diverse DJs, from local guys Osheen and DJ Acme to New York spinsters Dave Trance and Micro. We can’t forget Boston bad boys 333 and MGee, not to mention acts like Colossal Amoeba and the legendary EBN (Emergency Broadcast Network). They brought the energizing music from all over the globe into our own tiny underground world. Yanking record after record from their pilfered milk crates, the DJs created a nonstop electronic soundtrack for each evening, leaving the crowd craving the next event.

Elsewhere, the rave scene was emerging in places other than the actual raves. Club nights at AS220, Club Babyhead, the Church House Inn and Lupo’s Heartbreak Hotel were filling the dance floors with electronic music on a weekly or monthly basis. On the radio, the occasional Deee-Lite track or KLF song would whisper hints about the scene but the real stuff happened on the low end of the radio frequency. Brad Rhodes aired a vast array of popular and obscure tunes during his Saturday show, “Light Shining Darkly” on 90.3 WRIU. Over on 88.1 WXIN, a mix show called “Utopia” showcased a young battle DJ who would abandon hip-hop for techno and eventually write this very article.

In the local record stores, shelves were being stocked with domestic and import vinyl, arming the local DJs with the best tracks from around the world. Rainbow Records’ househead Marcus Todd would play tunes on the loudspeaker – frowning at anything over 125 beats per minute – while the DJs listened intently, signaling a raised finger to purchase the record as if it was an auction. Over at Fast Forward Records, owner Ron Marinick would let regular customers commandeer the turntable while he priced a stack of rare punk albums. Not only were these stores a supply house for the music controllers, but they also started selling DJ mix tapes. These little rectangular gems would, of course, be copied and distributed amongst groups of friends, spreading the diverse sounds of electronic dance music (EDM) and building an audience hungry for more of that sound. And those who didn’t leave with music would still grab a flyer for a fresh new event whose location may or may not be given until an hour before the show.

And it just kept growing.

I don’t know if any of us could have predicted what 1992’s social and musical revolution would evolve into. We’ve watched those seeds grow for over two decades. We’ve seen influential EDM spots such as the Living Room and Therapy run their course. We’ve seen Babyhead become Club Hell, Jerky’s become the PVD Social Club and Lupo’s and AS220 survive their location changes. We’ve seen hardcore evolve into drum ‘n’ bass and we’ve seen electro lose its breaks and return with a four to the floor rhythm pattern. We’ve seen hard house go from 130 beats per minute to 165. We’ve seen trance, breaks and deep house maintain a constant relevance, and we’ve seen new things like dubstep take on a cult-like following. We’ve seen the evolution of language convert words like “rave” and “techno” into “festival” and “EDM” for the sake of marketing. We’ve seen our raver clothing go from immensely pants to tight jeans or the popular boy shorts/fluffies combination; the rows of kandi bracelets have grown practically to the armpit.

Unfortunately, we’ve also seen a merry-go-round of mind-altering substances take their turn as the scene’s drug of choice, providing a dark focus for the media to exploit. We’ve grown and adapted with technology, embracing the internet and smart phones and CDs and laptops, though many purists still cringe in their analog cocoons. And things will continue to change and evolve because we are a scene filled with artistic, progressive, creative and energetic people who will continue to push the limits of music, art and culture.

The EDM scene is more popular now than it has been in years. This has happened before – the ebb and flow of popularity. Soon its flash and attraction will be replaced by another trend, and many who’ve hopped on this ride will get off at the next stop. Yet those who hold it close to our hearts will persevere through our love and dedication for the rave scene. And hopefully, in another two decades, people will fondly look back at 2013 and its neighboring years and think about what seeds were planted then and how beautiful the forest is because of it. I appreciate every branch, every leaf and every twig on this tree of electronic culture. But it’s always nice to lay low to the dirt and give thanks and appreciation to the roots that remain deep underground.