Archives for posts with tag: The Stranger

Hi there! Hope ya’ll are well. I’ve let this blog chill for a bit while I worked on some other areas, and now I have new productions to share. This past summer I collaborated with my good friend WD4D on a track. We brought our vibes together, this one showcasing more of his ideas and production, giving credit where credit is due. What came through is U Kno, a playful hip-hop tune with local remixes enlisted by Sphyramid and OCnotes. The artwork was done by Seattle local Jesse Danger Dyer, the idea being to create a new creature inspired by WD4D’s and my energies combined. Pins celebrating the release are available now through the Care Package Bandcamp. 

Over the last few years I’ve been experimenting more with creating ambient music. This was in a way centered around making background music that has played quietly on my Hollow Earth Radio Disco Droppings shows each Thursday (5PM-7 PST), and going through a personal grieving process about my mother. Recently I felt that enough material was gathered to turn into a release. I used a picture I took right here in Washington on the ferry as the artwork and had my friend Crebenebez master the 4-track release called Ambience. I would say this is the largest original body of music of my own that I have shared so far. Presented on 7 Deadly Records, the label I operate which joins a varied collection of music. This recently was lifted up by Dave Segal over at The Stranger, who named my EP one of the best local releases of 2019.

The same producer who mastered that ambient journey, Crebenebez, followed that up with an adventurous EP One on the Disco Droppings bandcamp. He is out of Vancouver B.C., friend and collaborator with my label mate Working Class, who is featured on 2 tracks. I am super impressed by the way they presented this release to me fully formed, needing zero constructive critiques on the music. I had one small suggestion laying out the artwork done by James Moore, which was for the most part, already realized. Big cheers to everyone involved with that release and Crebenebez for creating tunes with such vibrancy, and for allowing me to release them.

– Jimi Jaxon

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We are counting down to the next “Disco Droppings Presents” at Kremwerk. I’ve got performing artist Goodwin here to talk about his musical shenanigans. A personal favorite from the Motor night, you can see his live Techno set this Thursday. It’s a pleasure to join forces..

 

DD So with music, you started out more experimental. What drew you to Techno?

G So the strange but true story of my musical progression is that I was actually really into electronic music in high school during the 90s “electronica” wave. I started out buying stuff related to the Prodigy, Chemical Brothers, Daft Punk, etc. and progressed to some amazing (and some totally crap) compilations that really opened my mind. From there I fell in as resident nerd in a group of much cooler kids who were DJing at my friend’s house and just getting deep on all kinds of shit. I found jungle/drum & bass pretty quickly after that, and amassed a decent collection of 12″s while working and was still living at home with my folks. But by the time I moved to Seattle I had gotten a lot more interested in punk and hardcore music. Mainly because as someone underage I could legitimately participate in it and it was really pro-youth empowerment. And those elements were really absent from the, at that point, heavily commercialized Bay Area rave scene, or at least my experience of it. By the time I got to Seattle that sort of naturally led me to start volunteering at The Vera Project, and from there helping my friends do experimental pop, noise, and free jazz shows. So at that point my musical education started all over again, which was fantastic.

A lot of factors drew me back to House and Techno as I got more and more into playing experimental music. A few of my peers had been making “noise” music that referenced a lot of stuff in the Chain Reaction and Raster-Noton universes and while I love that music, it wasn’t the exact territory I wanted to tread in. Around this time re-discovered a cache of mp3s on my hard drive of stuff like Mr. Fingers, Model 500, Ron Hood, Frankie Knuckles, and Phuture and it all really drew me in all over again. And from there, these funny coincidences kept happening that kind of drew me further and further into dance music again.

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DD I see I see. We’ve both been encouraged by Dave Segal over at The Stranger. Your Ramparts EP was described by him as “tonally and melodically advanced”, quite the compliment! What’s an influence that you would give that same description?

 

G A really foundational influence for me is Juan Atkins, especially the Model 500 stuff. I think of any major influence of “GOODWIN” that’s probably who pops into my head the most as someone that phrase would apply to. So many of his songs hit it home for me even after so many years of listening to them. On songs like “Night Drive” or “No UFOs” especially, it’s really the totality of those songs that strike me. For me, every element in those songs is a hook and that’s always been impressive to me. There’s so much craft there. Other folks that I can think of right now are probably artists like Fela Kuti, Meredith Monk, Talking Heads, Steve Reich, Kraftwerk, and Curtis Mayfield. For me an important part to GOODWIN is making music that’s rhythmically dense with lots of interlocking melodic parts, and I definitely think about those folks a lot in that context.

 

DD Love it. I first saw you play at the Motor night in Seattle. Kremwerk hosts, and that vibe is one of my favorites currently in the club. What do you enjoy most about Motor? For people unaware, maybe you could also give a quick summary of the monthly..

 

G For sure. MOTOR is a monthly club night and label based in Seattle that was founded by Sam Melancon in 2012 and is now run by Sam and a collective of folks. I can’t speak for Sam, really, but MOTOR more or less evolved out of a tendency in the last few years for artists with backgrounds in experimental or drone or psychedelic music to flirt with rhythms from house, techno, italo, and other dance musics. I think what I like the most about MOTOR is how broad its scope of music is, and just how deep of trippers the general audience is. It’s people who are fucking enthusiastic about good somewhat strange dance music. I have to give it up to Sam and crew for just making a space for folks to come in and play in Seattle and be well received and have shit be done right.

 

DD So, going into performing, what’s your live setup consist of?

G It’s been pretty consistent lately, though I just had my laptop take over sequencing and drum duties for my ailing MPC. But generally it’s MPC or laptop on drums and sequences and then a Roland TB-303 clone I built, a Volca Keys, a Yamaha TX81Z, and then lots of FX boxes, both pedal and rack. Mixing and EQ and FX routing plays a big role in my live sets because things like delays can help add that rhythmic density that I talked about that earlier and modulation FX add that cosmic element a bit.

DD Well I am very excited to have you at the next Disco Droppings Presents. Till then!

G Hey thank YOU, man.

 

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– Jimi Jaxon