#111 - W. Jeremy
Having been involved with labels such as Vicious Muzik, Hot n' Spycy and Tony Humphries’ Yellorange since the 90s he has also nurtured a fine DJ career across the East and West Coasts of North America. That knowledge all comes together in this glorious mix that builds from the deeper house sounds of Kerri Chandler, Mac Ramirez, Floorplan and MANIK (NYC) to the tougher techno elements of Roman Fluegel, Mr G, Radioslave, Kevin Saunderson & KiNK, LFO and Galaxy 2 Galaxy. This could well be the audio biography of W. Jeremy condensed into 60 minutes but its also one helluva party.
Jeremy is part of a collective known as House of Stank along with Christy Love. They began a weekly Wednesday party at NYC's club Mr. Black called "STANK". It played host to many of house music’s influential figures, one of them being the legendary Wild Pitch Acid maestro, DJ Pierre. In April 2006, they, along with DJ Pierre, launched a monthly party at STANK, dubbed "AFRO ACID: The Chicago Sessions," where one Wednesday a month, Chicago jacked New York with such world-renowned guests as Cajmere (a.k.a. Green Velvet), Glenn Underground, Ron Carroll, Mark Grant and Harrison Crump.
In 2007 and 2008, their debut and sophomore tracks, were released on DJ Pierre's label, Afro Acid Digital. The following years, they released 2 tracks on Chicago's legendary label, Dust Traxx Chicago and House of Stank went on to remix such artists as Larry Tee, Hannah Holland and The 2 Bears. In the winter of 2010, they launched their own label, Get Up Recordings which has featured artists such as Tedd Patterson, The Black Madonna, MATTRiXMAN, Honey Dijon, Severino, Kim Ann Foxman and Physical Therapy.
As a solo, DJ he plays at such parties as On Top and Horse Meat Disco, and regularly at such venues as Output and Le Bain. As a producer W. Jeremy has original productions and remixes for Terrence Parker, Angel Moraes and JD Samson, on labels Batty Bass, Good For You Records and Nervous Records.
The new 3 track EP release on Get Up Recordings, ‘3 Corners’ from W. Jeremy is out now. You can listen at www.soundcloud.com/getuprecordings
Q&A with W. Jeremy
- Let’s start with the mix. Did you approach this differently to a club set?
I approached it slightly differently, with a lot more care because it's just you and music, no crowd to read. I initially started to play records for myself because I love music and love to create a "new" track during the blend of the transition, I don't necessarily need a crowd to get me hyped about music but there is a symbiotic relationship between playing music and seeing people groove. I do less drop outs, reverb, FX, etc when creating a mix at home. Those spontaneous FX's come when you see moving feet to what you're playing.
- Can you remember when you first became aware of ‘electronic’ music as opposed to just music on the radio?
Hmmm that's a tough one because I've never really listened to the radio as much as everyone else I knew. But I think when I saw Blade Runner and Sorcerer for the first time and heard the way Tangerine Dream and Vangelis wove a fabric of sound that helped shape the entire movie that really stood out for me.
- How were your formative years in New York City? Does the New York of today compare in anyway to the one you remember?
There's really little comparison to NYC of yesteryear and today. Disney, Sex and the City and soon Amazon mediocrity have deeply set into NYC. Today NYC clubs are about making the most money right away, less room for a party to grow; it's also about a social media experience. On one hand it can be good because parties have gone back to warehouses and have things like a no camera policy in order to weed out certain people but on the other hand even those parties have 20 hosts that have nothing to do with the music and 5 DJs playing 2 hour sets. There's less of a musical journey to be had and more of "what famous person can I get a picture with" vibe. Gone are the days of hearing a DJ doing a 12 hour set and/or holding a weekly or even monthly residency.
- The 90s were a golden period for House music in New York. Was it an exciting place to be?
It def was an exciting time! I grew up across the bridge in NJ and when I was about 15 I would hop a ride into the city with a senior in high school and go to see bands play at the Ritz. In the late 80s they started to play House Music on the radio like Todd Terry, Jungle Brothers, Jellybean, also tons of freestyle, but it wasn't until about 1992 when I started to go to Sound Factory, SFB, Red Zone, Roxy, Save The Robots to see Frankie, Junior, Louie and Morales play. I loved also a bit of rave music and would go to Shelter for NASA to hear Soul Slinger, Beltram, and Moby play. The clubs were way more about the music and less about super stardom.
- From 1997-2001 you located to San Francisco, becoming resident at Saturday morning party, Otherwhirled at Endup. How did that come about?
I moved out to SF a year or so after school to experience the west coast. I quickly got a job as a bar-back at the End Up. I was there for 3 months before Alison Page, the promoter of the Saturday morning party Otherwhirled, approached me and said "I heard you DJ, would you like to play my party one time?" Even though I was fairly new to DJing, I nervously said sure and then went home and practiced every single transition until the gig. My hands nervously picked up the tone arm hoping not to drop the needle for every record I played that first gig. After I was finished she loved it and asked me to be a resident for the party.
- How did you come into contact with Christy Love and set up ‘House of Stank’?
We unknowingly lived in SF roughly the same years but didn't connect until we were both in NYC through a mutual friend. We vibed right away and wanted to create a party to play House records together. She is good friends with Ana Matronic from the Scissor Sisters who became the host along with Ana's now husband, Seth Kirby, who was the third DJ. The name of the party, "Stank" was kind of a joke, as was our DJ duo collective name "House of Stank", which was a derivative of the party name but obviously more akin to the naming of fashion houses and ultimately Ballroom/voguing houses. We didn't expect it to turn into something bigger or even have the party continue for almost 5 years.
- What do you recall from your monthly Afro Acid parties with DJ Pierre at Mr. Black?
I never met Pierre prior to that time but I remember messaging him on MySpace. I told him that he was the reason I become a DJ because I loved the acid and his Wild Pitch style production and that I was doing a party and only had a certain amount of money but I would love him to play our party. Yes it was like that, one big nervous run-on sentence. He was super appreciative even though he must of heard that kind of praise many times before and he agreed to do the party. That party went off and because it was a small space it was special. He proposed to do a monthly with us, the 2nd Wednesday of the month. Through him we played with Glenn Underground, Cajmere, Ron Carroll, Johnny Fiasco, Harrison Crump. We became fairly close with him and his family at the time. We finished our first record at his studio in Chicago and released it on his Afro Acid label.
- Over the years, what have been your favourite parties to play at?
One of my favorite parties to play has been this party called Catwalk which I did for about year and a half and was the resident DJ. It was at Marquee in NYC and I got to play what I wanted to play, not having to play the terrible bottle service EDM/festival stuff Marquee is known for. I really came into my own as a DJ and the realization of what that means; taking risks in order to stand out as a DJ and not like others just hitting the play button because the sync button is engaged on Rekordbox and will mix the tracks automatically. That's not a DJ to me, that's a person who plays music with no investment in the art of DJing. My other favorite parties to play are the ones in LA, for Victor and Chris who do Bears in Space and Cub Scout, they appreciate some good vinyl playing and know their music just like other LA party people, they are definitely out there.
- What production plans do you have for 2019?
I'm working on a 8 - 10 track full length that should be done by the end of the year, with a few vocal tracks and more of a jazz influence and of course acid, but not acid jazz. Also a track on Nervous Records is set to come out called "I've Seen It" which I've included in this mix here.
- A friend comes to New York for the weekend. Where would you take them for food, music and culture?
A weekend in NYC, with or without sleep? Okay so I take them to my neighborhood that I love, Harlem. First Amy Ruth's on 116th Street for the best Chicken and Waffles in the country then to Bills Place, a jazz speak easy which takes place in someone's residential brownstone apartment and then finally to the National Jazz Museum, all within blocks of each other.
EPM Podcast 111 – Tracklist
- Kerri Chandler - Mommy What's A Record
- Wbeeza - If You Believe
- Roman Fluegel - Even More
- MANIK (NYC) - Let There Be Acid
- Mac Ramirez - Moving On (W. Jeremy's Detroit Stack'd Mix)
- Radio Slave - Children of the E (KiNK SP1200 Remix)
- Radio Slave - Feel The Same (Floorplan Remix 2)
- KiNK - Perth
- Mr. G - Precious Cargo feat. blondewearingblack (Dark Broke Down Dub)
- Kevin Saunderson & KiNK - Idyllic (Extended Mix)
- Floorplan - Let The Church
- W. Jeremy - I've Seen It (Beats Version)
- Afterlife - The Commandments (Alvin's Beats)
- LFO - LFO (Leeds Warehouse Mix)
- Galaxy 2 Galaxy - Hi Tech Jazz