The Kid From Chicago
Billy Dalessandro, that good Chicago kid, is about to visit Québec in a flash for a week-end, playing Sonàr in Québec City on March 7th, and Academy Dancehall in Montreal on March 8th for his good friend Romeo Kardec's birthday. He spoke to us from his studio.
/// It's been an awful while since you last came to Montreal. Any particular memories of good times you'd care to share ? ///
Montreal is a great city with great people. It was summer last time I was there, so I have to bring my winter coat with me this time round. And I doubt we'll be at Piknic Electronik this time :P And Mr. Kardec might remind me to not accidentally erase my camera's SIM card this time.
People have great energy in Montreal, I can't wait to get back. To me it's the little piece of Europe over here in North America, and that's a great thing. Both artistically and socially. My music has definitely evolved in the last 3 years so I hope the weekend tour coming up is well received.
/// The world sees Chicago as this big house mecca. Is that really the case ? ///
Well, in a way it still is and always will be. However the amount of 'actual' productions and producers from Chicago seems to have diminished greatly, especially in the 'house' scene. I'm not so certain about the 'true' Chicago house scene at the moment. Old names haven't really re-emerged into the scene. Lately we seem to have less local producers, and yet more "DJs" trying to make a mark. Problem with that is, without productions you'll strand yourself only on a local-level here. In Chicago this can be a very competitive situation.
I run my new label, Siteholder Records, and focus mainly on productions. My partners and I like to remain outside of the Chicago club "politics" and "scene". We focus mainly on what we know of good techno, fused together with our own 'house' sound. We're all from Chicago and we're all familiar with what the general vibe of house wants to express. For us it's fun to mesh the two together with the right touch of humor.
/// You've just released a new album, "Into the Atom". How different is it to you from "Starcity" ? ///
"Starcity" is an album I feel I could've spent more time on. I was in a transitional period (mentally and musically) a couple years ago and was still learning new styles, techniques, etc. Then you work on stuff, you hand it in to a label. If they give the OK that they dig it and they set it up, you get excited. Maybe you even lose the focus if you feel it's finished or not, simply because it was 'accepted'. Things definitely changed since I've started my own record label, Siteholder. I feel I've evolved both personally and musically. When I started constructing 'Into the Atom' I had much clearer ideas brewing within.
Into the Atom is much deeper and with more time put into it. I put more into the production and focused on a more 'deep' listening album, as well as attempting to appease the dance-floor DJ. Being both focused and inspired helps me move my ideas along efficiently. I'm starting to try and move away from typical 'techno' albums and saving dance-floor material for the EP. My next full-length will definitely come as a surprise to those that are currently familiar with my sound as it is now.
/// You're based in Chicago but the bulk of your business happens in Europe. Have you ever considered following the wave & moving over there ? ///
Always. But I have a dual life that most don't realize.
First, my agent and best friend, Ilidio Chaves (aka Expander), runs Soniculture (a label and artist management company) and is based in Lisbon, Portugal. So I have a very strong connection with Europe and what I do. To me Europe is simply the capital of dance music for planet Earth.
Second. I work as a Video / Audio engineer at a multimedia studio in Chicago called Backstar Creative Media (www.backstar.com). I love working with video and audio together, and I have a wonderful boss who both loves and respects my work as producer / label owner. So I am able to keep my musical career as a hobby even though I've elevated it to a professionally successful level while engaging in a day-to-day normal life in a city I love. I may not agree with how the US is operated as a country, but I can't deny I love Chicago for what it is.
Also, a lot of local artists (or domestic I should say) have, in a way, abandoned our US scene by moving to trendy cities overseas, such as Berlin, in order to find the 'techno dream' I'm guessing. This is definitely where I differ from other artists. Chicago is my home and I do my best to make things happen, no matter what. I haven't quite come to trust the music industry enough to ride on it's coat tails just yet.
Lately I'm more about warm weather and 'warm people', rather than Europe VS. the US VS... wherever. ;) viva Brasil!
/// What do you think it is that renders Americans insensible to electronic music in general ? ///
Before I start, I would like to take the 5th amendment here (although at this point I'm probably out of US jurisdiction) :P
I'll take a 'guess' at this question, but I state now I am in no way an expert on this most sensitive and difficult subject.
The culture, or 'lack' of. People make things happen. Just like guns don't kill people. People kill people.
I'm not pretending to be an expert on the ecology of electronic music in the US, but I don't feel the majority of people in the US take things seriously. There's definitely a lack of drive and energy. If you want something you take it. But you can't take anything if you don't really know what you want. And if you do get it, do you really know what to do with it? To me, the US people are living in a spoiled (somewhat sheltered) society. Maybe they have everything and they feel cozy to it, so nothing is 'pushed' or 'driven.' It's on the level of merely being 'accepted'. This is not exactly a unique and progressive disposition for us to have in the US since electronic music is all about pushing 'unique' and 'experimental' (or different).
The US media is nothing to thank either. They push crap and people in the US just eat it up. So called "Hiphop" (in whatever it's current form is these days) and bad commercial music are pumped into the pipeline, leaving the rest of us to fend for ourselves. The US imposes a TON of ridiculous laws about how to party, and what clubs can do and this makes things ever more difficult to push and/or promote.
We're also a very superficial country without any real culture. I feel the rest of the world understands more artistic music, such as techno and electronic music, simply because of a strong history and background. For example, respect and love for the arts goes centuries back in Europe, and I feel electronic music falls into a category that Europe really understands. Just like classical music did back in it's hay day. People don't always want to have to think about their music so no reason to be too intellectual about it, but have some good taste at least.
However, to stand on the US side for a minute. I must say in terms of the electronic music 'scene' the US does have extremely original talent that I believe cannot be found anywhere else. It's just unfortunate that we are in much smaller numbers than the rest of the industry. Also, it's not so much the US to blame, but each city itself. The attitudes of US citizens can differ greatly depending on what part of the country you're in. This I don't even wanna get into since I'd just be spewing out my opinion. And who the fuck am I ? ;)
To give you a simple solid answer on this: I really have no clue, but musically and culturally the US and it's people need a fucking enema !
Quality Control is KEY !
/// How do you view the slow disappearance of vinyl, being a label owner ? ///
Well, it's a sign of the times. It's 2008. A lot of variables are involved here. Technologically we have really come a long way in a short amount of time, and it will only grow exponentially.
1) Money. Vinyl is fucking expensive. Both manufacturing and for the consumer.
2) This is where Digital wins, hands down. You get the music to the people. You get paid, you can pay your talent and employees.
AND...
3) Digital is immune to the pitfalls of what labels know as "release schedule" ! (although this is not necessarily the fault of vinyl, as it is the fault of Distribution). Again, Digital leaves this department back to the label where it's easy to live by the motto "you wanna get it done, you gotta do it yourself !"
I run a US-based label that receives most of it's business from Europe. Especially Vinyl sales. It's just how the ball rolls and that's all I can say.
Anyone that loves music and knows anything about alternative mediums for delivering content knows that Vinyl is most unique. It has an analogue characteristic that is unmatched. Specifically for electronic music it's wonderful. Music that is mastered for vinyl gets put through a process that delivers a product nothing else can match.
From an artistic standpoint, I do hope vinyl survives the test of time. From a business standpoint, It's my job to get our sound to the people. And speaking as an artist now, it's good to get paid. Digital allows me to pay my people in an industry that is almost impossible to keep afloat financially !
I love both in different ways and I do my best to make both scenarios a positive and effective reality !
/// When it comes to playing live, what can we expect from your set ? ///
Come to the club and we'll see !
As long as the promoter honors my rider by remembering my hot pink cat-suit, you can expect many things :P
/// Do you think that things might get hectic when you play two small clubs packed with a motivated crowd at the end of the worst winter in decades ? ///
Sounds fun and dirty !
* * * * *
Billy Dalessandro plays live at Un Zoo la Nuit @ Academy on March 8th. 4445 St-Laurent, 10 PM to 3AM, 10$ before midnight and 15$ after. Also on the bill are Romeo Kardec, who will as well be celebrating his birthday, and Clifford Brown. Word.
Dojo Studio
Billy's MySpace
Siteholder
Siteholder MySpace
Facebook event
/// It's been an awful while since you last came to Montreal. Any particular memories of good times you'd care to share ? ///
Montreal is a great city with great people. It was summer last time I was there, so I have to bring my winter coat with me this time round. And I doubt we'll be at Piknic Electronik this time :P And Mr. Kardec might remind me to not accidentally erase my camera's SIM card this time.
People have great energy in Montreal, I can't wait to get back. To me it's the little piece of Europe over here in North America, and that's a great thing. Both artistically and socially. My music has definitely evolved in the last 3 years so I hope the weekend tour coming up is well received.
/// The world sees Chicago as this big house mecca. Is that really the case ? ///
Well, in a way it still is and always will be. However the amount of 'actual' productions and producers from Chicago seems to have diminished greatly, especially in the 'house' scene. I'm not so certain about the 'true' Chicago house scene at the moment. Old names haven't really re-emerged into the scene. Lately we seem to have less local producers, and yet more "DJs" trying to make a mark. Problem with that is, without productions you'll strand yourself only on a local-level here. In Chicago this can be a very competitive situation.
I run my new label, Siteholder Records, and focus mainly on productions. My partners and I like to remain outside of the Chicago club "politics" and "scene". We focus mainly on what we know of good techno, fused together with our own 'house' sound. We're all from Chicago and we're all familiar with what the general vibe of house wants to express. For us it's fun to mesh the two together with the right touch of humor.
/// You've just released a new album, "Into the Atom". How different is it to you from "Starcity" ? ///
"Starcity" is an album I feel I could've spent more time on. I was in a transitional period (mentally and musically) a couple years ago and was still learning new styles, techniques, etc. Then you work on stuff, you hand it in to a label. If they give the OK that they dig it and they set it up, you get excited. Maybe you even lose the focus if you feel it's finished or not, simply because it was 'accepted'. Things definitely changed since I've started my own record label, Siteholder. I feel I've evolved both personally and musically. When I started constructing 'Into the Atom' I had much clearer ideas brewing within.
Into the Atom is much deeper and with more time put into it. I put more into the production and focused on a more 'deep' listening album, as well as attempting to appease the dance-floor DJ. Being both focused and inspired helps me move my ideas along efficiently. I'm starting to try and move away from typical 'techno' albums and saving dance-floor material for the EP. My next full-length will definitely come as a surprise to those that are currently familiar with my sound as it is now.
/// You're based in Chicago but the bulk of your business happens in Europe. Have you ever considered following the wave & moving over there ? ///
Always. But I have a dual life that most don't realize.
First, my agent and best friend, Ilidio Chaves (aka Expander), runs Soniculture (a label and artist management company) and is based in Lisbon, Portugal. So I have a very strong connection with Europe and what I do. To me Europe is simply the capital of dance music for planet Earth.
Second. I work as a Video / Audio engineer at a multimedia studio in Chicago called Backstar Creative Media (www.backstar.com). I love working with video and audio together, and I have a wonderful boss who both loves and respects my work as producer / label owner. So I am able to keep my musical career as a hobby even though I've elevated it to a professionally successful level while engaging in a day-to-day normal life in a city I love. I may not agree with how the US is operated as a country, but I can't deny I love Chicago for what it is.
Also, a lot of local artists (or domestic I should say) have, in a way, abandoned our US scene by moving to trendy cities overseas, such as Berlin, in order to find the 'techno dream' I'm guessing. This is definitely where I differ from other artists. Chicago is my home and I do my best to make things happen, no matter what. I haven't quite come to trust the music industry enough to ride on it's coat tails just yet.
Lately I'm more about warm weather and 'warm people', rather than Europe VS. the US VS... wherever. ;) viva Brasil!
/// What do you think it is that renders Americans insensible to electronic music in general ? ///
Before I start, I would like to take the 5th amendment here (although at this point I'm probably out of US jurisdiction) :P
I'll take a 'guess' at this question, but I state now I am in no way an expert on this most sensitive and difficult subject.
The culture, or 'lack' of. People make things happen. Just like guns don't kill people. People kill people.
I'm not pretending to be an expert on the ecology of electronic music in the US, but I don't feel the majority of people in the US take things seriously. There's definitely a lack of drive and energy. If you want something you take it. But you can't take anything if you don't really know what you want. And if you do get it, do you really know what to do with it? To me, the US people are living in a spoiled (somewhat sheltered) society. Maybe they have everything and they feel cozy to it, so nothing is 'pushed' or 'driven.' It's on the level of merely being 'accepted'. This is not exactly a unique and progressive disposition for us to have in the US since electronic music is all about pushing 'unique' and 'experimental' (or different).
The US media is nothing to thank either. They push crap and people in the US just eat it up. So called "Hiphop" (in whatever it's current form is these days) and bad commercial music are pumped into the pipeline, leaving the rest of us to fend for ourselves. The US imposes a TON of ridiculous laws about how to party, and what clubs can do and this makes things ever more difficult to push and/or promote.
We're also a very superficial country without any real culture. I feel the rest of the world understands more artistic music, such as techno and electronic music, simply because of a strong history and background. For example, respect and love for the arts goes centuries back in Europe, and I feel electronic music falls into a category that Europe really understands. Just like classical music did back in it's hay day. People don't always want to have to think about their music so no reason to be too intellectual about it, but have some good taste at least.
However, to stand on the US side for a minute. I must say in terms of the electronic music 'scene' the US does have extremely original talent that I believe cannot be found anywhere else. It's just unfortunate that we are in much smaller numbers than the rest of the industry. Also, it's not so much the US to blame, but each city itself. The attitudes of US citizens can differ greatly depending on what part of the country you're in. This I don't even wanna get into since I'd just be spewing out my opinion. And who the fuck am I ? ;)
To give you a simple solid answer on this: I really have no clue, but musically and culturally the US and it's people need a fucking enema !
Quality Control is KEY !
/// How do you view the slow disappearance of vinyl, being a label owner ? ///
Well, it's a sign of the times. It's 2008. A lot of variables are involved here. Technologically we have really come a long way in a short amount of time, and it will only grow exponentially.
1) Money. Vinyl is fucking expensive. Both manufacturing and for the consumer.
2) This is where Digital wins, hands down. You get the music to the people. You get paid, you can pay your talent and employees.
AND...
3) Digital is immune to the pitfalls of what labels know as "release schedule" ! (although this is not necessarily the fault of vinyl, as it is the fault of Distribution). Again, Digital leaves this department back to the label where it's easy to live by the motto "you wanna get it done, you gotta do it yourself !"
I run a US-based label that receives most of it's business from Europe. Especially Vinyl sales. It's just how the ball rolls and that's all I can say.
Anyone that loves music and knows anything about alternative mediums for delivering content knows that Vinyl is most unique. It has an analogue characteristic that is unmatched. Specifically for electronic music it's wonderful. Music that is mastered for vinyl gets put through a process that delivers a product nothing else can match.
From an artistic standpoint, I do hope vinyl survives the test of time. From a business standpoint, It's my job to get our sound to the people. And speaking as an artist now, it's good to get paid. Digital allows me to pay my people in an industry that is almost impossible to keep afloat financially !
I love both in different ways and I do my best to make both scenarios a positive and effective reality !
/// When it comes to playing live, what can we expect from your set ? ///
Come to the club and we'll see !
As long as the promoter honors my rider by remembering my hot pink cat-suit, you can expect many things :P
/// Do you think that things might get hectic when you play two small clubs packed with a motivated crowd at the end of the worst winter in decades ? ///
Sounds fun and dirty !
* * * * *
Billy Dalessandro plays live at Un Zoo la Nuit @ Academy on March 8th. 4445 St-Laurent, 10 PM to 3AM, 10$ before midnight and 15$ after. Also on the bill are Romeo Kardec, who will as well be celebrating his birthday, and Clifford Brown. Word.
Dojo Studio
Billy's MySpace
Siteholder
Siteholder MySpace
Facebook event
posted by Clifford Brown at
Wednesday, February 27, 2008
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