Interviews – Page 2 – Communiqué

Holding Hands (Again) with Gargoyle Records

Some records just stand the test of time. In the mid-90s Baltimore natives Don Corrieri & Tony Pegas of Gargoyle Records released six of the most high-octane east coast break-beat records we’ve ever heard, all of which now fetch a pretty penny on the good ‘ol Cogs. It goes without saying that these tracks still completely rip up today’s dancefloors, which is exactly the reason why Holding Hands label boss Desert Sound Colony snatched some up for re-release on his Holding Hands Again imprint.

Editor’s note: Desert Sound Colony played one of the best sets of recent pre-quarantine memory for [sic] at the end of 2019 — dang, I miss dancing with friends!!

Hot off the release of Gargoyle Records Classics Volume 1, I caught up with the Gargoyle bosses Don and Tony to chat about the label’s history, their favorite breaks, and of course grab some of the label heat (which I mixed up into a little label sampler below to whet your appetite).

WKDU · Gargoyle Records Ultra-Mix

How did you and Tony meet up? What music were guys into at that time?

Don: We met in the mid 90s and were both already deep into the underground music scene. It was an exciting time as we were moving from industrial bands (like Nitzer Ebb and Thrill Kill Cult) to house and techno. At the time, I was promoting my record, FS Tech. Tony was only 17, but was one of the biggest DJ’s and promoters in Baltimore. He would spin my records at his weekly “Meltdown” parties. Soon after, I had him over to my studio and we would do sample sessions into my EMU sampler.

Tony: I met Don sometime in the 90s. He had produced several projects I had heard, so when he brought me some records to play, you better believe I played them. Eventually he invited me to his studio and it was an instant connection.

How did Gargoyle get started?

Don: Tony would bring DJs and acts to my studio. In 1995 he was throwing a New Year’s Eve rave and approached me about creating a song specifically for that event. The song we created eventually became “Danceaholic”. After that we began working on more music together, and soon launched Gargoyle.

Tony: Once we had a few songs, our friends Dan and Bump at Defective Records suggested that we start a label and release it ourselves. Fortunately they shared with us how to go about doing that (thank you guys!) And that is how Gargoyle Records was born.

What’s the biggest difference in dance music today vs the 90s ?

Don: Back then the music was much more underground. It didn’t permeate ads and pop culture as much. It was great to witness the birth of new genres and be able to go to clubs and hear truly new sounds.

Tony: In the early days, it was all just called “dance music”. As time went by it got more refined in terms of genres. Eventually DJ’s started playing just one style.

What’s one of your most memorable label / party moments?

Don: Tony was one of the headliners at a big party in Ottawa, Canada. They rolled out the red carpet for us and it was amazing. It was a wild party with great bands and DJs. Our (just released) song, “Do You Believe” was actually created for and debuted that night, played on acetate vinyl.

Tony: The best Party I ever played was with DJ Bump from Defective Records for the premier of John Waters’ film Serial Mom at the Baltimore Museum of Art. A-List Party. By now I played only what I liked and everyone loved it…if you have ever seen a John Waters movie you can understand Baltimore and its charm. I eventually produced and promoted raves with SisterFace (Trax DC) and Bubbles (Cignels + Orpheus). Richard Long had passed by this time but Gary Stewart, who was an associate of Richard’s, did our sound and Super Cal did our Lighting. In the Mid-Atlantic Area, our system was only comparable to The Paradox.

Is there anything that stands out to you as part of the signature East Coast sound / style ?

Don: I say the East Coast sound is a little rougher and rawer— just like Baltimore!

Tony: The ‘Baltimore Club’ sound influenced our music quite a bit. We took the chopped up loops/vocals and added techno and acid synth sounds.

How did you link with Liam / Desert Sound Colony?

Don: Beginning in 2019, we had a steady stream of renewed interest in our music. We never officially had anything online and the vinyl was getting scarce. In fact, it’s not uncommon to see our records selling for upwards of $100. Along with messages from fans we had a good bit of label interest. Liam offered us a great deal and the rest is history.

Tony: We liked the vision Liam had toward re-releasing our music. His label, “Holding Hands Again” not only symbolizes the reissue, but that Don and I are back at it!

What else do you guys have in store after the Holding Hands release?

Don: We actually have another retrospective EP, “Gargoyle Classics Vol 2”, coming this summer on Liam’s label Holding Hands Again, and a 3rd EP with another label based in Europe. On each of the records we’ve also included an unreleased song from that era. Plus everything has been remastered and sounds really great. We’ve also began working on some brand new tracks, so be on the look out for more on that soon!

Tony: We’ve been talking about the next Gargoyle release and I can feel it coming. I’m putting together a new studio with some of my favorite classic synths like the Juno-106 with the Kiwi mod as well as new gear.

Don: Yeah, the renewed interest in our music is definitely making me itching to create some new acid breaks!

What’s your favorite break ?

Don: I love the Bad Sista break, which is one of the most iconic loops in Bmore club music. Also the Lyn Collins (used in ‘It Takes Two’).

Tony: Pacha on Acid ( Krafty Kuts remix)

Stay tuned for more heat from the Gargoyle crew & definitely check out Gargoyle Records Classics Volume 1 if you haven’t already!!!

Stay safe out there y’all <3

ARTIST PROFILE: SADIST PINK

Interview by Sam Spencer

With the drop of Sadist Pink’s debut album Dolorem Ipsum, I got a chance to do a little Q&A with him about what it’s like to be making and releasing music while the world continues to cave in on itself.

Firstly how are you and what have you been spending your time doing amidst this pandemic shit?

I’ve been doing good, thanks. Most of the time I’m catching up on schoolwork and just generally worrying about the state of the world or being misanthropic, so nothing too far from the usual, I guess. In my free time, I’m going into work alone at the local community garden and reading a bunch. Aside from being far from friends, I’m very appreciative of how lucky and safe I’ve been.

How do you feel about dropping a project right now?

There’s a little guilt about the timing…it’s a wild feeling to be promoting my work at a time like this. But simultaneously, this album is all about the ‘end of the world’ ideas and emotions that I’m usually dealing with, so it also feels like there’s no better time to release these songs.

Where are you from originally/where do you live now?

I’m from Trenton, New Jersey and that’s where I’m at right now.

What kind of music scene did you get introduced to early on? And who put you on?

I started just going to Philly noise and DIY shows a while back in high school, but I haven’t been deep into that recently, I guess. It’s a long-ish drive from Trenton. I guess I just stumbled into it.

When did you start making music?

I’ve been making my own music since around 2013-ish, but I’ve been playing instruments since I was young.

What did your first stuff sound like? How much has it changed since then and how so?

My earlier stuff was definitely way less put together. I was working off GarageBand and just fucking around with an amphead and a looper pedal in my room. It was all very glitchy and slow and dark, so I guess my stuff’s gotten more formal and less repetitive, but I’ve really been down for the same general vibe.

What is your creative process like?

It sometimes starts on the piano in my house or a guitar, where I might come up with a melody, but usually, it just gets going on my laptop. I usually just post up in Logic software for a couple hours on the porch and just work on a beat and vocals. I come up with something I like and then let it sit for months on my computer before I ever re-record vocals on my microphone upstairs. It’s a long process with no guarantee of success. I’ve got way too much music just sitting on hard drives. Maybe I’m just lazy.

Tell me about your name.

I just liked the sound of the two words together. It’s jarring but pretty.

When people listen to Dolorem Ipsum, what kind of environment do you suggest they be in?

Hmm… I think being on public transit on a rainy day makes this project sound 10 times better but I suggest they dodge that fare tho.

Was there a conceptual bottom line going into this new project?

Going into this project I was thinking a lot about how I feel very chaotic inside most days and I almost always see that chaos mirrored by the outside world. It’s such a struggle to see beauty in the world’s violence. I’m always wondering what finding peace looks like in a broken world and if that peace will always just be escapism or ignorance. And how do we justify finding that peace? Imma stop myself before I start a philosophical monologue.

Do you feel like you achieved it?

Very much so.

How long did this project take?

It’s been a while. At least a year or so now.

What role does music play in your life right now?

Music is and has always been a great place for me to process what I feel and think. It gives me ways to dissect myself and the world around me that I think are crucially important. Only recently have I been thinking about how others relate to my music, which is weird because it’s always been such a personal experience for me.

Who are you inspired / who do you listen to at the moment?

My mom was always bumping Sade when I was young so I think she’s my biggest influence for sure, and then there were Bjork and Toro y Moi too. These days I’ve been listening to lots of Yves Tumor, Ecco2k, Jessica Pratt, and Oneohtrix Point Never.

Who did the cover art? I’m a fan

Thanks, it’s just something I threw together.

Do you have a favorite track on it?

I think ‘Esc’ sums the project up the best.

Where can people listen/stream when it drops?

The album’s up on Spotify and Apple Music but there’s also a music video for ‘Of Desire’ up on YouTube.

Can we look forward to any shows or live performances when things calm down?

Ahhh, I’ll give that a maybe. That shit makes me mad anxious, but we’ll see.

Any shout outs or last words?

Shoutout to my friends for their love, and Noam Chomsky. Plus shoutout to you for this interview, right?

American Football: how midwest emo lives on

by Brooklyn Fellner

Nate Kinsella, Matt Kinsella, Steve Lamos, and “the mysterious” Steve Homes, all poured themselves a glass of red wine in the lounges of the Union Transfer. Their band, American Football, was reuniting after a much anticipated comeback. Here is what they had to say about touring, writing, and getting the band back together.

American Football had played last in Philly at the UT two years ago, “give or take.” Although the band enjoys touring on the east coast, they said they “enjoy anywhere they’ll have us.”

They decided to do a deluxe release of their self-titled album after proclaiming “huh people wanna hear us.” This came as an exciting announcement, as the original album, first released in 1999, has been revered as a breakthrough for midwest emo music.

Their first record seems to be a timeless token of late 90s alternative. The band described how it just keeps getting passed on and on in every decade since its release. At every show, 60- 70 percent of their audience are in their 20s or younger and they are still surprised, but enthused by how relevant their music is today.

“it just seems like it keeps getting passed from generation to generation, it’s neat to be that for someone… even though they should be listening to different bands,” they said.

The revamp of the band is credited to Steve Lamos, who was rummaging through an old box of cassettes in his dad’s home, where he found old recordings of American Football. This rediscovery sparked an interest in playing together again, which led to their reuniting in after years of breaking off and starting families, new jobs, and adulthood. From this, came the American Football LP3 which was released in 2019 and was followed by the tour. Featured on this LP is none other than the queen of alternative herself, Hayley Williams. She lends her outstanding vocals on the song “Uncomfortably Numb.” Nate recalled this only took her three takes to nail.

In high school, the bandmates were in the homegrown punk scene. From there, this lifestyle extended further in college, when there were clusters of shows popping up in Champaign, Illinois. There were opportunities for people to play wherever they were allowed to be loud, so this usually happened in basements and garages. This idea of having DIY shows started to spread, and even if there is no end goal, the band said how they were enjoying their time in the basement regardless of the future of their music. Through the scene, their band got more and more popular and through “dumb luck,” as described by the band members, American Football caught on.

Fast forward to now, American Football still pulls loyal audiences to every show they have played on their reunion tour. The deluxe release of their self titled album has, without a doubt, inspired an even greater appreciation for midwest emo music.

Launching Off with Rave Scout Cookies founder Salman Jaberi

During these crazy times, it’s comforting to know that people like Salman Jaberi, founder of new multimedia platform Rave Scout Cookies, are out there fighting the good fight.

Rave Scout Cookies represents everything we’re about here at WKDU: devotion to the community, quality underground taste, and uplifting underrepresented marginalized folx who enable and create amazing art.

We caught up with Salman to get the scoop on some of their most memorable rave deeds, how to create safe & inclusive events, and why dancing in itself is a political act.

Be sure to check out this bangin’ mix from New York duo Fatherhood as well!

Adé Hakim On His Role in the Modern Renaissance And Being On To Better Things

Adé Hakim, (AKA Sixpress) is a Bronx creative, who has been creating his own sound alongside sLUms the NYC hip-hop collective for some time now. He was credited with the production on Earl Sweatshirt’s recently released single “Nowhere2go” and is at the forefront of a new generation of artists in NYC. He stopped by the WKDU station on April 20th for a short on-air playlist of beats themed “Black History Month Lives On”, and a conversation to discuss what he’s been up to, the modern renaissance, and his latest project: On to Better Things, along with much more. After our interview, Adé went on to play a prodigious set with fellow New York producer Sporting Life at Big Mama’s warehouse to an audience of fans he was quick to unify.

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Artist Profile: Freddy Guwap

I recently was introduced to Freddy Guwap, an upcoming local West Philadelphia rap artist who has received some big-name cosigns in the music industry. We got a chance to catch up and discuss where he’s coming from.

What’s up man – how are you, and what are you up to right now?

Wassup fam I’m doing good, maintaining my work.

How old are you, and what part of Philadelphia are you from?

I’m an 18yr old artist born in Brooklyn, raised in West Philly 61st and Jefferson.

What kind of role does your music play in your life right now?

Music plays a big role in my life, keeps me out of trouble and it’s always been a dream to inspire others with my craft.

What kind of music/rap did you listen to growing up?

Growing up I listened to artists such as Soulja Boy and Chief Keef. It’s many other artists I listened to, but I don’t have a specific genre, it’s whatever that gets my attention.

What made you want to be a rapper?

What made me want to rap truthfully was my childhood friend Joshua who passed away a few years ago. Every day at lunch from 2nd grade to the beginning of high school they put me on the spot to rap, as he made beats on the lunchroom tables. It helped me get better and it’s a big part of how I make my music and why I choose beats with a lot of hard bass. I also had a friend named Tamir who passed away during middle school that was already into making music in the studio. Honestly, he inspired me to go to the studio because if it wasn’t for him being the only 7th grader in the studio, I probably wouldn’t have taken action to go and record. But after he passed, I took music more seriously.

How would you describe your style?

My style is indescribable it’s just Wapstar shit, ain’t no telling what I’m gonna record.

Young M.A. recently cosigned you, how did that come about, and how does it feel having the support of one of the biggest female rap artists out there?

The Young M.A co-sign came through my team, my manager and most importantly my music and work ethic. It feels good to have an inspiration like the Queen showing love. I’ve had many people show me love in the industry such as Slim Jimmi from Rae Sremmurd, YBN Nahmir, PnB Rock and Loso Loaded, that’s why I know it was destined for me to make it in music. But M.A. was actually genuine, it’s a few more who are too but not everybody is going to like you for your music, it’s about if you have a fan base behind you.

She was into your new track Da Skeechie, it’s been gaining some traction.

Da Skeechie is the hottest song out, video shot by ShuggC the hardest videographer, you’re gonna hear a lot more about him too.

What can we expect in terms of the future? What kind of goals do you have for 2019?

I don’t know what the future holds but expect success. My goal for 2k19 is just to have an even better work ethic than I do right now, the more I work the more I’m going to see progress.

Any shout-outs?

I wanna shout out my family, my supporters and everyone on my team.

Thanks Freddy, appreciate your time, looking forward to what you got coming.

I’m looking forward to what I have coming too, we don’t know what else is in store. Thanks for your time.

Soundcloud: https://soundcloud.com/freddyguwap

Instagram: @freddyguwapp

Human Head’s Stephen Silvestri In The Mix

Head to the back counter at Human Head Records in Brooklyn, where the shop’s excellent electronic music section resides, and Stephen Silvestri will likely greet you, pile of records & seltzer in tow. On an E-ZPass tip, I checked out the store for the first time, saw they were carrying some of my favorite labels (shoutout Is / Was & Vanity Press), got to chatting with Stephen, and had him do this mix 🙂

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What’s in this mix?

I collect a lot of house/techno records from the NYC area from the late 80s to the early 90s so there’s a good smattering of that. A couple of UK records, some Detroit. I opened the mix with a track from Don Carlos the famous Italian house music producer. But the era is most definitely around 1989-1996. Always all vinyl! I’m not sure why I chose to focus this mix on this era but I guess it’s what I’m feeling currently.

What’s something you’ve learned (that you didn’t expect to) from working at record shops?

A deeper appreciation for visual art and typography. I am inundated with visual imagery working with records and you start to get really good at being able to determine eras of design preference. Some record art is totally pop art, some conceptual, some campy, some commercial, some political, etc. The spectrum of artistic design reflects the breadth of music which is obviously wide. But sometimes the visual is better than the music, or vice versa, or sometimes it doesn’t seem to quite match with the music or the content of the record. I could go on about layers of human behavior that I have learned about but that’s a whole other topic.

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