Thursday, 16 October 2014

20 Questions with DJ Eddie C

  • How long has it been?

    Sammy D! It's been some time.
    However I'm not sure anymore if time exists or not.

    Were you living in Nelson for a while?

    That would be nice! No, but I've visited many times.
    The last time I went there my friend took me to see the house he grew up in just outside the town.
    To his surprise the property had been turned into a Buddhist retreat.

    And now Germany. Berlin? What hood? whats that like?

    Yes! So great. The complete opposite of where I was living before.
    I live pretty central but really that means nothing as the streets all seem to go in a circle.
    Somebody just biked by my window with a tuba strapped to his back.
    What have been the best shows of your career?

    The first ones ever of course!
    Nothing's better than a party in your friend's basement
    when you're a teenager.

    Best collaborations?

    I almost never collaborate. I should.
    It's good. I know it's the right thing to do.

    How has your production style changed?

    That's really up to the journalists.
     But I would say... not too much.
    Like Bryan Adams once said,
     "I can't help the music that I write, it's just what comes out of me."
     Turns out he's actually a huge fan of speed metal
    but has great difficulty writing that in that style.

    whats your favourite musical discovery of the past 7 years?

    Re-Re-Re-Rediscovering dance music.

    Other cultural benefits of living in Europe?

    Learning insane histories of different countries.
    Nothing (comparative) has happened in Canada.

    favourite country/ places to tour?

    ahh, it's all pretty good! Everyone's the same.

    Even my sister likes the CCC mix. 
    Are people going nuts for your funky styles?

    hahaha... most times. You know how it is.

    Worst venues you've played

    Weddings in Banff. Corporate gigs for oil companies.
    Terrible! Some people have no idea how to party.
    It's really interesting!

    Do you ever get vodka, beer promos?

    Judging by the haze in my brain this sunny Sunday,
    I'm going to have to say yes.

    Tell me about your experiences with small labels

    I only have experience with relatively small labels.
    Generally everyone is pretty honest and a lover of music.
    There's very little money to be made and I guess that's what keeps it on the correct level.

    Expound on the joys of vinyl

    Without a shadow of a doubt, the best way to own, listen to and appreciate recorded music.

    How do you feel about boomboxes and cassette tape culture?

    I miss it dearly!
    Actually a friend from Winnipeg keeps mailing me tapes
    and I can't listen to them because I don't have a player here yet..
    I bought some tapes in Egypt recently as well.
    I gotta get on that.

    Do you prefer film or books?

    That depends. You know, I can really only read when I'm on holiday. I have no idea why.. too many distractions in the real world.

    local german acts/ djs your into?

    So many. Been getting into Guru Guru a lot lately.
     Mostly older stuff actually.
     Cluster, Eberhard Schoener and the like.

    How do you enjoy visits to Toronto?

    Always love it! The last party was a bit of a high school reunion..
    I wonder what it would be like to live there?

    You call this living?  I think someday the future will arrive in TO.
    Who are your favourite Canadian artists?

    I don't really know any other than my friends. I guess that counts though!
     There are quite a few Canadians here actually.
     We enjoy bowling and picnics in the park.


text by Kierin Gorlitz

Hissing missiles of cicadas and the thundering blow of bullfrogs 
are the cannon fire of Matt Walker’s 
Device for the Emancipation of the Landscape. 
(T)his is no gentle nostalgia for an erstwhile soundscape; 
rather, the sound cannon delivers a forceful and focused aural reinvasion, 
projecting the cry of the wilderness into the sound of the city.
The invasion is successful.

 Within the range of the cannon’s blast, motors, car horns, 
and the drone of tires give way to birdcalls and the chirp of insects. 
There is poetic justice, here: all over the world, 
the sounds of industry and transportation have infiltrated ecosystems, 
masking the frequencies of wildlife communication. 
The native species have been forced to adapt or depart, 
effecting a transformation of these habitats 
as tangible as the construction of highways and skyscrapers. 
Walker’s Device achieves a telling reversal of this unnatural order, 
repopulating targeted areas of downtown ... environment with the 
long-muted sounds of marshland wildlife. 

... while drawn from and evoking nature, 
the projected sounds have a distinctly unnatural effect. 
Passersby are struck, as though with actual artillery, 
by the sudden barrage of nature’s cacophony. 
The cannon has been specifically 
constructed to incorporate parabolic reflectors that 
allow for a highly directional acoustic projection. 
The sounds are, in a sense, shot into the street, 
appearing both physically and contextually 
to come from out of nowhere. 

 One expects to encounter the sounds of 
a wilderness such as a marsh as a gradual, consistent 
wash through a wide-open space. In its natural 
surroundings, even the shrill cry of a red-winged 
blackbird integrates with the other chirpings, 
hissings and whirrings of its environment and settles 
into the pattern of nature’s chorus. 
To be assailed with these typically congruous sounds, 
all at once and out of context, has a startling impact. 
The sudden dissociation of sound and setting arrests passing listeners; 
the peculiar manner of the sound’s conveyance gives them pause. 

Within this pause, the listener is drawn to consider 
the two disparate environments suddenly placed in overlap:
 first the marsh and its organic symphony, 
with rhythms metered but consistent; 
then, looking outward, the city with its pavement, machinery, and architecture – 
an intricate panorama of the history of human influence. 
... thus seized, upon stepping beyond the cannon’s range and back into the city’s soundscape, 
perhaps the listener will seek out traces of wilderness amongst the traffic,
 picking up the sounds of birds and rustling leaves 
in an effort to make sense of the transition. 
Or perhaps, having passed through the sound of marshland, 
the listener will find the very city-ness of the street pronounced.

As is often the case when “what if ?” is the question,
Walker’s Device for the Emancipation of the Landscape
carries in it a note of optimism.
 Here is an invasion in the name of liberation, 
as the title of the work suggests – 
an effort to let loose the wilderness within the city, 
rousing the traces of it that exist here already, 
and releasing it into new areas to see if it may flourish. 
The naturalization of nature into this urban
environment may not be easy progress, 
but, as the strength of its sound suggests, 
nature is a force to be reckoned with. 
The time has come for the wild to
retaliate – this is its battle cry.