This is a regular podcast of mostly guest DJ mixes and live sets from producers, live acts and DJ's who are rising or established talent.
Subscribe via iTunes : apple.co/2Zd51cs
Interview & Tracklist : https://bit.ly/3hXn1Sq
Guests are encouraged to explore a bit further into their collections with an opportunity to step away from the dance floor if they desire.
For the twenty fourth episode we welcome Sydney based American DJ, writer and presenter Jim Poe whose musical taste vary through-out the sonic spectrum and span many eras. Jim brings decades of experience, knowledge and enthusiasm that you can hear in this smooth mix of left field sounds, electro, breaks and bass music.
Jim is a DJ, writer, presenter and activist based in Sydney. A veteran of the New York underground house scene in the ’90s, he hosted Deep House Australia for years, and now hosts Classic Album Sundays Sydney. His writing has been published by the Guardian, Red Bull Music, SBS, and Jacobin Magazine.
Subscribe via iTunes : apple.co/2Zd51cs
Interview & Tracklist : https://bit.ly/3hXn1Sq
Guests are encouraged to explore a bit further into their collections with an opportunity to step away from the dance floor if they desire.
For the twenty fourth episode we welcome Sydney based American DJ, writer and presenter Jim Poe whose musical taste vary through-out the sonic spectrum and span many eras. Jim brings decades of experience, knowledge and enthusiasm that you can hear in this smooth mix of left field sounds, electro, breaks and bass music.
Jim is a DJ, writer, presenter and activist based in Sydney. A veteran of the New York underground house scene in the ’90s, he hosted Deep House Australia for years, and now hosts Classic Album Sundays Sydney. His writing has been published by the Guardian, Red Bull Music, SBS, and Jacobin Magazine.
Tracklist:
1. Hymns — Water Acid [Salt Mines]
2. Lanark Artefax — Touch Absence [Whities]
3. Versalife — Suspension of Disbelief [Conforce]
4. Djrum feat. Zosia Jagodzinska — Creature pt. 2 [R&S]
5. Pugilist — Cha [Modern Hypnosis]
6. Chungo — Fender [Scuffed Recordings]
7. Missy Elliot — She's a B**ch (Caski Refix)
8. Randomer & Hodge — Second Freeze [Livity Sound]
9. Autechre — Clipper [Warp]
10. Randomer & Hodge — If I Could Stop (Alden Tyrell & Serge Remix) [Clone Basement Series]
11. Cassius Select — Herd [Accidental Records]
12. Karen Gwyer — The Workers Are on Strike [Don't Be Afraid Recordings]
13. Helena Hauff — Hyper-Intelligent Genetically Enriched Cyborg [Ninja Tune]
14. Supreems — Close Your Eyes (And Feel) [Lobster Theremin]
15. Steffi & Virginia — Work a Change [Ostgut Ton]
16. Cassius Select — Honda Civic [Banoffee Pies Records]
17. Skee Mask — Routine [Ilian Tapes]
18. Lone — Young Star Cluster [Ancient Astronauts]
19. Objekt — Theme from Q [Objekt]
20. Loleatta Holloway — Stand Up! (Pangea's Mix) [Salsoul Records]
21. Mall Grab — Get Impetuous [Looking for Trouble]
22. Shedbug — Unwavering [Salt Mines]
23. Lake People — Tomorrow's Happiness [mulemusiq]
1. Hymns — Water Acid [Salt Mines]
2. Lanark Artefax — Touch Absence [Whities]
3. Versalife — Suspension of Disbelief [Conforce]
4. Djrum feat. Zosia Jagodzinska — Creature pt. 2 [R&S]
5. Pugilist — Cha [Modern Hypnosis]
6. Chungo — Fender [Scuffed Recordings]
7. Missy Elliot — She's a B**ch (Caski Refix)
8. Randomer & Hodge — Second Freeze [Livity Sound]
9. Autechre — Clipper [Warp]
10. Randomer & Hodge — If I Could Stop (Alden Tyrell & Serge Remix) [Clone Basement Series]
11. Cassius Select — Herd [Accidental Records]
12. Karen Gwyer — The Workers Are on Strike [Don't Be Afraid Recordings]
13. Helena Hauff — Hyper-Intelligent Genetically Enriched Cyborg [Ninja Tune]
14. Supreems — Close Your Eyes (And Feel) [Lobster Theremin]
15. Steffi & Virginia — Work a Change [Ostgut Ton]
16. Cassius Select — Honda Civic [Banoffee Pies Records]
17. Skee Mask — Routine [Ilian Tapes]
18. Lone — Young Star Cluster [Ancient Astronauts]
19. Objekt — Theme from Q [Objekt]
20. Loleatta Holloway — Stand Up! (Pangea's Mix) [Salsoul Records]
21. Mall Grab — Get Impetuous [Looking for Trouble]
22. Shedbug — Unwavering [Salt Mines]
23. Lake People — Tomorrow's Happiness [mulemusiq]
Interview
What was your inspiration for this mix?
This mix had such an interesting journey. I started planning it almost three years ago, when I was experiencing a lot of frustration with my music career. I was also getting pretty weary of the usual deep house, disco and 4/4. I was really inspired by some of the more leftfield, breakbeat and unclassifiable stuff I was hearing on the radio and on podcasts, and started looking around for more.
The vibe and the energy of this stuff so often reminded me of the records I was into when I was first started going out to raves in 1991 and ’92 — in other words it reminded me of why this music changed my life in the first place. I found it so refreshing and exciting, and dare I say healing.
Then I ended up hanging it all up for over two years. Long story, but part of it involved starting a whole other journey as an autism parent, and being diagnosed with autism myself. Let's just say one reason I love this podcast series is because the whole idea of “therapy” is important to me. When I finally decided I need this music in my life again, this mix was waiting for me! And I reworked it and added a bunch of new things, and again I found it a really exciting and healing experience.
What has been influential for you musically in the past, and also more recently?
I've been DJing on and off for 29 years, so where do I begin? My biggest influences as far as DJing are the incredible L.A. rave scene of the early 90s, and DJs like Doc Martin who taught me all about the energy and the flow; and New York in the mid-to-late 90s, where I learned the true house music vibe and came into my own as a selector.
But I'm into all kinds of stuff from postpunk to reggae to country, and in my old age the more it all bleeds together for me. I get inspired by everything. I'm also deeply influenced by cinema — I studied cinema and have worked in the film industry, and that's always shaped my music. I look at it as another kind of audiovisual storytelling.
What are you listening to right now?
Since covid started, I've had a lot of time to explore all kinds of new music, from stuff like Khruangbin and Mildlife to quality pop like Charli XCX, which has been a real joy for me.
Lately I've been obsessed with this amazing new band from London called Dry Cleaning. I've been listening to a lot of my favourite shoegaze and dreampop like My Bloody Valentine, Lush and Cocteau Twins, that's been my mood lately. Getting back into the dance pop of the 80s — Madonna and Janet Jackson and the like. And Claire Morgan's jaw-dropping live ambient set recorded here in Sydney a couple of months ago.
Who or what is inspiring you musically and otherwise?
I get inspiration from all kinds of things, even more indirect things like politics, which are important to me. For example, when I was working on our Primal Scream listening party for Classic Album Sundays, I found it so inspiring to read about Bobby Gillespie and find out he was raised a socialist in Glasgow. I had this kind of epiphany about how left-wing and working-class politics was so important to the rise of the rave scene in Manchester, Bristol, Glasgow and other industrial northern cities during the Thatcher era, which in turn changed my life from afar as a young music fan in the U.S. That made me so excited, thinking of all these hidden histories, and it was still on my mind when I was doing this mix.
Or to think about how the roots of house music are in the era immediately after the Stonewall rebellion in New York in 1969. At Stonewall LGBT people literally fought the cops for the right to gather and party in bars and clubs without being harassed (and so much more too but that was what kicked it off). So house music has this militant, radical influence that a lot of people including me, might have forgotten.
Just the fact that Karen Gwyer named a track “The Workers Are on Strike.” That title jumped out at me because I'm a socialist, then it turned out the track was exactly what I needed vibe-wise for this mix. So was it meant to be or what?
Where can we see or hear your next project?
My main ongoing project lately has been Classic Album Sundays Sydney, a monthly vinyl hi-fi listening party — we're the local satellite of the global CAS organisation based in London. I also write about film and music for different media outlets.
Anything else you would like to share?
I'm losing my edge to better-looking people with better ideas and more talent. And they're actually really, really nice.
Links
Soundcloud | Classic Album Sundays Sydney FB | Global CAS Organization
What was your inspiration for this mix?
This mix had such an interesting journey. I started planning it almost three years ago, when I was experiencing a lot of frustration with my music career. I was also getting pretty weary of the usual deep house, disco and 4/4. I was really inspired by some of the more leftfield, breakbeat and unclassifiable stuff I was hearing on the radio and on podcasts, and started looking around for more.
The vibe and the energy of this stuff so often reminded me of the records I was into when I was first started going out to raves in 1991 and ’92 — in other words it reminded me of why this music changed my life in the first place. I found it so refreshing and exciting, and dare I say healing.
Then I ended up hanging it all up for over two years. Long story, but part of it involved starting a whole other journey as an autism parent, and being diagnosed with autism myself. Let's just say one reason I love this podcast series is because the whole idea of “therapy” is important to me. When I finally decided I need this music in my life again, this mix was waiting for me! And I reworked it and added a bunch of new things, and again I found it a really exciting and healing experience.
What has been influential for you musically in the past, and also more recently?
I've been DJing on and off for 29 years, so where do I begin? My biggest influences as far as DJing are the incredible L.A. rave scene of the early 90s, and DJs like Doc Martin who taught me all about the energy and the flow; and New York in the mid-to-late 90s, where I learned the true house music vibe and came into my own as a selector.
But I'm into all kinds of stuff from postpunk to reggae to country, and in my old age the more it all bleeds together for me. I get inspired by everything. I'm also deeply influenced by cinema — I studied cinema and have worked in the film industry, and that's always shaped my music. I look at it as another kind of audiovisual storytelling.
What are you listening to right now?
Since covid started, I've had a lot of time to explore all kinds of new music, from stuff like Khruangbin and Mildlife to quality pop like Charli XCX, which has been a real joy for me.
Lately I've been obsessed with this amazing new band from London called Dry Cleaning. I've been listening to a lot of my favourite shoegaze and dreampop like My Bloody Valentine, Lush and Cocteau Twins, that's been my mood lately. Getting back into the dance pop of the 80s — Madonna and Janet Jackson and the like. And Claire Morgan's jaw-dropping live ambient set recorded here in Sydney a couple of months ago.
Who or what is inspiring you musically and otherwise?
I get inspiration from all kinds of things, even more indirect things like politics, which are important to me. For example, when I was working on our Primal Scream listening party for Classic Album Sundays, I found it so inspiring to read about Bobby Gillespie and find out he was raised a socialist in Glasgow. I had this kind of epiphany about how left-wing and working-class politics was so important to the rise of the rave scene in Manchester, Bristol, Glasgow and other industrial northern cities during the Thatcher era, which in turn changed my life from afar as a young music fan in the U.S. That made me so excited, thinking of all these hidden histories, and it was still on my mind when I was doing this mix.
Or to think about how the roots of house music are in the era immediately after the Stonewall rebellion in New York in 1969. At Stonewall LGBT people literally fought the cops for the right to gather and party in bars and clubs without being harassed (and so much more too but that was what kicked it off). So house music has this militant, radical influence that a lot of people including me, might have forgotten.
Just the fact that Karen Gwyer named a track “The Workers Are on Strike.” That title jumped out at me because I'm a socialist, then it turned out the track was exactly what I needed vibe-wise for this mix. So was it meant to be or what?
Where can we see or hear your next project?
My main ongoing project lately has been Classic Album Sundays Sydney, a monthly vinyl hi-fi listening party — we're the local satellite of the global CAS organisation based in London. I also write about film and music for different media outlets.
Anything else you would like to share?
I'm losing my edge to better-looking people with better ideas and more talent. And they're actually really, really nice.
Links
Soundcloud | Classic Album Sundays Sydney FB | Global CAS Organization
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