Through the various distinctions of elektro since his heavily music-laden youth, the 28 year old DJ Slip seemed to nestle into his experiMENTAL sound- exemplified by his new full-length. But as with any musician on the run, he just may be off to produce a whole new marathon of sounds. Here’s 5 fukin’ ways to look at him.
A) Who the fuk is he?
Through diligent work on many releases, DJ Slip has ascended his workings to a new full-length with Missile Records. There has been a common thread woven in all his musical experiments. It is just that. Experimentation. He involves himself with the musician theory of not being pigeonholed into any one classifiable sound. This allows him to freely wander in and out of ideas with objectivity to note music for its real value. He usually favors sounds that evoke a dark mood. His response to this is, “I must be a dark person.”
B) Where the fuk did he come from?
Troy spent his early years with his extremely musical family in Nebraska. For a long time he has been aware that his life was to revolve around a broad range of music. He simply surrendered to the concept and has progressed from there. Once a choir vocalist, many times a drummer, he played many roles in music making. He grasped the music and technology through various jobs with sound engineering and computer programming. He began to apply his accumulated knowledge to electronica outlets, including the band ‘Feed’ in the early 90’s. At the time, his home of Minneapolis had a small and eclectic scene of music producers. Some included Freddy Fresh, Kevin Cole, Woody McBride, Chris Sattinger – whom he all accredits with influencing him. He was slowly gaining interest in the ‘rave’ music of the time. With that he began searching for, producing, and releasing his own sounds.
C) What the fuk is he doing?
Presently, he is supporting his full-length on Missile. This includes previous songs plus unreleased tracks. Also due is a project on Music Man consisting of a more house-tek mood. Then there is the dark bangers on the textured techno label Kanzleramt. He spends a lot of effort in finding and creating the sounds he uses- swayed by sounds as bizarre as Sun Ray dub (the guy who plays the keyboard upside-down) and current techno like Heiko-Laux and Richie Hawtin (“well, sorta…” he says). What attracts him is the deep and moody tones and composition of all of the above. Definitely a diversity in darkness. His production consists of thick texturing of music with ample twisting and mutating. The outcome gears toward a larger-than-life-sound, only fully accessible on a gigantic system. With this in his vivid imagination he knows the favorable reasons for tweaking a lot of low-end sonics. But this does lead to an accessibility problem. Hearing his music in a record shop, one (or many) may not comprehend the unique qualities involved. It has definitely not been too applicable to small sound systems, and it’s not the noise you may be accustomed to, but that is exactly his point. He does not want it to be identifiable to anything else. His strive for unnatural sonic manipulations is also notable in the music he plays out and music he notes as influential. Naturally, he plays Missile test presses, Parotic Music, Adam X’s Sonic music, banging stuff from Neil Landstrumm’s Scandinavia, Sativea records and occasionally works from Woody McBride. He also admires quite a few German labels, including the mental Subvoice, the crazy new Black Nation music and mostly Heiko-Laux’s Das Sound and Music Man labels. “Heiko’s been a big influence lately,” Troy admits. He has worked with Heiko-Laux both in the U. S. and in Europe, carefully learning from and respecting Heiko’s textured ways. Troy also gains insight from two of his local partners in crime-music. One would be his English mate Tim Taylor of Missile Records. The other, his friend and roommate Chris Sattinger, who has recently been venturing into drum n’ bass. He appreciates the similar way Chris is dedicated to diversity as he is. Troy has valued the works of many artists for many years. Not as close to him, yet equally worthy, have been people like Sven Vath, Detroitian musicians and the artists on “all the millions of records” he owns. He does do some sampling of these, but most of his synthesis is of his own creation.
D) Why the fuk does he do it?
Some musicians claim boredom with the productions of today. But he swears, not him. This stems from the old analog story of the bazillion and one ways of programming. He is grateful for the challenge. He is intrigued by vast methods to use and the lack of rules to follow. Most times it is not even a question of why do it- he does his music because he always knew he would. His family’s musical destiny (his brother is talented as well) has been a force driving him through all of his sonic excursions. He now feels an amount of success in his own work and satisfaction with where he is as a result. This makes it worth all the recording bullshit it takes to get there. He does not take anything too serious, but enjoys the music dearly and still believes there are more great tracks to make. There are many great songs he sees in existence, but many more he sees as crap to make money. Troy stays with a unique form for each of his songs, to keep away from limitations by pigeonholing himself into one style. He notices this with other producers making too many of the same types of records. Relating to his opinion of late Jungle music, he recognizes a staleness in the simple sampling-plus-drum-plus-bass technique. Recently however, he values the new forced texturing of the genre. This is the creativity he admires- Troy is a strong believer that electronic music is still exploding. He has been in Europe a few times to see how massive the music really is. To him, it is thriving just as strong stateside. He notes how both sides influence each other immensely.
E) How the fuk does he do it?
…By using a wide variety of instrumentation- sampling sometimes for added texture, but determined to create most of the sounds through his various “disclosed” drum machines. He prides himself on the manual analog tactics he chooses, instead of simple digital systems… hence the name SLIP. The acronym stands for Serial Line Internet Protocol, which is the analog method (1010101) of linkage through the internet verses PPP- the digital method. Taking all of his influences, he composes by weaving the layers in and around each other. Recently he has been using a lot of echoing and dub. Moving on, he is now working with some hip-hopish sounds and up-beat housier sketches. He is still drawn to moody experimental sounds and is opening his new influences to create yet more original soundscapes. ExperiMENTALism!