Recorded on December 14, 2021; released on Finjams, 8 Ball Radio, December 24, 2021. An exploration of my father's fusion influence on my love for percussion, experimentation, and nonlinear narratives.

Tracklist is here: https://www.mixcloud.com/8ballradio/finjams-15-wsg-endash-122420/

Gratitude to Jordan Stanton and Gilad for the moment on the airwaves. xx

Finjams: Endash

Ambient set from 5-6:30am in celebration of Imbolc, February 3-4, 2023.

I hosted a party in celebration of Imbolc—an ancient Gaelic festival that happens after Samhain to bring in the start of Spring—and hosted 40 creatives, artists, and cultural workers for eight hours. We shared food and music.

Additional DJs included DJ Etta, Gold-E-Loxx, Charles Trees, James Allen b2b Miguel Cisne, and Patches, with lighting by Otodojo.

The mix is a natural continuation of seasonal exploration. For a previous release in this vein, see Winter Gratitude, released by the Nemeth Art Center's Home Deliveries series in 2021: https://soundcloud.com/nemethartcenter/home-deliveries-ep-1-daniel-sharp-doldrums?in=endash/sets/sum-mixes

Recorded on an Allen & Heath Xone 464 and two Pioneer XDJ 700.

Tracklist available upon request

Endash at Imbolc 2023

Set from Endash at Bossa Nova Civic Club May 3, 2024 alongside Yasmeenah, Blkshine, and Baronhawk Poitier, as a part of a collaboration weekend with Moods and Lifesavers.

Moodsavers was a series of four events across Brooklyn, NYC (Bossa Nova Civic Club, The Lot Radio, Jupiter Disco, and ANYTHING BK). 18 hours played, 600+ attendees, and $3395 distributed to DJs and cultural workers.

For more on the weekend, head here: https://moods.substack.com/p/moodsavers-crew-co-creation-as-a

Set re-recorded July 31, 2024.

Tracklist
House Ain't Giving Up - BMC - 1987
No Way Back - Adonis - 1986
Angel Number 909 (House Mix) - MR. HO - 2023
1990 B i t c h - Julixo - 2019
Lost In The Groove (Jerome Hill Remix) - Marshall Jefferson presents Hercules - 2018
Muse - Yasmeenah - 2020
Khadi (JTC Remix) - Samrai 2- 018
Jazz Nights In E15 (Original Mix) - Babs Presents - 2022
Space Cowboy (Classic Club Mix) - Jamiroquai - 1995
Let No Man Put Asunder - First Choice - 1977
Weekend (Larry Levan Weekend Mix) - Class Action - 1983
You Wear It Well (M&M Club Mix) - DeBarge 1- 985
Poor Leno - Röyksopp - 2002
You're My Type (Make Your Body Move) (Techno-Swing Mix) - One On One - 1989
Grooving Without A Doubt (Master Reese Mix) - Reese & Mayday - 1988
Nous Nous Au Danser - Chase Smith - 2018
En Trance Matt - Finnegan - 2019
Body Muzik (Extended MixX) - Mike Dunn - 2019
Time 2 Work - Scotia - 2024
Piteraq - Endash - 2024
Sound 6 - K Hand - 2021
Orbitals In Motion (Original Mix) - Underground Resistance - 2010
Hype Acid - FaltyDL - 2018
Bully Beef - Jerome Hill - 2016
Pop The Glock (2006) - Uffie - 2006
Clear - Cybotron - 1983
No UFO's (Instrumental) - Model 500 - 1985
Mucho Macho (Joey Negro Disco Blend Mix) - Dave Lee - 2008
How To Pick Up Girls - Bobby - 1985
Diamond Girl (Extended Remix) - Nice & Wild - 1986
Can't Wait to Get to You - Thrust - 1982
I Shall Get Over - Kleeer - 1982
Peanut Butter (Larry Levan Remix) - Gwen Guthrie - 1983

Endash @ Bossa Nova Civic Club for Moodsavers

Damp is the sophomore EP by Endash. Exploring darker, earthier territory than its self-titled predecessor, Damp negotiates the line between natural and unnatural in an electronic environment. It is by far Endash's most cohesive project yet.

Lightly Used

Toilet Guard EP

Toilet Guard

Moods (@mooooods) is a series of monthly one-hour playlists of music by Techno fans where they explore their tastes, influences, and inspirations outside of the genre. It's a place to see where people came from and explain why that matters. https://moods.substack.com/p/moods-00

This first mix is by yours truly. <3

For my Moods, I’m focusing in on the iTunes as a gateway to music: besides my dad’s fusion, my mom’s Phil Collins, and my brother’s Linkin Park and Eiffel 65, our dial-up connection to the iTunes Store was the only way I could sonically venture outdoors. Growing up quiet and introverted in Ada, Michigan — a middle-class, white-picket Michigan suburb where the Devos family decided to buy a dozen acres, build two mansions, and fly their personal helicopter over my room — meant the 30 second iTunes Store song previews were my access to things like “jazz,” “R&B,” or my favorite, “electronic.” As such, my music education wasn’t in school, it was in the iTunes Store, from Duke Ellington to Janet Jackson to Röyksopp. In fact, the first song I ever bought is the last song on my mix. It’s by Onra, a French-Vietnamese producer known for taking Chinese records and layering them with hip hop rhythms and crisp French production. The song, “My Comet,” is the highest played song on my iTunes. The rest are listed below -- they were selected because they had the most plays in my iTunes and feel the most sentimental to my upbringing on the internet. If you like any of them, find them on your local iTunes to pick them up.

--

TRACKLIST

Onra - Mai's Theme 2

Flying Lotus ft Erykah Badu - See Thru To U

Shlomo - My Drum Loop Is Stuck In Molasses

SZA - Advil

Bent - Beautiful Otherness

Joomanji ft Lindsay Olsen - Spread Too Thin (Remastered)

Siriusmo - Last Dear

Jessy Lanza - Keep Moving

Tiger & Woods - T&W Lab File #12

Daft Punk - High Fidelity

Suzanne Kraft - Morning Come

Les Sins - Taken

Bonobo ft Bajka - Days To Come

The Internet ft James Fauntleroy - For the World

Onra - My Comet

--

ARTWORK + MORE

The album artwork is paired with Fu Baoshi's Abundance on the Way from 1961. It hints at the space in which I existed in as a child: in a forested suburb using technology as a way to connect to more. To learn more about Fu, head to https://en.wikipedia.org/wiki/Fu_Baoshi.

Moods

Moods 00: Endash

Welcome back to @mooooods, your monthly install of non-Techno mixed by techno lovers. A second warm welcome to the new year too, and a third warm welcome to the 17 Founding Members (humbled forever by you). I'm determined to start on the right foot this year, so January's artist is the brilliant Lorelei (@lorelei_lorelei) - someone I have respected, looked up to, and been moved by for the past three years, and someone you'll love too soon enough. https://moods.substack.com/p/moods-01-lorelei

Here, she takes us on a road trip from Atlanta’s southern soul to the sounds of Detroit Motown, with pitstops in dubstep, funk, and rap.

--

Having already played in Detroit, Berlin, Ann Arbor, and Atlanta, Lorelei's (née Laura Vicinanza) rock, R&B, southern soul and dance roots shine through on this mix. The first half hour explore Vicinanza’s roots from Atlanta to Ann Arbor. “Atlanta is nestled in the foothills of the Appalachian Mountains,” she notes. “It’s a very forested and green city. The weather is beautiful almost year-round,” which often meant music was shared with friends, over her father’s guitar, and with the warm outdoors. Some gems that nod to these moments include Ana Tijoux’s “Volver” and Cavern’s “Liquid Liquid.”

To contrast, Vicinanza notes that Michigan is “much flatter and colder than Atlanta.” The biggest change: “four months of darkness,” which means more time to “stay inside and reflect.” This opened her up to cooler, more ambient textures like George Maple’s “OPST.” Vicinanza joined (and now runs) Ann Arbor’s DJ collective MEDMA (now MEMCO), spends hours in the student-run radio station WCBN, and plenty of space to host and DJ allowed her to flex her music muscles while learning classics like REM’s “Computer Communication.” Detroit called too: “I fell in love with the music history of the city rooted in Motown, funk, and soul music.” Now Vicinanza’s helping to show the next generation of Southwest Michigan DJs this rich history and context that’s next door.

By halfway the mix, we start blitzing through releases as Vicinanza warps us to dancier, dubbier territory. It’s a nod to her earliest dubstep days and to the industrial gravitas of techno, euro disco, and house. “Thanks to an internet friend,” she mentions, “I discovered UK artists like Kode 9 and Benga. It was the most exciting thing in the world for a 15-year-old from Georgia.” She then brings us full circle, ending the mix on a strong Atlanta note with the Outkast classic “SpottieOttieDopaliscious.”

--

--

TRACKLIST

Volver - Ana Tijoux

The Nylon Dollar - Gigi Masin

Trigger Hippie - Morcheeba

Black Milk - Massive Attack

OPST - George Maple

Takes You Back (Unexpected Dub) - Jazzanova

Freakmeister - King Kooba

A Bunch of Guys About to Turn Blue - Drain

Cavern - Liquid Liquid

Rose Quartz - Toro y Moi

Your Love - Frankie Knuckles

Computer Communication - REM

Italo Journey Part II - Luke Million

If It Wasn’t True - Shamir

Love Letters to Japan - The Bird and the Bee

Brush the Heat - Little Dragon

4 bit 9d api+e+6 - Aphex Twin

Idioteque - Radiohead

Evolution - Benga

The Goose that Got Away - Objekt

Stop Watching - Benga

Mr President - Pearls Negras

Silk Road - SevnthWonder

Spottieottiedopaliscious - Outkast

--

ARTWORK + MORE

The mix's album artwork is paired with Mel Bochner's 1969 piece Measurement: Plant (Palm), which aims to juxtapose natural growth and measured growth. It's a theme that resonate on Moods and Lorelei own work: how do we, as curators of our own past, balance what grows naturally with what grows systematically? Our own moods develop each year but swing throughout our own phases in life. It's a nod towards what's come, grown, gone, and left an impression.

To hear more of Lorelei, head to https://soundcloud.com/lorelei_lorelei.

To learn more about Bochner, check out this collection of words and reviews by the artist: https://www.amazon.com/Solar-System-Rest-Rooms-Interviews/dp/0262026317

Moods 01: Lorelei

Welcome back to @mooooods bbs -- here we have the artist duo Tabby, or: an intercontinental, multi-dimensional, foundational hour inspired by dial up internet, early YouTube, and a glossy 80s aesthetic. https://moods.substack.com/p/moods-02-tabby

Tabby is a two-man show with the presence of an entire community. Consisting of Matthew Conzelmann, who grew up in Ann Arbor then moved to Savannah, Georgia -- where John Swisher was born, raised, and met Matt -- their influences are way beyond the borders of the USA. Drawing from Japanese, German, and African sources in the adolescent internet of the 2000s meant their taste today is almost always reflective of these pivotal influences.

"John and I are both huge fans of the Japanese music past, specifically the 1980s," Matt said to me over text. It includes: Yellow Magic Orchestra; the music blog YING YANGS and their JAPS ONRY mixes; the site Listen to This! run by Jen Monroe; Pam from Okonkole y Trompa; residencies on NTS and Radio Jiro. Jen, Matt notes, "has done a handful of Japanese themed mixes, and tribute mixes to the likes of Haruomi Hosono and, recently, Yasuaki Shimizu." It's indicative of a phenomenon anyone under 30 probably witnessed: the internet became our record store, our radio, our outlet to discover niche sounds and scenes oceans away.

Tabby, in part to highlight and to tribute back to these tributes, load their set with Japanese synth pop, soul, and experimental, from Hitomitoi's "Chocolate Neverland" to Soichi Terada "Yokozuna Beach Chillin'." Some other notes include an African and African American pull, from the times John spent in Germany and the Southern US, like Oumou Sangaré's bright "Kamelemba" and the ****ICONIC**** "Zufall" by Cosa Rosa. What I like best is the attention to selection Tabby has -- the mix doesn't feel trivializing, nor does it feel too broad or "wordly" (which, to me, the word "wordly" is an insult by marginalizing literally any non-American music into a single label.) Avoiding these clichés takes intense finesse, and it works: the mix is picked with love, attention, and intent. 
A summary in one sentence: an intercontinental, multi-dimensional, foundational hour inspired by dial up internet, early YouTube, and a glossy 80s aesthetic.

--

Masayoshi Takanaka - Kiss Your Helmet
Romie Singh - Dancing to Forget
Imitation - Narcissa
Harry Hosono and The Yellow Magic Band - Femme Fatale
Cosa Rosa - Zufall
Genji Sawai - Cha-Brown
Oumou Sangaré - Kamelemba
Rosaline Joyce - Try
Hitomitoi - Chocolate Neverland
Ryuichi Sakamoto - Rap the World
Dream 2 Science - My Love Turns to Liquid
Soichi Terada - Yokozuna Beach Chillin’
DJ Sports - Emotional Endeavor
M.J. Lallo - Aquarius Blue
Prism - Decalogue
Dreamscape - New Age
Norma Jean Bell - You Belong to Me (I’m the Baddest Bitch Remix)

--

ARTWORK + MORE

Tabby's mix is paired with Atsuko Tanaka's breakthrough piece Electric Dress from 1956. Caught inside a tangle of chords and brilliant colored bulbs, Tanaka would wiggle, spin, and drag the weight of technology literally on her shoulders. It's an apt parallel not only to the care Tabby takes in preserving Japanese classics in their mix, but it's also a mood I think we'll all be desperately trying to channel after listening.

Moods 02: Tabby

Welcome back to @mooooods. For March 2018, we're ushering in the warmth with none other than CYBER GiRL (@cybergirlfab), a songstress of slick beats who takes us back to the glistening glory days of hip hop and RnB. https://moods.substack.com/p/moods-03-cyber-girl

"I never realized how much my mother’s heritage has played a role in my upbringing until recently," Fabiola says. Seville, "a city full of beautiful architecture and nature located in Andalusia, the Southern region of Spain," surrounded her with "plants flooding the windowsill and growing along the walls of our kitchen." Fabiola then danced Flamenco with her mother -- "a traditional Andalusian art form made up of dance (baile), song (cante), guitar (guitarra), and castanets (castanuelos). The music resembles the culture’s admiration of natural rhythm, for each element is equally important in order to create the overall swing of Flamenco. My favorite component of Flamenco is the cajón, which is a percussion instrument shaped as a box originally from Peru, so technically it wasn’t added on until a bit later in time. I always loved listening to Flamenco music when my mom played it, but I wouldn’t necessarily consider it a significant influence in my music taste until I started to produce it on my own. It definitely helped with my rhythm and groove, though."

Detroit's influence saw RnB and hip hip enter the stage. "I remember coming across some people discussing the release of Kanye West’s ‘Late Registration’ on MySpace, and I stayed up all night on my family’s retro big-boxed computer listening to his previous work. That’s when I started to keep up with him, gradually becoming more familiar with hip-hop influences beyond his time. I loved female artists included in my Moods mix such as Aaliyah and Missy Elliott, but I knew these artists because they were popular and were played on the radio. Around age 13-15, I started to feel a bit agitated how underrepresented women were in the music industry. That’s when I discovered some women I still look up to today: Erykah Badu, Queen Latifah, and Lauryn Hill.."

Techno then came around: "I started looking up the history of techno in Detroit and attending Detroit’s annual Electronic Music Festival at Hart Plaza (‘Movement’). I had no idea what to expect besides the very few artists I knew on the line-up the first year, but each year I grew deeper into the scene and felt it become a stronger role in my life."

It helps to explain why Fabiola takes us on such a lush journey through gold-dusted 90s and 00s records. Fantasia, Lauryn Hill, Aaliyah, Salt ‘N’ Pepa, Missy Elliott (nothing but love and respect for MY president): their tracks will have you sitting deep in a bean bag, passing a blunt, watching the rain on a Sunday morning before heading to the neighborhood diner. It's part education, it's part eulogy to American black women legends. And this is just a fraction of what she used to bump to in her youth, from high school to recent discoveries. In all, it's a seamless synthesis. 


-- TRACKLIST -- 

Just a Friend - Biz Markie
I Wish - Skee
Mr. Telephone Man - New Edition
Machine Gun Funk - The Notorious B.I.G.
Shoop - Salt ‘N’ Pepa
Woo Woo Woo Woo - Esham
Doo Wop - Lauryn Hill
Don’t Worry - Aaliyah
Still Not a Player - Big Pun
Honeydips in Gotham - Boogiemonsters
Jazzy Belle - Outkast
When I See U - Fantasia
Juicy Fruit - Mtume
Too Close - Next
Nasty Boys - Janet Jackson
Nasty Girl - Jadakiss
Kiss - Prince
Old School Joint - Missy Elliott
Suavecito - Malo
Only You - Steve Monite
I Want You - Erykah Badu
The Dream Time Machine - WZRD

-- ARTWORK --

CYBER GiRL’s work is then paired with visual artist Cameron Welch's piece Smooth Operator from 2017. Welch's work operates similarly to Fabiola's interest in mining gender, race, and the performance (and permanence) of these variables.

Moods 03: CYBER GiRL

Hey bbs. This month's @mooooods mix is none other than Noetry (@no_etry), an experimental percussionist, visual designer, techno producer, and all-around sunlight beam from the fifth dimension. https://moods.substack.com/p/moods-04-noetry

Noetry has gone by many names: Dominic Vetuschi (their given name), Parekeet (for visual, experimental, and techno ventures from 2012-2017), and now Noetry for 2018 and beyond. I've known them for years as a close friend and collaborator in a STOMP-esque band from Ann Arbor, Michigan (here), where we built universes of sound out of everyday items, like a row of ladders and recycling buckets to a cover of a Bibio song using hedge clippers, brooms, and more to a song that casted shadows of bodies onto a theater scrim against a melting rainbow backdrop.

They've also been confidant, heartbreaker, and heartmender, taking the time to learn, grow, and move into stronger versions of themselves. Their roots in slow San Diego, family-centered Michigan, and time spent on pan-US bike trips help inform a lot of the choices here. The single thread, even when we're seamlessly moving from jazz to ambient to the Caribbean, is strong sense of community and support evident in the songs Vetuschi has picked. Many are bands, if not full orchestras, that invite the listener into a world, whether it's for a moment, for a drink, for a smoke, or for a laugh.

Just one example: "Buena Vista Social Club was often playing in my house growing up," they explain, "when my family was cooking, [or] when it was time to dance." The song meant an invitation into community, whether it's Vetuschi's father taking out his flamenco guitar, relatives are coming over, or just having the sun shine. "Certainly my taste for music craves a certain liveliness," they continue, "something organic that encourages movement and looseness."  Hopefully you find movement in these songs too :)


--TRACKLIST-- 

Ballade 4, Pt. 1 - Tosca
In the Waiting Line - Zero 7  
Mandala - Thievery Corporation
Chan Chan - Buena Vista Social Club
Peg - Steely Dan
The Dance #3 - Laraaji
Strangest Consequences - Enrico Pieranunzi
Killing Floor - Howlin’ Wolf
Trampled Under Foot - Led Zeppelin
Space Age Utopia - Vinyl Williams
2am - Slightly Stoopid
Walk in the Sky - Bonobo
Return of Yawny - Andrew Bird
Potion - CHON
Egypt - The Mercury Program
Cavity (Shigeto Remix) - Hundred Waters

--ARTWORK--

This month's pairing was by Vetuschi themselves: the late and legendary Mati Klarwein may be an outsider to the art world but an insider legend to the music world. Mati's images build bridges that bring far-flung methods and movements together: neo-Surrealism, Afrofuturism, the psychedelic rock culture of the 60s and 70s, and the anti-war/global peace movement. This not only pairs well with the bridging Vetuschi does with their mix, but offers us a moment to think about how artists can find sources of joy and success outside of their own industry. Art and music, as Klarwein's works suggest, are best when they belong together.

Moods 04: Noetry

Out December 14, 2019. Preorder now: http://endash.bandcamp.com

Charlotte Street

This month's mix is by rising star Jordy (@jordyflower), formerly known as Picture Lock, the Bronx-raised, Queens-based radio host, DJ, and MEMCO member.

Stanton's unique among past Moods mixers (so far) as he comes from the Bronx's punk, rap, and skateboarding culture. "The first time I heard techno was most likely in a skateboarding video," Stanton says. (for those outside of the Tony Hawk Pro Skater 2 world, an example from Stanton himself is here). "Admittedly, most of my music tastes began and developed during repeated screenings of local skate edits." He gives us a healthy diet of this background in the mix from Bronze 56k to Polar to Pyramid Country to LurkNYC.

Energy is also a thread Stanton highlights in his own music history. "I’m not a violent person, but I’ve always been drawn to DIY scenes that, to a passive viewer, can be resoundingly described as overwhelming, if not violent. When I was a high school senior, I couldn’t get enough of the mosh pits when local heroes like Ratking and Show Me The Body would play at tiny Brooklyn venues on sweaty summer nights (rip Shea Stadium and Palisades). I found myself obsessively searching for artists with a commanding enough presence to turn an unsuspecting 50-person dance floor into a war zone.

"But, if you’ve ever seen me on a dance floor, you know that the DJ could be playing the most evil industrial track and I’ll be cheesing cheek to cheek. In comes this ridiculously dark music and out comes pure euphoria. Whatever hate or bitterness you walked in with just evaporates with your sweat into the air." This is also new: music, and specifically going out to hear music, as a battleground, to either sweat and forget what's outside or get (literally) closer to the music you love. Love and violence: always together if not synonyms for each other.

Notably, the spaces Stanton frequents as a fan and DJ (Bossa Nova, to name his #1) are also extremely inclusive compared to other New York spaces: the young, the middle class, and the marginalized won't spend $50 for an entry at Output, they'll spend $5 at Mood Ring. Techno in New York is often classist and elitist, which then leads to transphobic and patriarchal dancefloors. "City-wide events like the free Lot Radio Block party and all-inclusive spaces like Bossa that stay free before 12 am" are havens for everyone outside of the "techno famous," Stanton counters. "Groups of young female and POC groups from the Bronx and outer boroughs like the feminist Brujas collective, the Alkhemy group in Brooklyn, and obviously Discwoman are working to make nightlife more accessible to ALL New Yorkers - the future is with them."

So, as a young emerging DJ, Stanton says to the techno community: "More community, less clout."

TRAXLIST

01- See Me Ride - Jesse Futerman
02- NOW U IN MY TRUNK - Delroy Edwards
03- I’m Doing Fine - Moodymann
04- Desire - 18 Carat Affair
05- Open - Com Truise
06- 94 Bubble Jacket With The GoreTex - Ohbliv
07- Feel Real (feat. Xhosa) - X-Coast
08- Canal - Ratking
09- Teen Pregnancy - Blank Banshee
10- Uncle Al - Earl Sweatshirt
11- K-9 - Show Me The Body
12- Gunshotta - Machinedrum
13- Just For The Night (BMSR Remix) - Laura Burhenn
14- Graffiti Lounge - Adeodat Warfield
15- Gone - BLVCK CEILING
16- Cherry Blossom Girl - Air
17- Sphynx - La Femme
18- A Gift Of Tears - Jeunesse D’Ivoire

ARTWORK

The artwork this time around was chosen by the artist himself: Jordy chose to pair his set with the work of Dana Crumb, a New York-based illustrator and designer (and, also, Jordy's brother). They lock in together both in style and technique: a mix and match of tastes, colors, and details; an affinity to graffiti and skate culture; a bit comedic, never too serious, but always fresh. It's a family thing.

Moods 07: Jordy

Hiiii bbs ~ for August 2018 we've got Miguel Senquiz (@htmiguel) on @mooooods mix dooties. Playing with early ambient and misty vibes from the 2000s, it's sure to cool down your summer. https://moods.substack.com/p/moods-08-miguel-senquiz

Senquiz's entry to music came early like most Moods mixers. But his world since birth was especially embedded into Southeastern Michigan's music culture. "My mother was a club and radio DJ in the 80’s," he noes, "so I always had records, met musicians, and went to concerts and festivals for as long as I can remember."

The end of the 90s then saw high school Senquiz getting introduced to techno via friends, parties, and family, "but I was new and didn’t really know what was going on." A switch flipped, however, when his mother dropped something off. "She was managing a nightclub called Industry in Pontiac, which is a city just north of Detroit. They hosted an event for Richie Hawtin, and afterward she left a stack of his CDs on my desk which among them included Plastikman’s Sheet One. I think that was probably the first time I heard techno that worked at a party and in my headphones, and really changed my perception of what that music was."

The second track on the mix harkens back to this 18-year old era of discovery: Burnt Friedman's "Hut Selector." "I first heard it in a recording of a set Pole recorded for Betalounge in 2000. It was the summer I graduated high school and at that time, my best friend and I used to hang out and have this [track] playing in the car, while we were working on projects, after we came home from a party. It was just on regular rotation. It has remained one of those mixes where you're like … WTF is he doing? I had no idea then if this was a DJ mix or a live set or both. When you asked me to make this mix I had so many different directions I thought about taking, but then coming across this track was that 'OH!' moment."

The rest of the tracks here fall into a similar space. Senquiz calls it a love letter to ~Scape Records, as the tracks are pulled from their discography from 1999-2010. "It's techno, house, dub, drum n bass, and jazz. It feels cohesive without being structurally consistent. You feel it more than hear it. It's gauzy and layered and unpredictable." 

As he then launched into Ghostly International and Detroit to New York and beyond, Senquiz notes that the one thing tying the techno community together is humility. "I have definitely been fortunate to meet and have access to a lot of people at every stage of professional music spectrum and everyone (for the most part) has just been a human first. People who were nice and open to sharing their experiences made me realize just believing in yourself is all there is. Nobody really gives you a platform to grow, you give it to yourself."

TRAXXXXX

Pole (Tanzen) ~Scape54
Burnt Friedman & The Nu Dub Players  (Hut Selector Version) ~Scape03 
Deadbeat (White Out) ~Scape21
Jan Jelinek (Them, Their) ~Scape07
Pole (Uberfahrt) ~Scape54
Andrew Peckler  (First Snow, Last Year) ~Scape11
Portable (Typhoon) ~Scape29
Groupshow (Dog Shoes to the Stars) ~Scape58
Kit Clayton (nia-ikala) ~Scape02
Jan Jelinek (Moire (Piano & Organ)) ~Scape07
Pole (Taxi) ~Scape54

ARTWORXX

Senquiz's mix is paired with Irene de Andrés' work from the series HEAVEN, Where Nothing Happens (2015) -- an ironic title, as her etchings reproduce pauses in time from Club Heaven in Ibizia. The island is where Andrés grew up, and echoing Senquiz's upbringing in the center of a scene, Andrés' work reflects moments and after-moments of club culture on her island. They're both taking moments of intensity and octane and flipping them on their head in order to show their origins, their history, and sometimes their brevity.

Moods 08: Miguel Senquiz

;) welcome back bbs to Moods, where we have the inimitable V (www.instagram.com/yungqueenv/), a fearless fashion leader in Southeast Michigan, a DJ, and a powerhouse for queer, black voices.

Johnson's story begins in and in between Dearborn, Michigan, and Detroit. "We moved around a lot, and I attended a lot of schools when I was in elementary school. I would definitely say that where I lived influenced my music taste. Being black and having parents who were raised in Detroit means that I grew up listening to Motown and gospel a lot when I was young." That's how we hear all her influences right at the start, with Etta James, a Count Basie solo, and Jill Scott. "My parents were also a huge influence on a lot of the older songs. They really helped shape young Victoria’s music taste."

"So many of my friends have phenomenal music taste and I’m constantly following their Spotify playlists and asking them what song is playing whenever we’re all just hanging out." This is a great note too — never sleep on what your friends are digging, whether it's on Spotify, Bandcamp, or their recent digs.

Techno also began for Johnson was she I was young. "My dad also DJs, and when I was younger I remember hearing him play his favorite songs. My mom hates it though, so as a kid I kind of internalized that. But when I came to college, a strapping young lad named Daniel Sharp (aka Endash) said that I HAD to learn how to DJ, so that kickstarted my own techno journey. I’m drawn to how it is able to keep people moving and dancing. I love dancing and love being lost in the music and techno has the ability to transport me without fail.

"For me techno sounds like it was made for people who are in search of a community. No matter who you are, how you identify, or where you come from techno brings people together. When you’re on the dance floor lost in the crowd surrounded by everyone, the pounding bass connects us all."

And for her mic dropper: "I LOVE Y'ALL LETS MAKE THIS SHIT BLACK AND QUEER AGAIN"


*~.~*~.~*   LIST   *~.~*~.~*

Etta James - Sunday Kind of Love
Count Basie - Shiny Stockings
Noname - Casket Pretty
Moses Sumney - Make Out in My Car
Kali Uchis - Coming Home 
Solange - Cranes In the Sky
Childish Gambino - Redbone
Erykah Badu - Next Lifetime
Jill Scott - Exclusively 
Junglepussy - Pop for You
Masego - Small Talk
Ravyn Lenae - Recess
Princess Nokia ft Wiki - Saggy Denim
Baccara - Yes Sir, I Can Boogie
Kari Faux - Facetious
Ari Lennox ft Cozz - Backseat
NoName, Ravyn Lenae - Montego Bae
Amy Winehouse - Valerie
Kelela ft Princess Nokia, Junglepussy, cupcakKe, Ms. Boogie - LMK (Remix)
Chance The Rapper ft Childish Gambino - Favorite Song
Chic - Le Freak
Scissor Sisters - Let’s Have a Kiki
Azealia Banks - Idle Delilah
Cakes Da Killa - New Phone (Who Dis)

*~.~*~.~*   LEARN   *~.~*~.~*

V's mix is paired with the foundational work SHAKEDOWN by Leilah Weinraub, which in 2017 systematically shattered the world by showing 15 years of documentation of Shakedown, an all-black, all-lesbian strip club party in Los Angeles. Weinraub's piece follows the stories of its heroines and raising questions of the queer black community's desires to conform, break, and reconstruct gender, sex, family, and capitalism.

For more visit: https://moods.substack.com/p/moods-11-v

Moods 11: V

hello <3 december 2018's @mooooods mix dooties are provided by Max Ellington (@berrmax), a DJ, record fiend, and LA-based maestro. For more visit: https://moods.substack.com/p/moods-12-max-ellington

Max centers his mix on a few regions and moments in time. His early days in Ann Arbor, Michigan opened up the gateway to crate digging, odd finds, and new discoveries. "Ann Arbor is the birthplace of Ghostly International," Max begins. "I was first told about Ghostly when I was a kid, and while it didn't initially stick—Lusine would have been a bit over my head at that point, I imagine—I eventually circled back around and got really into School of Seven Bells, Tycho and others. The music I discovered through that label, a particularly relevant favorite being Heathered Pearls' Loyal album, definitely gave me a lot of the experiences that furthered my interest in the music in the mix."

The best part up till now was a lack of proper, heavy techno. That was solved with the movie Blade (1998) with, specifically, "the blood rave scene in Blade. So, I guess I'd say it sounded like it was for vampires!" It was Confusion (Reconstruction Mix) by Pump Panel, and after endless repeats on his friend's iPod, he dug into Detroit, the history, DJing, Movement, Interdimentional Transmissions, and more. "When I saw Carl Craig play live as 69 and I could hear the fusion of soul, funk, future sounds... It was the first time I heard a set that made the lineage of techno culture from black dance clubs through to the present form so explicit, so tangible. I love the sound, of course, but the cultural and historical significance of techno, and the fact that it's a distinctly Midwestern art form, made it infinitely more important to me."

And some advise for us all: do your homework. "Always keep working to better understand why techno parties exist, why they need/needed to happen underground, and who is communicating to/for whom in this music. Get educated, gain a sense of respect for the people who paved the way out of necessity, learn to share the space where you are a guest, and most importantly, be able to identify and support who is genuine and making a real positive difference right now in your community.

"You will be rewarded with a more whole experience each time you go out to listen to music—feeling a greater connection with the people dancing and with those who came before us. It's all fun but if you put in the extra effort it can really be something special!"

TO LIST

1. Steven Leggett - Bathhouse
2. Dedekind Cut - Virtues
3. Pauline Anna Strom - Spatial Spectre
4. Skee Mask - VLI
5. Modern Heads - Elemento A
6. Palta - At Ville
7. Steve Hauschildt - Stare into Space
8. Vera Dvale & Psykovarius - Taevakehad
9. Dub Tractor - Wow
10. Anton Zap - Fade to What?
11. Steve Moore - Endless Caverns
12. Rhythmic Theory - Machine State
13. Microstoria - Per Formal
14. Sleep D & Albrecht La'Brooy - Sleeping Patterns
15. Heavenly Music Corporation - Cloudless Light
16. Protocol - Waiting

TO LOOK

Max's mixed is paired, fittingly, with the one and only Hito Steyerl, whose work mine both internet history but the history of media, memory, and technology. Factory of the Sun (2015) is literally a film about a fake video game the viewer can't play, as they sit in poolside chairs inside a Tron-like grid.

Moods 12: Max Ellington

Hello Again, or For the First Time

I Don't Want To Dance Shirtless, Actually

Félix And Jeff

"You Have Needs"

Buchanan

Good morning, good evening, good new year. Moods is starting 2019 with An Lacy, an archangelic operator of NYC's techno scene. Lacy's mix is a ki to the ki—or, the music they blast on the aux cord in the Uber on the way to the party.

Lacy grew up primarily in the Bay Area—which immediately helps parallel and tie their dedication to hip hop, R&B, and rap. "All of the classics were in constant rotation around me - on the radio, in my friends cars, at the mall, at school dances - I was fully immersed in it," they note. "In my teens, my sister and I started taking hip-hop classes in Oakland taught by a dude who was choreographing and dancing for Aaliyah and Usher at the time. His classes opened a lot of doors to this music for me, as well."

Taking "Hot Boyz" by Missy Elliot, for example, helps ground Lacy's love for the queen. "[It's] a huge one for me. I mean, any track produced by Timbaland at that time was. I’m not sure the first time I heard this track for sure, but I assume it was either in my older sister’s (Sarah) bedroom or in her car. Sarah was such a huge part of my musical discoveries and learnings. They were constantly taking me on adventures into San Francisco in her car—a massive CD book filled to the brim with mix CDs of this shit always in toe. Missy was doing something not a lot of womxn were getting shine for at that time, and I was perpetually in awe of it."

A shift to punk and across the country to Chicago (then to NYC) led Lacy on their path to noise, house, then techno. "I spent a good chunk of my 20s doing vocals in two different bands, which is where I eventually found noise music. I was living in spaces throwing shows, which eventually was a mishmash of punk music and noise music. Noise was definitely my segue to grungier-sounding techno.

"But by proxy of living in Chicago, my first love in dance music was for house music, and from house I found a home in techno years later. My roots in hip hop, rap, and R&B definitely drew me to the percussive and rhythmic elements of house music. It felt familiar and warm."

And last words? "We’re in this scene together—not separately. Make space, learn from one another, admit and apologize for your wrongdoings, grow, and share all that you’ve got. Less ego, more community. Less hypocrisy, more action."

LIST

Souls Of Mischief - 93 ’til Infinity
OutKast - Rosa Parks
Lauryn Hill - Doo Wop
Q-Tip - Vivrant Thing
Amerie - One Thing
TLC - Creep
Big Pun ft. Joe - Still Not A Player
Ghost Town DJs - My Boo
KP & Envyi - Shorty Swing My Way
Ciara - Oh
Whitney Houston - It's Not Right But it's Okay
Missy Elliot - Hot Boyz
Tweet - Call Me
Toni Braxton - He Wasn’t Man Enough
Mariah Carey - Obsessed
Busta Rhymes ft. Janet Jackson - What's it Gonna Be?!
The Roots ft. Erykah Badu - You Got Me

LASTLY

Lacy's mix is paired with Sarah Lucas—a foundational queer British artist who's been working since the 80s. I saw her work at the New Museum during her retrospective and it blew me away—not only does she deal with gender, she breaks it. 

This detail of a car seat she's fitted perfectly with cigarette butts fits perfectly with Lacy's concept of the mix being the tunes you listen to as you ki to the ki. I think it's a perfect fit.

For more visit: https://moods.substack.com/p/moods-13-anne-lacy

Moods 13: An Lacy

February 2019 means a mix from Icarus Redux (@icarus-redux) who's run with the likes of Ninja Tune, Alpha Pup, and more. Now a cybersecurity professional based in Minneapolis, he's whipped us up a mix that takes us from DC to LA to MN.

Sarvesh grew up in suburban Maryland outside of Washington, D.C. "My parents pushed me into singing Carnatic music at a young age, but I'd say I was surrounded mostly by the media my parents enjoyed—a lot of dubbed cassettes of Carnatic and Hindustani music, Kollywood soundtracks, and the odd, accidental hints at other musical culture (Jean-Michel Jarre's "Oxygene Pt. 4" inexplicably appearing in Mouli's teleplay Flight 172)."

Electronic music, especially live sets, began a bit later in college around 2011. "A few internships and short-lived, underpaid positions later, I had defaulted to a 'regular' white-collar job while promoting warehouse parties." These influences are why we hear Prefuse 73 and Mount Kimbie in the second phase of his set. "But—love for music breaks down, and I was getting trapped in the darker aspects of club culture. A sudden job transition and shift to Minnesota got me into Midwest techno (fast, dark, acidic), and DJing, but I continued to spiral downward.

"It took a family bereavement and a trip to India for things to reset somewhat, and although I take every recent day one at a time, I can safely say I've learned a lot about myself and my musical interests in the process. Constantly interrogate yourself and your motivations. This music has always, always come from marginalized people, and if you're not making a pipeline to get those people into your shows, on your bills, and integrated into your community, you are part of the problem—and there is very little separating yourself from the big-money operations a few pay grades up."

LISTTTTTT

For the entire setlist, head here: https://moods.substack.com/p/moods-14-icarus-redux

L'ART

I paired Icarus's set with a photography print from Wolfgang Tillmans from 2001—not only because the year fits many of the songs on the set, but the mood of a quick snapshot of time moving forward (like a rainy car ride) echos a lot of the dub, ambient, and early drum and bass tracks we have. It's also a suggestion of sorts: listening to this mix in the car or in transit is the prime time for it.

Moods 14: Icarus Redux

UMMMM !!!

My Bitcoin Went From $75 To $4

Hi springtime bbs <3 this March 2019 mix is by Corine Vermeulen(@AVIPHAUNA), a visual artist whose photographs documenting Detroit are held in collections across the world. She's also a stellar producer and DJ, and her interstellar wizardry is on cue for this month's mix that stakes out the boundaries and limits of techno.

For Corine's fantastic interview in whole, head here: https://moods.substack.com/p/moods-15-corine-vermeulen

TRACXS

Ash Ra ‎- Deep Distance -1976
Haruomi Hosono & Tadanori Yokoo - Hotel Malabar Upper Floor ...Moving Triangle... - 1978
Chris & Cosey -  This Is Me - 1981
Aphex Twin - Window Sill -1994
Jean-Michel Jarre - Oxygène (Part V) - 1976
The Orb - First, Consider The Lilies - 2016
Plastikman - Pakard - 1998
Gosub - Waking Up -2005
The Detroit Escalator Company - Soundtrack (313) - ∆
VC-118A - Glut - 2018
Dopplereffekt - Non Vanishing Harmonic Spinor -2007
Biosphere - The Things I Tell You -1997
Aux 88 - Free Fall -2009

ART

Corine's set is the first time we've paired the mix with a record sticker instead of an artwork: a detail of Haruomi Hosono and Tadanori Yokoo's soundtrack from the 1978 film Cochin Moon. Corine used this song as a place of departure for her mix, and as a visual artist herself, it's only fair we flip the script this time 'round and pair her mix with, well, a song. :)

Moods 15: Corine Vermeulen

Summer is here! And the winds are warm :) We have the perfect June match with this month's mix by Nancy Kim (@niteplant) and Erin Keeffe (@perlin_noise). Nancy (the first half of the mix) is by trade an architect, designer, and apparel mastermind; Erin (the second half of the mix) is a photographer, designer, and co-founder of Acid Camp. Together, I call them my rave parents (and many of you do), as they help usher in new talent across techno and make space for newcomers from Taiwan to New York.

For the full interview, head to the archives: https://moods.substack.com/p/moods-18-nancy-kim-and-erin-keeffe

List
Logic - The Warning (Inner Mix
Robert Owens - Bring Down the Walls
The O’Jays - I Love Music
Jomanda - Make My Body Rock 1990
Black Box - Everybody Everybody
RuPaul - Supermodel (You Better Work)
Barbara Tucker - Beautiful People (Underground Network Mix)
J.J. Fad - SupersonicDMX Krew - Bump to the Beat
Chris Clark - Slow Spines
Prefuse 73 - 90% Of My Mind Is With You
Kristuit Salu - êthno-cen
Squarepusher - Beep Street

L'Art

We paired Nancy and Erin's mix with an infamous detail of a poster by artist Jeremy Deller. The yellow smiley face—eponymous of the acid house genre—has the words "Do you remember the First time?" with the "First" and "time" replacing the eyes of the face echos the moments Nancy and Erin highlight in their interview. The first time—which could mean the first time on a dance floor, the first time listening to music, or something totally different—is a method we've also been using on Moods to discover each other's paths and directions. "How did we get here?" has really become the question we've been answering here. And I want to thank y'all again for sticking it with me here, and for the future. We're archiving together <3

Moods 18: Nancy Kim and Erin Keeffe

Let's Queer Spacetime

Hieeeeeei. This July we've got the mythical mastermind Jasen Loveland on Moods dooties (@jasen-loveland), who's made a mix he's titled Sur le Pavé la Plage.

For the full interview, head to the archive here: https://moods.substack.com/p/moods-19-jasen-loveland

TRACXS

Playlist (In general order)
Current 93 - A Voice From Catland
Autechre - All End
Carla da Forno - You Know What Its Like
Cocteau Twins - Persephone
Coil - Finite Bees
Idea Mind Fire Company - The Terrible Comet Salt
Jon Hassell - Hamburg
Zoviet*France - They're Eating The Passengers
Trapaeng Ray - s/t
Michael Gira - Blind
Si Mohammed Bel Hassan Soudani - Gnaoui Solo Song (Marrakech)
Pharaoh Sanders - Harvest Time
Current 93 - Dormition and Dominion

ART SHIT

We've paired Loveland's beachy mix with a literal beach opera by Lithuanian collective Neon Realism. The hour-long piece has viewers look down upon a half-cast, half-volunteer beachgoers as they lament about SPF, access to their sugar daddy's wealth, spray tans and work woes. It's a siren song to many vacationer's inability to see the world burning in front of them—something you might say is also Loveland's mix as he cautions techno to not steer into capitalist black holes of hypebeasts.

Moods 19: Jasen Loveland

Just Be Safe

Happy August bbs :) our @mooooods mix for this final hot month is a cooldown session by Cara Daley (@cdaley), a cultural make-happener via booking agent duties at Liaison Artists. Read below for the tracklist, interview, and art pairing. More on Substack @ https://moods.substack.com/p/moods-20-cara-daley

Jan Jelinek - Moiré (Piano & Organ)
Jim James - States of the Art (A.E.I.O.U)
Golden Daze - Blue Bell
The Warlocks - We Took All the Acid
Stella Donnelly - Allergies
Schoolboy Q - Neva Change (feat. SZA)
CAN - Yoo Doo Right (3p mix)
Eddie Kendricks - Girl You Need A Change of Mind
2pac + Digital Underground - I Get Around
Bahamadia - Pep Talk
Orchestral Manoeuvres in the Dark - She’s Leaving
Hovvdy - Late
Shame - Angie
Brian Jonestown Massacre - Hold that Thought
Pavement - Harness your Hopes (b side)
The Jesus + Mary Chain - War on Peace
Odd Future - Oldie

Daley grew up in the Midwest, moving from Fox Point in Wisconsin to California when she was 18. San Francisco was her home base up until the end of last year, where she’s now based in New York City. The new location sparked her set. “I put these songs together on a rainy Sunday at the end of spring in Brooklyn. It can work for a long summer bike ride, or lying in the park on a hot day.”

And while the mix navigates R&B from SZA to soft rock from Shame to rap from Odd Future, Daley’s love for electronic music isn’t held above other genres. “It’s equally important for me to continue to listen and discover a wide swath of sounds. I love hip hop, psych rock, and indie as electronic music.”

An equity in genres is something we hear on Moods over and over. Techno people love their techno, but genres and sounds outside the club orient and define us just as much. It also equates to Daley’s wish for others into techno to practice empathy—independent of their tastes and lived experience. “In a community that's often based on freedom, love, and release, we so very often forget the struggles and viewpoints of those who surround us. A bit more of an attempt to understand—and check in—with others can go a long way.

“Also... maybe delete Twitter.”

--

I’ve paired Daley’s set with an Alex Da Corte piece from 2017. Many of Da Corte’s works use soft fabrics, palettes, and lights to build immersive installations that often comfort a viewer. It’s in this way that both works from Da Corte and Daley fit well together for this six-back-and-relax atmosphere.

Daley also donated her $35 payment to We Reclaim Our Pride, an event in Amsterdam during Pride Week. To donate yourself, head here: https://garagenoord.stager.nl/web/tickets/346555?fbclid=IwAR2sp7nAUWKZ4yQEpsyBOZ0o1rhafVheg590JLG3zlzAY_yEkTDCP0fl1RA

Moods 20: Cara Daley

Spoken word from Patti Smith and Mike Huckaby, ambient, jazz, slow jams and fast jams recorded during the sunset of April 25, 2020 on two Pioneer CDJ700s and a Numark X6.

Missedconnection 01

Endash (Daniel Sharp, b. 1994, Grand Rapids, Michigan) is a Detroit-based artist, musician, writer, and interdisciplinary organizer. Their sonic work explores landscape, memory, science fiction, ambient, and techno.

They have released with Acid Camp (2024) and self-released three EPs (2014-2018) and one LP, Come Home (2019). They are the founder and co-organizer of @mooooods.

To book: dsharp13@gmail.com
Releases: https://endash.bandcamp.com
IG: http://instagram.com/dshrp
Website: https://danielsharp.cargo.site

Played and ran events at:

SutroFM (2024)
Jupiter Disco (2024)
ANYTHING BK (2024)
Beloved Radio, Chicago (2023)
Disco Zwei, Germany (2023)
Hunter Thompson Saloon, Germany (2023)
Imbolc, Detroit (2023-)
Public Records, New York (2022)
Flyover, Minneapolis (2022)
BEVERLY'S, New York (2021)
GLU, New York (2019-)
Basilica Soundscape, Hudson (2019)
The Lot Radio, New York (2018-)
Bossa Nova Civic Club, New York (2018-)
WCBN, Ann Arbor (2015)

@memco alum
they/he/she

Popular tracks by Endash