Moods 07: Picture Lock
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: Picture Lock chose to pair his set with the work of Dana Crumb, a New York-based illustrator and designer (and, also, Picture Lock'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.
To follow everything Picture Lock: here.
To follow everything Dana Crumb: here.