Add my music profile: www.myspace.com/djjosmusic's Interests
General
spinning & producing records, singing & writing lyrics, graphic design, art direction, graffiti, painting, pop surrealism, designer vinyl toys, stand-up comedy, playing the drums, dancing, the paranormal, ufology, cosmology, the metaphysical, power of intention and affluence, aliens, vampires & folklore, working w/ crystals and stones, meditation, speculating the true nature of the universe and our sense of being in the cosmos, reading, thought provoking conversations, inspiring people, dark moments, romance, cooking, red wine, dark beer, single malt scotch, cigars, taking the pot, sour candy, italian & medetteranean food.
Music
drum & bass, electro, breaks, house, classic rock, indy rock, acoustic, oldies, etc...
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Vinyl Will Survive. Taken from residentadvisor.net by: Peter Chambers
You cant make a rational case for choosing vinyl, and I wouldnt there isnt a single one thats compelling. Digital is cheaper, less wasteful, more malleable and far more portable. Theres virtually nothing to store, scratch, warp or shatter. Records meanwhile remain cumbersome, fragile and expensive. And yet, in spite of all this, I will continue buying, collecting, playing with and paying for the damned things, for as long as Im willing and able to. Why?
Well, there are lots of reasons. First of all, its because vinyl has life. Dont get me wrong, Im not such a caner I dont think that my records are alive in the way my lover or my dog is. They dont eat, drink, bark or bone. But, like us, they exist in space and through time they have their own history, they wear their own scars, they need our care. They have a world.
When you dig for vinyl and you find something youre looking for, you dont just uncover the music. Theres a sense of connectedness, both of your desire to the sound and the sounds embodiment in the object. Who knows the circumstances surrounding the original purchase? Maybe the record got sold because of a drug habit, a death, or a disappointment. Or maybe because of indifference. But in every case the piece you hold in your hands is the silent bearer of a story, a mute witness to whatever and wherever it went. It also carries the signal of its producers, embodying their dreams. I think Danny Wang said it once: second-hand record stores are such sad places. Thats because theyre dream graveyards. At one point, a group of people invested all their time and talent in making it. It was going to make them famous.
At the receiving end, the previous owners of a record invested their best hope in it too. So they chose it, they took it and kept it with them, and it slowly mapped itself into the web of their memories. Or they hated it, and flogged it. I dont recall every intricacy of what I did last week, but I can tell you almost without fail the circumstances surrounding each record I own, and explain the resonance it has, what it evokes. Its an object of music and of memory, and to me that gives it the true aura of an artefact, and makes it deserving of respect, reverence. I also love the presence of the music in the scratch. The groove is a perfect visual representation of the metaphor of what the thing is and does, and the music is there in a way that digital formats, even in whatever visual/waveform representations they use, arent. Functionally, this makes absolutely no difference. Visual mixing of the kind now possible with digital obviously has advantages, but its always at a distance. Like talking through glass.
Records are also incredibly sensual objects, and this has always been their advantage for mixing. Even with the abilities the new technologies have given us to loop, sample and freely choose key and pitch (which is in every way musically superior as an instrument) theres no substitute for being able to touch, to play by feel. Serato and Final Scratch have overcome this limitation, but even in the best of both worlds theres more than a little of nowhere and nothing at all. Mp3 doesnt even exist, at least, not in the way we and our records do. Its a nothing and it exists nowhere but in blips on our portable nonplaces.
Crucially, choosing a track through drag and drop is utterly different to digging through a box with a very limited selection thoroughly and carefully chosen before leaving home, or so youd hope. In fact, the irony of having a greater number of choices is that its invariably harder to choose, or easier to make do with default choices, which are not real choices at all. A lot of DJs selections turn to shit after they start using digital. Somehow - no, because of all those choices, theyre unable to make a single interesting one. This is no coincidence.
Theres no sacrifice involved in collecting digital formats either. Any two-bit chump can download a huge body of work in a matter of days, something that would have required a huge expenditure of time, effort and money on the part of a vinyl collector. When you go and see a veteran play her set, shes carrying with her whole decades of memories whittled down to some eighty selections. Packing a box requires further sacrifice, further selection, further acts of will, respect and love. You have to think, choose, include, reject. Without these repeated sacrifices, its all to easy fall prey to the tyranny of any old thing. Oh shit, I need a track with drums to mix out of this, um shit, only sixteen bars to go, oh, okay, thisll do Click, click, drag, drop. You hope the audience wont feel the difference, and you fool yourself that you feel anything at all. I wouldnt argue that this is a necessary outcome of digital, but its going to happen far more often.
The same is true of Ableton: paradoxically the programs incredible power, speed and flexibility means you can churn out an average tune, not even in a matter of hours, but on the fly. You can do anything on Ableton and you can, but most people do less and less. They dont make minimal, they make very little of a lot. In fact, in a turn of events that would shock grandpappy, its easier to record a track than to write a song. All too often it shows: lazy drum programming, boring melodies with no tension or development, and a screaming, dithering, swarming shitload of plugin effects to cook the tune in, so we dont have to listen to the half-baked mess. And how good are you as a musician really, Mr DJ? Can you really perform with the same level of musicality thats contained within a well-made record, something a talented, dedicated person invested everything in for days, weeks, months? Why not let the record play, if its a good one. If its not, no wonder youre bored, no wonder you need to fiddle.
Back to the body the other quiet crime of indifference that this choice contains is the death of another related artform: cover art. One of the things that make records so valuable and beautiful is the incredible creativity that goes into a lot of the covers, even if its the artful details of the colours and fonts chosen on the plainest of my EPs, or the mastered by X at the Exchange scratched into the run off. No doubt the artisans who manufactured gilt frames for heavy oil paintings mourned the passing of their time, and maybe all systems of artistic representation are not only bound to, but should wither and die. Its still sad.
Like most technological advancements, digital isnt an improvement of what went before, its a rationalisation. Never forget that. From a consumer point of view, CD wasnt better than vinyl, and at least until the mid-nineties, a well-pressed record played better through a good component system (again, all put together through individual choices) than most CDs, even with, and probably because of the sound artifacts and sub-audible frequencies in the record. Were losing them, too. But theyre inaudible, right? Never forget, it was the record companies, greedy to reduce distribution costs and fit more units on shelves, who pushed for CD, and we paid more for less. Three times the price for something a third of the size and a fraction of the cost to make. Now theyre reaping the whirlwind, and a big and happy fuck you all.
The technology might end up getting us over the barrel too: it isnt simply better its a new entanglement that solves some problems and embroils us in others. Im late finishing this article. Thats because, not three days ago, my Powerbook, on which I do, well, almost everything, decided to play Hungry Hungry Hard Drives and eat itself for breakfast. Luckily, all my media and documents are backed up are yours? Dont think it wont happen. Houses burn and vinyl will too, but data loss is a completely new kind of risk. If any of you still have the XT you grew up with, go pull it out of the garage, turn it on and see if it still works. Then, take one of the diskettes with all your old games on em and see if you can load them. Captain Comic, Space Quest, all those daggy old things. Remember them? The only story most of mine can tell me now is one that goes from beginning to end in three words: permanent fatal errors. Vinyl dies too, but not all at once. It goes slowly, just like we do. Do yourself a favour, and age gracefully with records. Theyre not dead, theyre elderly, and they need your care and respect.
I suppose this whole things based on a bogus choice vinyl or digital. We dont have to choose. Ill eventually buy myself a digital interface and start using it, in conjunction with my records. But dont expect me to love the interface. Thats a leap Ill never make. Can you? Do you really love your interface? Can you cherish a hard disk? I can only speak for myself and my records, the only musical objects I keep that capture my imagination, just as they capture something of the magic of music in space and time. And thats something that no data packet can ever do.
Movies
I am into drama, romance, psychological thrillers and anything to do w/ aliens and vampires;) Donnie Darko, Snatch, Spinal Tap, A Bronx Tale, Gangs of New York, Airplane, What About Bob, Napolean Dynomite, National Lampoons Christmas Vacation, every John Cusak flick (yea...that's me the hopeless romantic:), Fritz the Cat, Human Traffic, The Powers of Ten, Harry Potter, Bramstoker's Dracula, Lost Boys, Ray, Office Space etc...
Television
True Blood, Fringe, The Sopranos, 6 Feet Under, UFO Hunters, History Channel, Discovery Channel
Books
The Secret, The Power of Intention, The Four Agreements, The Day After Roswell, Cosmic Voyage, The Earth Chronicles, The Works of Charles Fort, The Works of Whitley Strieber, The Twilight Series, The Works of Dr. Steven Greer, Saucers and Science (Stanton Friedman), The Game, Etc...
Heroes
Also referred to as "Hogies", are a favorite at lunch time. They usually have a selection of deli meats piled up on a roll along w/ lettuce and tomatoes. Most people enjoy them topped w/ condiments such as mustard or mayonnaise;)
Add my music profile: www.myspace.com/djjosmusic's Details
Add my music profile: www.myspace.com/djjosmusic's Blurbs
About me:
I'm a NY native who moved to LA in November of 2001. I've been an active Drum + Bass DJ / Producer since 1995. I work w/ a vocalist named Audio Angel and a sax player named Devoe. Besides my music career, I am also a professional Graphic Artist. I have a BA in Visual Communications. I am currently working as a senior level Production Artist / Art Director at an advertising agency in Santa Monica where I develop post-theatrical marketing campaigns, dvd packaging and advertising.
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..Remix by Company Truck (SF) / vocals by Audio Angel / un-signed
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10. Jo-s + Alder - Epiphany - Dubplate (02')
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..Produced by Jo-s + Alder / un-signed
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11. Jo-s - Snicker - Dubplate (02')
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..Produced by Jo-s / un-signed
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12. Jo-s - Undertow - Taciturn (02')
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..Produced by Jo-s / featured on the full length album "Firing Pin" on Taciturn Recs
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13. Jo-s - Disintegrate - Taciturn (02')
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..Produced by Jo-s / featured on the full length album "Firing Pin" on Taciturn Recs
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14. Trust - Chazm (Jo-s Rmx) - Dubplate (02')
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..Remix by Jo-s / un-signed
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15. Datcyde + Jo-s - Angry Love - Dubplate (01')
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..Produced by Datcyde + Jo-s / un-signed
**ALL OF THE TUNES PRESENTED HERE ARE LOW-FI 128 MP3'S FOR PROMO ONLY - PLEASE SUPPORT BY PURCHASING THE RELEASE. DJ'S WHO ARE INTERESTED IN RECIEVING HI-BIT 320 MP3'S TO PLAY, FEEL FREE TO MESSAGE ME FOR CONSIDERATION**
Veteran Drum & Bass DJ / Producer Jo-s (Los Angeles) delivers an electro breaks cover of "Goodbye Horses" by Q Lazzarus featuring a fresh vocal delivery by Jo-s himself. The original song was most notably featured in the film The Silence of the Lambs.
The meaning: In an Eastern philosophy "horses" are symbolic/representative of the 5 senses - the things that keep us tied to the physical/material plane of existence. When you can transcend the limitations of these senses and achieve a higher level of consciousness, you are leaving the "horses" behind - "flying over them." The song is about someone who was so affected by (A loss? A breakup?) they decide to give up the things that keep them tied to this world by emotion.
Recently I've been incorporating my vocals into my productions as well as my live sets. Since i picked up Radiohead's latest album "In Rainbows" it hasn't left my car stereo. I felt inspired to create a remix of "Weird Fishes/Arpeggi" since i heard the intro which is almost the same speed as Drum & Bass. Most of the sounds were designed by me besides the guitar lick in the intro from the original tune. I re-sang the lyrics. Enjoy:)
Stay tuned for my 1st vocal release on Westbay Intl entitled "Define" co-produced by Kubatko, a co-production w/ Devoe on Peer Pressure Recs, vocal work for Atlantic Connection on Westbay, vocal work for Sinistarr from Detroit + much more in the pipeline for 08'. Nuff respect due to all those who have consistently supported me in all my musical ventures:)
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Groove Riders Presents: "Once Upon A Time" JO-S & Audio Angel In The Mix
Mix CD Release: Oct 2005
Ordering / Purchase Info: http://www.grooveriders.com
14566 Ventura Blvd. Sherman Oaks, CA 91403
Tel: 818.981.3366
Fax: 818.981.3861
Presented by Groove Riders, the west coast premier vinyl and underground culture shop, comes a storming new mix from veteran Drum and Bass DJ, JO-S. Accompanied by the vocal stylings of San Francisco based recording artist Audio Angel, this hot new compilation features a varied pallette and highlights the diversity and technical skill of this top-notch stateside selector. The mix features new material from JO-S and Audio Angel, as well as recent material from other well-noted Drum and Bass artists from around the globe. As Executive Producer, Groove Riders has been a pioneering source for underground culture in Southern California since 1995.
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The Original Jo-s Album: "Firing Pin" Available on iTunes!
"Firing Pin" is the 1st original artist album by Jo-s released through Taciturn Records (NY). The track selection is a definitive look into the production history of Jo-s as it contains 13 original tracks, some of which have been released on labels such as Rawkuts (Rawkus), GFS / Argento, Caffeine and Taciturn. This album received national attention in the press in publications such as Mix Mag, Urb, Knowledge/ATM + many others. It was distributed through SONY Red Distribution and is available on iTunes as well as 20+ other vendors on SONY's digital network. At the time of the original release, it was featured on listening stations and available for purchase at most Tower Records and Virgin stores.
Dj Jo-S "Firing Pin"
CLICK HERE
Dj Jo-S "Firing Pin (the singles)" CLICK HERE
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JO-S OFFICIAL BIOGRAPHY
New York native Joseph Esposito, known to his fans as JO-S, has made an impact in the Drum and Bass industry since 1995. Since his re-location to Los Angeles in 2001, JO-S endeavors to contribute to his local scene on a variety of levels ranging from DJing, MCing, singing, producing, event coordination, artist representation and graphic design. His impact is immeasurable and manifest in a multitude of ways both locally and nationally.
As a DJ, JO-S has performed in almost every major city throughout the United States as well as Canada, Mexico and the UK showcasing his originally produced material and unique mixing skills. He is widely recognized for his dedication to crowd interaction and his signature stage presence. A hi-energy style coupled with a smooth program mixing and cutting reveals his level of skill behind the decks. With an extensive record collection spanning the course of 2 decades, JO-S is known to drop any style of Drum and Bass from liquid to teched out neuro-funk, old-school classics and original dubplates that truly make his sets unique. To bring more production value to his live sets, JO-S has recently incorporated live singing over his original music making him a double-threat while he’s behind the decks. Traditionally dedicated to crowd interaction, JO-S brings a winning performance to the decks at any event no matter what the capacity.
As a Producer, his music has appeared on labels such as Caffeine, GFS, F-111 / Higher Education (Warner Bros), Rawkuts / Rawkus, Taciturn and After Shock Radio Recordings (UK). One of his first and most well respected releases in 2000 entitled “Turbo” earned him a remix by The Usual Suspects (Renegade Hardware / UK) on the F-111 / Higher Education (Warner Bros) imprint. His earlier productions have also played an integral part in the development of the now defunct New York based label Rawkuts Records, a division of the hip-hop label Rawkus. His first single on Rawkuts entitled “Separation” received third-party licensing exposure from Canadian DJ Freaky Flow for the mix album entitled “World Domination” on Moonshine Records. In 2002, New York based label Taciturn Records released the debut artist album from JO-S entitled “Firing Pin”. Comprised of 13 original and continuously mixed tracks, “Firing Pin” is a definitive look into the production history of JO-S. As a full service artist, the packaging and the CD design were done completely by JO-S. The release was distributed nationally via RED, Sony’s independent distributor, and was subsequently released digitally via SONY/BMG’s digital distribution network that includes iTunes, Yahoomusic and other reputable download sites.
With a BA in Visual Communications, JO-S continues to push the envelope in the creative industry of Graphic Design. His visual aesthetics rival the quality of his musical counterpart. JO-S has contributed to the local scene by designing flyer concepts for event promoters such as Fresh Entertainment and 26C. He also designed 12” record sleeves for the now defunct Alpha Magic Distribution company (UK); host to such famed labels as Outbreak, Gain, Taciturn, G2 and Predator.
Recently JO-S has been working on several projects with Audio Angel; a well-respected vocalist hailing from San Francisco. Their last 12” single entitled “Forever” garnered them the attention of DJ Hype (True Playaz – UK) with remix work done by Nightwalker (UK) and Company Truck (SF). Shortly thereafter, JO-S and Audio Angel began performing together eventually expanding their live act by adding a sax player named Devoe. This trio has been breaking ground with their epic studio mixes and live performances bringing an element to Drum and Bass that is something only to be witnessed. The “DJ & The Diva feat. Devoe on Sax” is now available for bookings.
2009 looks to be a busy and fruitful year for JO-S the artist as well as JO-S the DJ. He is currently in the studio working on solo projects as well as recording vocals for other internationally recognized Drum and Bass artists. JO-S has also started vocalizing in his own productions with future releases slated for 09’. A recent collaboration featuring the original lyrics and vocals of JO-S entitled “Emeralds”, produced by Lenzman from the Netherlands, is currently getting play from some of the top industry professional DJ’s such as Goldie of Metalheadz fame (UK) and DJ Friction (UK). Consequently, DJ Friction has signed the track for release on his highly acclaimed label Shogun Limited Records. The forthcoming single from JO-S entitled “Define”, co-produced by Kubatko (Czech Rep) b/w “My Minds Disguise”, produced by Atlantic Connection, is slated for release on Westbay International Recordings in 09’ and will feature the vocal work of JO-S for the first time on vinyl.
REVIEWS
URB Sept 2005 - Forever Feat. Audio Angel b/w Nightwalker Rmx - 12" Review JO-S teams up with vocalist Audio Angel (Influx UK) to deliver a sweet, slick and ruff stateside banger. JO-S has definitely stepped up his production evident by his warm solid bass, crisp breaks and beautiful pads all culminating in a superb sound. Nightwalker re-works the tune with pitch-shifting b-lines, smacking 808s and his signature stepping drum patterns. Soul with a techie touch!
- JV
MIXER Oct 2002 - Timepiece b/w Mainframe - 12" Review For the vinyl release preceding his full length, "Firing Pin'", Jo-S pulls out all the stops. Multi-layered and bold, the techy, aggressive nature is tempered with originality in delivery. The vigorous energy of "Timepiece" keeps that confident floor driven attitude peppered with scattered female vocal stabs and sweeping atmospherics.
- Lily Moayeri - 4 stars
DJ TIMES Dec 2002 - Undertow b/w Disintegrate - Unreleased Dubplate Review American d-n-b fans should be proud to call JO-S their own. Intricate, audacious and powerful, the textured quality of Undertow is on par with producers that have been around for ages. Continuing strongly on Disintegrate, the robustness gives way to a resilient bounce and an enticing female vocal. Very nice.
- Lily Moayeri
RINSE – Novermber / December 2002 – Album Review For anyone who is unfamiliar with JO-S, I’m sure this album will clear up any confusion. In my opinion, this is one of the better debut albums we have seen in a while. Taciturn definitely has a winner with this album.
- I.N.S.
JOINTZ – October 2002 – Album Review Firing Pin features thirteen original tracks by JO-S, some released on Caffeine and Rawkuts labels, and four previously unreleased. Firing Pin delivers a party feel with euphoric vocals while maintaining heavy basslines to implement the dark-step appeal LA junglists love. The CD version is mixed with razor sharp precision, while the vinyl version should attract jungle DJs. Blisterpack, Syphon Remix and Timepiece are standouts while Disintegrate and Mainframe creep up on you. It’s a cool album overall, which means he’s only going to get better.
- Eski
MIXER – October 2002 – 12” Review For the vinyl release preceding his full length, Firing Pin, Jo-S pulls out all the stops. Multi-layered and bold, the techy, aggressive nature is tempered with originality in delivery. The vigorous energy of Timepiece keeps that confident floor driven attitude peppered with scattered female vocal stabs and sweeping atmospherics.
- Lily Moayeri
XLR8R – September 2001 – 12” Review New York producer JO-S steps up to the plate again with a pair of interesting tracks reminiscent of early Konflict or Cause 4 Concern. Afterburner, on the flip, is a techy night-flight full of zooming beats beats, but Separation is better, with a skittering and twisted fairground melody, a haunting, old-school-sounding diva intro and crispy beats…
- Star Eyes
BPM – September 2001 – 12” Review After serveral tracks on the Rawkuts label, Jo-S already shows a bit more growth as a producer. Afterburner is a hard techno-ish track with a bit of trace amens, and lots of interesting changes throughout. Seperation is the stand out on this twelve inch, with bongos, female vocal samples, and some cheeky classic videogame bleeps…
- Jesse Mann
KNOWLEDGE – July 2001 – 12” Review Furious darkside fare from the states here, with Afterburner letting fly with pummeling bass, runaway beats, and swarming techno riffs. A breezy vocal intro builds the vibe nicely on Seperation, running with I’m love with you vocals and increasingly tense synth play…
- L
BPM – June 2001 – 12” Review …JO-S contributes an impressive track as well with Submission, starting out light and airy, but then coming in with a menacing, ravey hook.
- Jesse Mann
KNOWLEDGE – March 2001 – 12” Review This newcomer seems to be doing the rounds on some of the top US labels (with his last release on F11 / Higher Education opening the door) and it’s no wonder…Desire is an intricately programmed, rattling stepper. Lots of technical breaks, percussive knocks, oscillating bass and a processed vocal make for a more unique sound. The flip is a steady stomper with swirling FX that turns into a manic roll out with a bit of disjointed drum fills and a turbulent b-line.
- S
BPM – October 2000 – 12” Review After years on the East Coast rave curcuit, these two veteran Djs come through with a very strong 12”. One of the best domestic releases so far this year. Both tracks are tailored for the dance floor with more aggressive versions of the originals. Syphon by JO-S is an exercise in techno influenced D&B, very well produced with interesting melodic lines…
- Jesse Mann
FEATURED IN THE FOLLOWING PUBLICATIONS
JOINTZ - October 2005 - Interview
RINSE - June / July 2005 - Guest Reviewer and Feature
RINSE - April / May 2005 - Mentioned In The North American Drum and Bass Article
RINSE - October / November 2004 - Mentioned In Los Angeles Article
RINSE - February / March 2004 - Top Ten
URB - February 2003 - Top Ten Chart
RINSE - November / December 2003 - Interview
RINSE - January / February 2003 - Top 5
BPM - December 2001 - Blisterpack appears in Freaky Flow’s Top Ten Review
ATM - Issue 52 - Rawkuts Interview
JOINTZ - August 2002 - Interview
12/1/06 - Into the Twilight feat. JO-S & Audio Angel w/ Devoe on sax
3/1/06 - Step Into Spring feat. JO-S & Audio Angel
10/1/05 - Once Upon A Time: JO-S and Audio Angel In The Mix (Groove Riders)
Rawkuts DJ Promo (Rawkus / Rawkuts)
Cruise Control (Caffeine)
100% Drum & Bass (Caffeine)
Jungle Warfare feat. Kazpa (Caffeine)
AFFILIATES
Westbay Intl / Peer Pressure / Sonorous / Shogun Ltd / Taciturn Records / Dire Clothing - LA
Who I'd like to meet: honest, open minded people, Promoters, DJ's & Producers
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Veteran Drum & Bass DJ / Producer Jo-s (Los Angeles) delivers an electro breaks cover of "Goodbye Horses" by Q Lazzarus featuring a fresh vocal delivery by Jo-s himself. The original song was most notably featured in the film The Silence of the Lambs.
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