Here’s a recap of some notable broadcasts from last week.
DJ Sxxy Sauce
DJs, like artisans and warriors, often train at the feet of masters. With time, patience, and the right selections, those that can apply what they have learned get to put their own spin on old traditions. DJ Sxxy Sauce, born LaSonia Erving, was first the apprentice of Detroit’s Godmother of House DJ Stacey “Hotwaxx” Hale, before expanding her skills under the guidance of Juan Atkins and Ron Johnson, aka DJ Jungle. It was from this intersection of Detroit legends that DJ Sxxy Sauce emerged, and as of late, her high-octane mixes of disco, vocal house, and gospel-inspired tracks have been a near-daily presence on the Blast Radio airwaves. Taking her cue from the transcendent highs of dancefloors past, DJ Sxxy Sauce’s sets always leave listeners in a better mood than they found them. Whether it’s Stacy Kidd belting it out on “Heaven,” or DJ Oji remixing Kelly G’s Old Testament bop “Moses,” uplifting positivity and free expression are always prerequisites for the party.
Follow DJ Sxxy Sauce
Tampa, Florida-based producer Dutchyyy, aka Dutchmassive, aka (and found on the Blast Radio airwaves as) PeacePeaceGawd, wasted no time firing up his flux capacitor to take listeners on an hours-long kaleidoscopic journey through the temporal plane. Woozy synth pads, blown-out samples, and shuffling drum patterns circulated at will, creating an envelope of pan and filter effects that helped cushion the whiplash of interdimensional travel. Packing a little something for the experimental beat fiends and headnod crew alike, Dutchyyy offered up some wavier fare, along with ample portions of more grounded selections for those who prefer to stay out of the deep end. Yet without warning, broadcasts can pivot and expand on a single loop, tugging ears inward toward a tighter orbit. With a weighty back catalog and seemingly endless bouts of creative energy, keep it locked on Dutchyyy’s channel for fresh portals to sounds and textures fit for both a trunk subwoofer and the quantum realm.
While there’s no train connecting the city of Hamburg and Amram, one of the North Frisian Islands on the German North Sea coast, Jan Breuer’s rhythmic jam sessions have managed to lay tracks between the two locales that pass right through the Blast Radio airwaves. Each set conveys the tension of two places colliding within the music; soft and distorted synths, airy samples, and pulsing kicks call to mind the machine-like undulations of water, or the gentle rock of the U-Bahn, creating a shift where the glare from an oncoming line could collapse at will into a lighthouse. Breuer’s deft manipulation of the sounds further erodes this gulf between urban and maritime settings; like a seagull in a parking lot or confetti on the beach, even environments encroaching on each other can still arrive at beauty as a form of compromise. While these transmissions evoke the few peaceful places that remain relatively undisturbed, an awareness exists that at our current rate, it’s only a matter of time.
Follow Jan Breuer
Swedish born, New York-based composer and musician Adrian Knight took to the Blast Radio airwaves to debut the second installment of his Skyfiles series, Life Of The Party (Skyfiles 002), and share some unreleased pieces. Following 2021’s Nudes (Skyfiles 001), Knight returned to the metaphor of a safe deposit box laid bare with a collection of sounds recorded from 2011-2021, also interested in the long tail of emotional memory. Textured piano chords, lush synth drones, and the stunning soprano saxophone flourishes by David Lackner on Life Of The Party’s closing track “Golden Boy” all hit and linger like a moment resurrected by a flicker of detail. Like tokens in a cigar box, or Proust’s madeleine, each voice in Knight’s arrangements pursues a different synaptic pathway to unlock something just beyond its reach. Despite so many objects possessing such potency, Skyfiles seems to suggest that even with these outside triggers, the slow work of remembering is always outpaced by our collective habit of rewriting the past.
Vancouver, BC-based ambient artist and longtime Kranky Records stalwart Scott Morgan, aka Loscil, dipped a toe into the Blast Radio airwaves with a generative reimagining of “Baychimo,” one of four tracks that made up the endless music project accompanying his 2015 release, Adrift. Conceived to emulate real-life examples of vessels cut loose from their moorings, or overcome by the elements, Morgan approached his first broadcast with a similar liberative curiosity: to press play and let the creative currents take hold. Utilizing the original piano and cello snippets that Kelly Wyse and Mark Bridges contributed respectively for the project, Morgan ran them through Max/msp and recombined each discrete component to yield an entirely new listening experience. Coming off the heels of last year’s phenomenal LP Clara, itself the result of stretching and reworking a three-minute orchestral composition, there’s no telling what new sounds and possibilities Morgan will surface from Blast Radio’s uncharted waters.
Serena & Dan of Testu Collective took to the Blast Radio airwaves for the inaugural episode of their new recurring Tuesday night show, Cinema For The Ear, a curated audio cinematic experience. By removing the spectacle of a light show which prescribes patterns, colors, and formations to a given set of music, Serena & Dan offered an immersive and liberating opportunity for audiences to build and visit new worlds within the privacy of their mental theaters. Selecting compositions by Detroit Bureau of Sound, Dopplereffekt, and Beatriz Ferreyra, along with original field recordings, Serena & Dan juxtaposed these abstract and often challenging works to encourage more active listening, and really draw out the potential in each arrangement. The penultimate cloice of “The New Stone Age,” Orchestral Manoeuvres In The Dark’s dystopian, new wave missive lamenting the fallout of nuclear annihilation, sparked a grim montage after a sonic screening resolute in keeping its listeners on high alert.
Follow Testu Collective
Hip-hop producer and frequency healer Shiro Fujioka, aka VoltageCtrlR, utilized his featured broadcast to debut two new projects live on the Blast Radio airwaves that demonstrated the full breadth of his artistic potential. While the yet-to-be-released LP Synful Slaps and his forthcoming mixtape Quaranteenager 5 occupy different ends of Fujioka’s creative spectrum, together they present an artist at peace across his elements. Where the former traverses the more IDM and introspective terrority of his modular synth experiments and ambient musings, the back half of the set embraced the drum- and sample-based ethos he’s known for in this ongoing beat series. But both iterations of the Los Angeles-based astral traveler pivot on synchronizing the right tones and waves that nudge listeners toward a new vantage point of understanding. Whether by flipping music-box trappings into an alien landscape, or giving clarinet runs a boom bap backbone, VoltageCtrlR delivered a performance as varied and unique as his multifaceted persona.