“I am performing live because that’s what I seem to have been born to do. It’s what I love, and it’s also a huge piece of how I prepare music for recording. The music evolves and grows as I experience it over the course of 40-50 shows. By the time I get home in August, I will be ready to record it — finishing this album of work, and start writing new ideas for the next tour.
I am DJ’ing as well on this tour because I am also a DJ. And I felt that since I was arriving somewhere on the ground, that I would be able to stick around and hang out. Usually when you fly in and fly out, there’s time for a chill in the hotel, but really I’m there for the gig and that’s it. This [tour] is amazing — I arrive a day before, hang out, relax, host a seminar, meet the community’s electronic musicians and see the local modular boutique. Then I mix some records with friends and we dance, and then I play a live set — it’s really blown my expectations away. I really didn’t know what to expect, but this has far exceeded whatever I was thinking before I left.
And finally, the seminar is something I’ve always done. But because of the new look at live performance, improvisational sequencing, arrangement and execution of these patterns and rhythms, I felt it was time to open myself up to hopefully inspire people to finally grab sequencers and synthesizers and start making music for themselves. These have proven to be such meaningful get-togethers. I’ve loved every single one of them. Each one is different, and I always come away totally connected and inspired.
So that’s the three part experience, and how I got from wherever I was to where I am now.”
Read the entire first part of the interview here
I am sure you’ve seen a lot happen in the industry since you got your start – trends come and go, this music’s popularity has waxed and waned (almost cyclically), and technologies have evolved. What are some of most surprising changes you’ve seen since you got your start back with Dubtribe Sound System?
“I don’t see this as cyclical. I mean, things come in and out of fashion, people get older, and the landscape shifts and changes. But that’s a really good thing, right? Maybe from a mainstream commercial point of view the attention that electronic music receives — its relative value in the eyes of the masses could potentially be cyclical, but I really don’t see it that way. For me it’s a straight line from where I began, dancing to Kraftwerk in my steel-toe boots to right here today. I am pushing the door to the 21st century. I’m ready for your manifesto, your new phrases, your new rhythms — to meet and mingle with the forgotten past. We are still aching to connect, to speak, to sing, to dance, to fly … and as long as we are aching for that indescribable connection, then I’ll be here cheering you on. It’s what makes life worth living.”
Read the entire second part of the interview here
In anticipation of the third summer running of their weekly Wednesday evening dance party, launching June 22 on the Money Loft rooftop, Paradise Sunset Sessions hosted a little pre-launch soiree last Saturday. Featuring a live set from one of their favorite out of town headliners—San Fransisco’s house and techno sorcerer, Sunshine Jones—it certainly felt like summer inside Monkey Loft between the gorgeous tropical decor and the rising heat emanating from the dancers. Local support was provided by Riz & Rob (as in KEXP’s Riz Rollins and his husband Rob Green), the illustrious Wesley Holmes, and Paradise’s lovely resident DJs, Xan Lucero and Mikey Mars. Host Sylwia Jarosz could be found bopping around the crowd dolling out doses of warmth and affection to everyone in her path. It was a very communal affair, and the excitement for warm weather and the outdoor dance parties to come was palpable.
HOUND TALL #20 – Raves and the history of Electronic Music
Raves and the History of Electronic Music, featuring Sunshine Jones of Dubtribe Sound System and comics Ari Shaffir (This is Not Happening), Phoebe Robinson (Two Dope Queens) and Chris Cubas (@midnight) with special guests Drennon Davis and DJ Real. This one is really special. A magical talk about the history of dance music and rave culture along with the origin story of Moshe’s name. They trace dance music’s disco childhood and ecstasy-addled adolescence all the way to its current dubstep old age. Which Moshe invented. Wait for it, it will make sense later. PLUR to all listeners.
AOR DISCO Interview Pt 1 and 2
Recently AOR Disco asked me for an interview. I’d already given them an exclusive re edit and feel deep connection and affinity with them and their great work at exploring the depths of album oriented disco and so I jumped at the chance to have a deeper conversation
Here’s a link to the interview
“I wish to God there were more artists willing to step out ahead far enough to risk tripping over their own feel like Sunshine Jones. The Dubtribe maven puts himself out there in the most vulnerable way, willing to have his music pilloried or praised and because of that, it seems more closely, heartbreakingly intimate than any ordinary collection of beats & synths has a right to be. His original productions on the full length Gas Masks & Crazy-Girls are drawing closer to the voice-over style that has long characterized his DJ sets and his Sunday Soul digital transmission to the point that it’s grown difficult to tell them apart. […] Here we are nearly 20 years later, in a different season, and I still feel that same excitement, that same desire to demand an audience for an artist as ill conceived for this era as any I can think of. I don’t always follow where he’s going, but I am thankful this guy keeps inviting me along for the ride.”
– Terry Matthew
“… And that leaves us with the Original where the groove is rare,
down-tempo and lustrous. Crucially, this production has many traditional elements here but sounds bright, dynamic and immediately modern. The soundstage is filled well and the harmonious overlaying of elements creates an intensity with the vocals in particular, looking to create an overwhelming experience. There’s a nice physicality to the track without ever complicating things and therefore, this lounge lizard is my pick of the EP.”
– Mike 13
I’ve been meaning to sink my teeth into this one for a while. The first few mixes are hard and dark, and that’s going to turn a few people away, but you should know better than to give just a cursory listen to anything with Sunshine Jones’ name on it. Sunshine is one of my favorite people on the scene today, and I’ve said that before but I don’t think I’ve ever said why. Every day I hear promos and pitches from people who all seem to dress alike and do their damned best to sound alike, too. It’s enough to make you wonder if there’s anything authentic left – in the ruins of the music industry, just something that isn’t trying to separate you from your credit card in a series of $1.99 transactions for music created with all of the soul of a model airplane kit. Do you know anyone that has to do something, whether it’s painting, writing, making music – even if there’s no one to see, write or listen to it?
Those people are sadly in short supply these days, but Sunshine Jones is one of them. What he does here (and with a song titled “Peak Time,” no less) is throttle those harder and darker originals back into a chill funk-tinged anthem. This isn’t for every room in the House, for sure, but I’m concerned that the Deep House folks that should be picking this one up won’t hear it. There’s a serpentine, utterly dancable groove which separates this from a lot of the AM radio fare that characterizes the “lounge” style today. Use this to navigate your way into Afro sounds, or in a transition to just about anything at all – It’ll work.
– Terry Matthew
Lewis Dene – Blues and Soul Magazine5 out of 5 stars
In further discussion, Terry said:
“When the pages rolled off my printer, my partner Czarina was transfixed by it. Maybe we’re just jaded, but I don’t think we’re the only ones to feel that way. We distribute quite a few at the clubs here, and Terry Hunter just told me he saw a strange sight — people at this deep southside place walking out at the end of the night, all with their heads down and their noses buried in it. People don’t walk out of a club reading — usually, it’s rolled up in their purse or back pocket. That’s been the response so far.”
We couldn’t be more delighted with this article, and it stands as the best interview we’ve seen of Sunshine to date (and that’s really saying something.) This interview plus last year’s Blues and Soul five star review of ‘Seven Tracks in Seven Days’ give us hope, and give us courage. Thank you.
Download your copy of the 5 Magazine article here or pick up a copy in your favorite discothéque
“Non c’è estate senza Sunshine Jones. L’ex Dubtribe Sound System, da un paio di anni in una felicissima carriera solista inaugurata da “Seven Tracks In Seven Days”, sta lavorando a due nuovi album, di cui uno pare destinato a uscire sempre su King Street. La notizia, già girata presso i fan più motivati, è che per riuscire a produrre due lavori ai suoi sempre alti standard, lavorando con musicisti, ingegneri del suono, session di studio e maste-rizzazioni adeguate, pubblicando il tutto su CD, vinile e in digitale, ha lanciato proprio nel suo fanbase una sottoscrizione, chi vuole può sostenere i costi del disco. Non è il primo artista a fare un’operazione simile, specchio di questi tempi di totale recessione discografica, ma Sunshine ha dato a tutto quel sapore da DIY
molto San Francisco, se andate sul suo sito www.treehousemuzique.com propone la cosa con un mix di orgoglio e ironia,
addirittura compare un appello della madre che dice qualcosa come “mio figlio non vi ha mai deluso, ne sarete soddisfatti”, che suona parecchio simpatico, e una lista con la tipologia di contributori, dai 10 dollari di “Listener”, che avranno diritto a una copia digitale dell’album, ai 10.000 di “Superstar”, che oltre ad avere tutti i bonus gratis avranno dediche cantate nel disco e praticamente potranno alzare il telefono per dire “Sunshine fammi un
favore”. Dietro l’ironia c’è il tragitto di un artista tra i più luminosi degli ultimi tempi, lo sappiamo. Sappiate invece che sempre sul sito c’è un modo indiretto di supportare Mr. Jones, che è quello di acquistare una serie di nuovi e vecchi splendori da lui prodotti in digitale, produzioni al solito incredibili come Higher e Dirty Love, poi rx e re-edit privati di pezzi di Herp Albert, Fleetwood Mac, Rolling Stones, Yazoo, Thompson Twins, Shriek- back, Foreigner, Exile, Teena Marie, Jef- ferson Starship, Hot Chocolate, DSS rx mai pubblicati su Brenda Fasse e Block 16, un DSS album inedito in versione demo, “Versions”, e tanto, tanto altro, tutta roba quasi sempre al di sopra dell’ec- cellenza, come il nostro caro angelo ci ha abituato. Dover dire che dovete andare ora su quel sito significa che siete già in ritardo…È morto Jonny Dollar, produtto- re inglese passato alla storia per aver dato il suo tocco magico a “Blue Lines” dei Massive e “Homebrew” di Neneh Cherry…James Murphy ha iniziato a lavorare al nuovo LCD, e ha detto che per cercare ispirazione sta cercando di cazzeg- giare il più possibile, senza menarsela…Inner City live a Londra!…”
We speak French, English, Spanish, a tiny bit of Arabic and African, but we don’t speak Italian, so no one here has any idea what this article says, but it’s it cool to appear in an Italian magazine?
Download a copy of the Ritmi & Black article here