New York’s A/Jus/Ted have been making some huge waves over the last year. With some massive singles and a steadily growing collection of killer remixes for the likes of Holy Ghost! and Blood Orange, they’ve coined a great sound that sits comfortably in the deep house pool but borrows easily from both techno and disco. The duo of vetran producer Justin Strauss and newcomer, Teddy “Eddie Mars” Stuart, are making their DC debut this Friday at Little Miss Whiskey’s, and they were nice enough to share a few words about themselves. Check out the interview below and make sure not to miss them with local favorites Man & Woman and newcomer Yomimbi.
Have you played in DC before as a duo? Any big plans for the weekend outside the show?
We have not, but are looking forward to it! We heard Joe’s Record Paradise is vinyl heaven so we’re definitely planning on hitting that up for some digging.
How did your recent MoMA set go?
Justin: The MOMA PS1 Warm Up parties are one of the best things about summer in New York and always been a dream to close the day out at one. An amazing day.
Teddy: Love the crowd – definitely an open minded group, which makes everything so much more enjoyable. Blood Orange came out as a surprise guest and we played our remix live with him, some synthesizers and stuff. So much fun.
With both having successful careers in your own right, how’d you come together to form a/jus/ted?
We were both into each other’s work and our mutual friend Charles Damga, who runs UNO NYC, which we had both done projects for, introduced us. We met a few times, had some coffees, and hit the studio pretty much immediately.
What’s your writing process like between the two of you? How does it translate when you DJ?
T: Our writing process is always changing to keep us inspired. Our latest approach is to jam for an hour with hardware drums and synths, record it and then edit it into a 3 – 4 track EP over the course of a couple months.
For DJing we just jam and take each track one at a time. It’s not like “2 records each”, we just play, and when one person takes off the headphones its a signal for the other to take over.
J: For me djing has always inspired my production work. And it’s been great djing with Teddy and inspiring each other with new and old tracks.
What’s your favorite part about the dance scene in New York?
J: That the scene is constantly reinventing itself. Just when you think it’s all stagnate something comes along and reignites it.
T: Going past 4 am!
We’re really loving the new Blood Orange remix! How’d you hook up with Dev?
J: Thanks! We met Dev through mutual friends and he told us he was a fan of the A/JUS/TED stuff he heard and we were big fans of his work. When I first heard “Uncle Ace” off his last album I knew it would be the perfect track of his for us remix and we were stoked he asked.
It’s been a hot minute since you’ve released “Stay Up Here” and “A Brighter Light”. What’s next for the project in 2014?
Both of our Holy Ghost! Remixes (Bridge & Tunnel and Okay) are coming out on a double sided 12″ on DFA sometime this summer. We’re also doing one more remix that we’re pretty pumped on. But above all else we’re concentrating on finishing as much original music as possible.
What are a few of your favorite tracks to play out at the moment?
T: I think we are both loving this Andre Bratten track Trommer Og Bass. It’s nuts!
J: Also love the new Genius of Time release “Juno Jam”
Martyn is a producer most well known in the UK dub step and bass scenes for his unique blend of electronic styles, sharing elements of techno, dub step, house and drum and bass. A DC resident by way of Denmark, we have the unique privilege to host the producer and 3024 label head at the Union BBQ in a few weeks. His tracks range from dark and contemplative, to mind blowing soundscapes that are impossible to not get lost in. Take a listen to a few tracks below and make sure to catch Martyn at the Union BBQ on June 14th.
Benjamin Damage just dropped his new EP on Modeselektor’s 50 Weapons. “Up” is geared to be his next big smash, following on last year’s massive “010x.” The track is cut from the same cloth that made his LP Heliopause so successful, building a soundscape out of resampled stabs bathed in reverb and delays, that swirl and pulse, all tethered by the pounding 4/4. As soon as the kick enters, we completely at Damage’s attention and wanting more. Take a listen below.
You have your happy robots, Kraftwerk and Daft Punk, and then you have that which lurks on the periphery – the darker strict machines. That’s where Byetone and the raster-noton label’s stern German discipline come in. Byetone’s production style presents sequences of micro-noise with nanosurgical precision. Serious groove demands focused attention with no time for foolishness. A stripped aesthetic, robot costumes are wasteful. This is black t-shirt and LED panel music projected at deafening levels in a Berlin basement. Hisses and pops put you in a hard 122 bpm pocket. Obey.
Byetone’s “Morning” can be found on the Bleep:10 compilation .
Irish house heavyweights, Bicep, are gearing up to drop their next single “Circles” for Will Saul’s AUS label. “Circles” is a throwback house track with a late night warehouse vibe. It’s built around a bassline that opens and contracts, while the pounding kick and 16th note hi hats clatter on. It’s a heavy track that doesn’t mess around and manages to find a nice medium between house grooves and a raw techno feel. Take a listen: