Feature in Stealth magazine (Aus)

Feb 18, 2007

Interview: Hugh Lucero / Image: DJ MEL

Making waves from a desert will never be easy, but that’s just what Palm Springs, California resident DJ Day has been doing.

Building upon a deep love of music, years of DJ-ing and collaborations with likes of Rip One, Day started dropping a lot more of his own productions and remixes around 2004 and was quickly signed to German label MPM records. Day’s productions are mostly instrumental tracks combining all sorts of samples with a delicate touch of soul.

Your next release is the Got to Get it Right EP. With such a metaphorical title what have you tried to do with this record?

This is just me asking, “Where are we going? What are we doing?” Sometimes we need to step back and look at the bigger picture from time to time. In the late’60s and early ‘70s there were similar situations with war and social strife and people were vocal about it, especially in music. It seems like that’s lacking these days. What I tried to do with this EP is make something you could listen to from start to finish, or play the songs indvidually and get your own idea out of them.

MPM records has a pretty diverse roster, how did you come to be signed with them?

I had posted a Nas remix (It Still Ain’t Hard to Tell – Milk Crate Records) on the Soulstrut message board and it kind of took off from there. I’m lucky to be a part of a label where I actually dig the fellow artists on the roster, and Olski gives me a lot of creative freedom.

What do you think about the term instrumental hip hop?

Without an MC there’s a lot more responsibility on the producer to still make the songs dynamic and interesting. Sometimes I find it better as a listener when there’s no vocals. When you add lyrics, be it rhyming, singing, whatever, it puts the song in a box so to speak. You’re forced to look at the music from the perspective of the words and it creates a defined image or idea. With instrumental music you can make the music you want it to be.

Do you think technology is helping the DJ today?

Like anything, it’s not the tools that matter but the person who’s using them. I think things like Serato open up a whole new level of DJ-ing. In fact, it got me hype to DJ all over again. The playing field is now level. Anyone can download everything you have so it comes down to skills and how you rock it. It does kind of suck after collecting records half my life that anyone can be an instant DJ, but times change and you gotta adapt. A lot of people say it’ll make a shitty DJ ok and good DJ great and I think that’s true.

You’ve been working with Aloe Blacc for a few years now. How did you two meet up?

I was working for Subculture Magazine in the mid-90s. Aloe and Exile (Emanon) were both good friends with the editor so they were always around the office. We were all on the same page musically and over time we became friends. I’m glad to see all the years of hard work those dudes put in are finally paying off. We have plans to drop a single together.

I understand you went to NYC for the first time recently. How was it?

I loved it. That place is unlike anywhere on earth. NY gets a bad rap – everyone I met out there was cool as hell. I didn’t get to do too much hip hop sight seeing while I was there, but I did see Marley Marl chillin’ in Manhattan. Dante Ross came through The Rub while I was Dj-ing and Jeru surprised everyone when he got on stage and did Come Clean. That was definitely a trip.