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Side B: The Mixtape Throwback - DJ Hyperactive “T.R.U. 4″13
By Lady Foursquare | August 13, 2008
In the first of another continuing feature, we present Side B: The Mixtape Throwback Volume 1: DJ Hyperactive “T.R.U. 4″. In this series, we will not only post classic mixes galore, but we’ll also include post game analysis from the heroes behind your most beloved (and worn out) cassette tapes. So to kick it off we bring you “T.R.U. 4″ from the acid master DJ Hyperactive. I selected this particular volume because, in addition to being the very definition of the kind of release we would like to feature, this was also probably my first mixtape. The mp3’s of this have been ripped from an unplayed, original “pressing” of the tape. I have scanned in the original art. We were lucky enough to get a few questions about this masterpiece of the Chicago techno style answered by the man himself. Ain’t life grand?
Techno Rave Underground. Probably the most important aspect or point I was
trying to get across was the last initial. Commercial radio had started to
take over the former mix show formats in Chicago right before 1990 and from
there it really declined and lost it’s edge and roots.
Tell us a little about the T.R.U. Series of cassette tapes:
How many of them were there? I want to say there were 12 original series
volumes, and a 1 of series over time through the mid ’90s.
What years did the series span?
I want to say my mixtapes started in ‘92. At least the mass produced ones.
What was the primary means of distribution? Can you tell us a little bit about the role of mixtapes in your career at that time?
I sold these out of my trunk. Initially it was consignment but as the
demand in general for my stuff and others it became a cash biz. Mixtapes,
unlike the internet, websites, email, etc. we’re many DJ’s, including
myself, sole means of promotion, especially if you weren’t putting out
records. I’d already released tracks on vinyl prior to all the mixtapes
which was a big advantage to me. My mixtapes in the local scene (Chicago)
and Midwest we’re my primary means of marketing. I’d say the mixtapes we’re
more influential to the partygoers (ravers) than vinyl obviously. I still
get emails and messages all the time from people all over the states who
have moved from the Midwest still looking for some of these old mixtapes.
Some even go as far as to say that my mixtape was the first tape they ever
bought.
When we talked before and I mentioned that I was going to scan the artwork from this tape and include it with the audio on the blog you cringed a little. Tell us why?
Although there was a jcard, the design itself wasn’t really award winning.
Especially the earlier volumes like 1-4. But hey, I used what I had
available to me at the time. Joe Durica is the designer who really upgraded
the mixtape artwork from like Vol 5 and forward. I can’t remember who did
the artwork first 4 tapes sadly to say. To sum it up, I really don’t think
the artwork complimented the quality of music on those few initial tapes.
It’s hard to talk about this tape without mentioning the speed of it. It’s easy to forget how fast techno was at the time. Some might argue that you are nudging towards hardcore in this mix. Things have slowed considerably since then. Could you talk a little bit about the sounds on this tape and how you (and the rest of us) have changed since then.
I can’t remember volume 4 but for the record I will say that there was a definite short period there that I was not only playing techno and acid house, but hardcore and acid core stuff too. It was a period where the big room music and raves were exploding and it was a real experimental period for me at that time in the studio and dj’ing. I guess to put it in a nutshell, the shows that we’re being thrown in the beginning were so raw and new to so many, me included, compared to the old school house parties I experienced, that a dj’s ability to differentiate and make an impact in a very competitive scene back then was key. I suppose the type of music being played for me was an attempt to match the intensity and immensity of the types of shows with the size of the spaces and sound systems we were witnessing. Whether it was on tape or spinning live, you either stepped up and delivered or move on!
In hindsight at the time I already could tell there was a distinctive sound that was evolving which I want to say was more of a UK thing. Breaks I knew would be a mainstay, but not the rave anthems. I knew it’s days were numbered for tracks like that. It was all a sign of the times then. Whether it was hardcore acid, or UK Hardcore, etc. All in all it’s all somewhat relevant styles and fed off each other to one degree or another
back then.
Yeah, it was an acapella I dropped over that techno track. I can’t remember the techno track but yeah that was Flavor Flav from Rebel Without a Pause 12″. Not to overstate it, but my first and true loves as a DJ and a listener is Hip Hop and House. Specifically East Coast Hip Hop and not to discredit the other contributors nationwide but looking at a timeline I’m referring to NY, old school Hip Hop, BBoy jammies from back in the day.
That’s it. So early on my exposure to vinyl were hip hop and house records Chicago stuff). The music I first produced in the studio was Hip Hop with the boys from Gary, In and The Legendary Traxster from the South Side. So production wise and my dj’ing style all stems from a Hip Hop. DMC style
scratchin, beat juggling, etc. Later Chicago House DJ’s integrated some of the scratchin and tricks which is all Hip Hop influenced obviously. I’ve always incorporated certain aspects of my roots as a DJ into every style I’ve ever played. Being I never really stayed with the break beat style of production, although I have produced and released some electro records, the only identifiable aspect you can tie to Hip Hop is my dj’ing style.
Is the Hellraiser II sample from a record or did you insert that yourself?
It was on a record. Surely it’s not anything I was able to conjure up, lol.
Your current endeavor 4 Track is pretty amazing. We’re hearing a lot of praise for your current work. What are your hopes for that label and for yourself.
Well after a long layoff from dj’ing and producing, consistently let’s say, I got tired of hearing the old line “if you would’ve applied yourself…. etc.” so I made a concerted effort to invest my energy and time into music
full time again. Keep in mind though that this only stems from my love for music. Certainly not for my ego.
Dj Hyperactive’s August Top 10….
1. Sasha Carassi and Tony Matt - “Brian Schallplatten” (Agaric REMIX) - Globox
2. Function - “Disaffected” - Sandwell District
3. Angel Alanis and Lady 4Square - “Kasper the Ghost” - Klientele
4. Prompt - “Elephant” - 7Noise
5. Klartraum - “Mental Noise” - Gatspiel
6. Mark Henning - “Chav Land” - Soma
7. DJ Hyperactive - “Jazzcore” (Angel Alanis REMIX) - 4 Track Records
8. Kaufmann und Ferdinand - “No Way Out” (i hate it but i love it REMIX) - 4
Track Records
9. Developer - “Distance” - 4 Track Records
10. Christian Burhardt - “Doubledub” - Raum…Musik.
Topics: Electronic, House Music, Main, Pop Music, Techno - Minimal Techno, tech house |