How was 2017 for you?
2017 was nothing short of amazing for me. I grew from the various collaborative projects and learning different production methods with folks like DJ Sneak, Cassy, and Kaytronik to name a few. 2017 also enabled me to move into other genres and great remix opportunities from Osunlade’s Yoruba for more Afrohouse and soulful house vibe to Kerri Chandler’s Madtech imprint dropping more of my tech-house feel. I was happy this was received warmly as opposed to people holding me to one genre.
Massive collaborations with DJ Sneak and Cassy on some great labels like Play it Down, Made In Miami, and Cassy’s Kwench Records. I was also very happy to do remixes for labels I have admired for so many years including Peppermint Jam and Nervous Records. Lastly, I was happy to be gigging much more at an international level as I played in Ibiza, Macedonia, and Amsterdam for ADE, which was just great!
The polarization of racial groups and its brashness in the USA is sad to watch and experience on many levels. It does not reflect the attitudes of most of the people I have met from the USA, but disheartening to see how misguided and ignorant people are at its highest levels and having that projected upon the world.
Song of the year?
Kaytronik’s “Work It Out.” No brainer here. This track was everywhere and smashed dance floors.
What’s your New Year’s resolution?
To focus on my own shit and stay true to me in the spirit of continuous growth. As long as I’m not hurting people along the way, there is nothing wrong with wanting and being more for yourself to support others better. This includes keeping negative/non-value people out of my circle and being vigilante to protecting my space.
Toronto house hero Demuir has been not so quietly slaying the competition over the past few years, releasing funky, disco-inspired jams on DJ Sneak’s I’m A House Gangster, Luke Solomon and Derrick Carter’s Classic Music Company, and Mark Farina’s Great Lakes Audio.
As many of his peers explore the depths of all things deep, Demuir, a seasoned cratedigger, has been hitting hard, mining classic records and obscure gems to create party-perfect floor burners. It’s all part of a logical progression that led to 2016’s TruSkool (Magnetic Recordings) full-length, a snapshot of a producer at the top of his game. Perhaps he best sums up his musical ethos on the album cut “Aesthetics”: “Do not give a fuck about what other people think. You do your own shit. Play the music as you see it.”
Demuir’s Girls, Girls, Girls EP (GLA) affirms his ascension. Using TruSkool as his North Star, he conjures up one hell of a release.
“Out in Scarabia” is a sample track overflowing with jackin’ goodness; “Unicorn” is a disco-charged romp with a sexy female sample that picks up where Stardust’s “Music Sounds Better With You” left off; and “Luvin’ To Nothing” is a soulful sampledelic jam of the highest order.
Unmoved by fleeting musical fads and trends, Demuir’s talent lies in his impressive ability to make everything old sound new again.
Dance music is mainstream in America and elsewhere, but this wasn’t always the case. At the height of the “disco sucks” movement a publicity starved Chicago radio DJ named Steve Dahl invited baseball fans attending a night double-header between the White Sox and Detroit Tigers on July 12, 1979 to bring disco albums for Disco Demolition Night. In between games, he blew the albums up with fireworks and things quickly got out of hand. This bit of history serves as the backdrop for the title track of UK-based house music journeyman Sandy Turnbull’s At Comisky Park EP featuring a sample of someone recalling the notorious event, noting how what was essentially the final nail in disco’s coffin sent the music into the underground.
Over the course of a career that’s seen him release records on labels including Soulfuric Deep, Look At You and Heavy, Turnbull, who runs Galleria Records, has steered clear of musical trends and fads, staying true to the ethos of house music. With his new EP receiving props from icons such as Tony Humphries and Mark Farina, we checked in with the man himself and asked him about five six records he’s loving at the moment. Continue Reading →
The past informs the future in Demuir’s musical world. On his jackin’ house tracks for DJ Sneak’s I’m A House Gangster, Luke Solomon and Derrick Carter’s Classic Music Company, and Mark Farina’s Great Lakes Audio, the Toronto-based DJ/producer/cratedigger/samplemeister has established a reputation for crafting funky tracks peppered with snippets mined from yesteryear which he imaginatively embeds into his fresh jams.
On his TruSkool full-length, Demuir presents his most colorful palette of sounds to date. While house-music albums often consist of a handful of killer tracks and lots of filler, TruSkool is a thoroughly enjoyable and consistent listen. From the hard-hitting floor rocker “Call Of Da Sound” to the string-laden disco-house bomb “Mi Nah Chase Pum Pum,” Demuir best sums up his musical ethos on “Aesthetics” when he opines: “Do not give a fuck about what other people think. You do your own shit. Play the music as you see it.” Before the release of TruSkool on October 7 via Magnetic Recordings, we caught up with Demuir and asked him about tracks that have inspired him during his musical journey.