Bookings: DAMN! Management
Real Name? Lenard William Jaroli
Years Spinning / producing? Started in 1991 - pro since 1994 - producing since 1999
Musical Style? Hands in the air dance music
Influences? Ryan 7, JoE.P. , alGOrythm, the Liberators, Commander Tom, Christopher Lawrence, Dan Bell, Rabbit in the Moon, Enya, Nine Inch Nails, Front 242
How did you get into dj'ing / producing?
Why? A long time ago, in a galaxy far...far... away Actually Thunder Bay, Ontario, 1989 ; I saw a local DJ at an all ages night. His name was "DJ El Sid" (now known as Ryan7) and a Canadian top 10 DMC finalist. His ability to mix, scratch and perform - all the while playing danceable music - floored me. I have a vivid memory of asking him if he had "Behind the Wheel - by Depeche Mode" (it was 1989 don't forget), he smiled at me - reached over to one of the ten bins of records he brought - pulled out two copies - and went to work. From that moment I knew what I wanted to do - period. In 1991 I got a job with a local DJ service and started out my career. This experience was invaluable, as it gave me the confidence and skills to stand in front of a room - talk on the microphone - and to be an entertainer as well as a music programmer. In 1994 I moved to Toronto and lived with Ryan7, along with a group of Thunder Bay Dj's who left the small mill town. The group of us were eventually known as "The Barrie Bunch", named after the street we lived on. I had gone from listening to old ZZ Top and playing harmonica... to Depeche Mode/New Order/Front 242... to record shopping once a week in Toronto for the newest dance music I could find. At first I relied on Ryan for guidance when it came to music, he was an authority among us as to what was new, and the "Yoda" figure of the group. Eventually we went on to create "The Entertainment Network" or as it was known "E! Network". For three years we put on events in Toronto and ran an underground club called "ThE! SpacE!". It's fun to look back and remember the path that I took to progress from just a local small town rookie to being in demand across North America. As for producing my own music now, I feel that it is the natural progression of any artist to convert the ideas in thier head into a media that can be shared. This is my goal now as a producer; to take the ideas I have accumulated - using the knowledge I have gained over the years and to make them real...and share them.
What was it like trying to get into scene when you first started?
When I first arrived in Toronto, I had the advantage of being close friends with people already in the scene. I spent nearly a year holding back from promoting myself, so as to learn "what was what". I was aware that being from a small town made me a little ignorant to what a Dj "really" was. I was lucky to come when I did, as the summer of '94 was the peak of the rave scene in Toronto. Experiencing the vibe at 5,000-15,000 single arena events in Toronto at that time is something that I cannot put into words. This experience made it possible to become known for who I was before it was known what I did. I made connections in the scene that continue to this day with people that got to know me as a person before they became interested in my talent. Exactly how i got discovered is a great true story: In the summer of 1994, a group of friends and I went to a party called "Aqua: A family affair". I had played a gig at a club the night before, through a DJ service here in T.O. to make some extra cash. My records, which included a stack I had borrowed from Ryan7, were still in the truck we had driven to the event. In the morning the downstairs room was shut down. Most everyone was uninterested in the music being played by the previous DJ, and he gave up spinning. I approached the promoter and proposed that since the room was closed, but the equipment was rented until the end of the party... why not let me play for free. I could do no harm since no one was dancing, or listening for that matter - and he could kick me off at anytime. The promoter (named Carlos) agreed. I found my friends, went out to the truck and got my milk crate full of records. No one (except my friends) knew that I was a DJ, they only knew me as a dancer (famous for dancing with a 4ft inflatable Snapple bottle) and I started to play. Within the hour I had a dance floor, which grew... and grew... until the downstairs room was rocking. Then, to my surprise - Dr. Trance came downstairs. (***I later found out that the main room he was playing in, was shut down because everyone left. Word had spread that some DJ had started to play downstairs and the room was going crazy - he thought that maybe John E or Mark Oliver had shown up and went downstairs to investigate). As a rookie, I was further motivated to play now that a promoter of large events (Atlantis - at the time) and a DJ/radio icon was watching me. After a few minutes he came up and asked me who I was. "I'm a roommate of Ryan7" , to which he replied "Oh, that explains it - well... make sure I get your number... I want you to play for us." You can't imagine how exciting that moment was. Taking a room from nothing - to closing the party with everyone lighting sparklers - cheering - and Dr.Trance right there to see what I was capable of. I will never forget it. Since then Don Berns (Dr.Trance) has helped my career, by hiring me for his events - having me participate in his radio shows and by offering guidance. After that, I put alot of effort into giving away tapes, shaking alot of hands - and listening to what other DJ's were doing. I learned alot from Ryan, and since then I have worked at developing my own style of spinning.
What do you think are the most important elements involved in being a successfull Dj / Producer?
I feel that any successful DJ/producer should also be a "performer", because that is what (good) DJ's are: performers. I have always believed that being a performer means providing people with a "package". In my opinion, one component alone doesn't make up how good a performer is - but the whole. Being someone who stands on a stage and says "look at me" should do something that people want to look at. Too many DJ's pull down their Ball cap and stare at the mixer for an hour. I've spent plenty of time on the dance floor, as well as on stage - and I know that I expect more from any type of performance - as should anyone who pays to see me play. Now more than ever the crowd is educated (on a general level) as to what is a good set and what is a poor showing. I try and supercede what is expected of a "DJ set" by not only doing my best to give a great performance on stage, but to also provide people with a package that backs it up. I once had a shirt that said "This is Me", and that is still true. I enjoy the music I play and it shows. But more importantly, I enjoy playing that music for people; and the people themselves. I think this is what sets me apart. A couple years ago I was involved in a serious accident, so I am unable to "go off" on the dance floor like I used to - but I do still try and stay in touch with what the "dance floor" is doing. I meet people, watch dancers and I am a part of what is happening the best way I can. By spending time interacting with the crowd they are able to see that I care about what I do. As a result, I can put emphasis on how we are connected. I say "we" because I feel the DJ and the dance floor are a collective, only possible when the DJ/performer interacts with the audience. People are often overwhelmed by the fact that I put that kind of effort into a show, and I am rewarded ten fold by their response. It is a true gift for anyone to make a living doing what they love. To me, that is one of the few real goals in life. I am able to do what I love, be appreciated for it - and most important of all: be able to make a difference.
Why did you choose you musical style?
That is a hard question to answer... since I don't like labels. Yes I do play trance; but I also play hard house, hardcore, techno and old school break beat. I have always said that "SOS" on a flyer means a feeling in the room - not a type of music. I play whatever music I feel will generate that type of feeling. On occasion I am asked to play a certain style - and that is fine; but in general I try to avoid being labeled as a "________ DJ" . I will say though, that in my opinion the most powerful form of electronic music is Trance. I describe it as "classical music with different instruments" to people outside our culture. Trance generates a wide range of emotions - feelings of enlightenment (an SOS trait) or on the other end of the spectrum - that hard, fist clenching feeling (a PALADIN trait). Also, I enjoy the challenge of mixing trance. Not only is beat matching required, but being in key - attention to layers and the mood of tracks are all factors that make up good flow. Trance may be my favorite, but I put making people move over what I want to hear. Being versatile is essential to being able to adapt to dance floor's wherever you are. What does the music mean to you? Music is the ingredient that makes p.ositive e.nergy a.nd c.reative e.xpresion generate a vibe. And by manipulating the concentrated energy of a dancefloor, being rewarded with a feeling that is beyond words. Music makes that feeling possible for me - and as such... is everything to me. It IS my religion.
Where would you like to see yourself go in the future as a dj / producer?
I am at a level now as a DJ/producer that I feel comforatable to begin sending the music I have made out to record labels. I have always maintained that my first release would be one i was proud of - not look back at it and say "oooh i was green back then"... as i do with my old mix tapes. I am looking forward to going to Europe, and hearing another DJ over there play one of my tracks. I am working to make this dream happen...which is becoming a reality faster now then I ever could of hoped.
Where do you think the global electronic scene is headed?
How has it changed from 5 years ago? I feel that the scene will continue to grow as a whole, even though individulal scene's may fail. Promoters as a whole are aware of what people want, but there are some who are guided by greed. Electronic music is an artform that crosses more boundries than any other in history. The changes for me in the last five years have been significant. I have seen toronto go from one of the premier rave cities in the world to having somewhat of a bad rep. I remember things like: rows of people giving eachother room to dance, no such thing as a "lightshow", everyone paying attention to the music and sitting on the dancefloor being serious taboo. All these things are different now, along with the fact that promoters are more numerous and less experienced. The result of this competetive environment is jaded ravers, promotion to people who shouldn't even be there and an increase in unsafe events that have drawn in the political/police game as well. I hope that the scene in North America gets past this stage and follows Europe: making events safer and better, by putting more effort into giving the people what they want. Of course this won't happen until the people decide that what they want is safer better events and stop supporting greed driven gangsters. What does being a sponsored dj mean to you?
Do you prefer to play at clubs or raves? Why?
I prefer neither since either can have a good or bad environment. I have experience as a sound tech, so I enjoy using a good rig... but they can be found at raves or clubs. I have played at massive clubs in Toronto (RPM/Warehouse) and Montreal (Sona) - both seriously good clubs with great crowds. On the other hand I have had the reigns of a 400,000 watt system at a rave and felt like a Greek god raining bass down on the planet. To me it is the overall environment that makes or breaks a venue for me. Proper sound, lighting and people can make just about any space a working vibe-fest if the right amount of effort is put into getting it to work together.
What do you as a dj hope to achieve when your playing at an event?
There is a Japanese word, "satori" which explains it best: "to act with out thinking, having a quiet mind while in motion". When I am able to play - really play... without having to worry about skipping records, people doing the "look at me dance" in front of me or the monitors... I can relax and express myself: and then i can really connect with the dancefloor. That is my goal everytime I play. To give back what I get from the dancefloor with out distractions. I know that it comes through in my mixing as well as the crowd reaction. Two of my live tapes "Live at E!NUF" and "Forever Dawn - Live at Hullabaloo" are good examples of what me and a crowd can do together.
What was your best Dj'ing experience? Worst?
My best DJ experience(s) are numerous - but if I have to pick one... The party was called "Liberation" - the summer of '98 in Toronto. It was held at the massive Downsview Airport main hanger. I was on in the morning after Timo Maas, before Oliver Lieb. It was one of the first parties that Kassandra (now my Fiance) and I attended together. The sound system and dancefloor were very working well. The sun was just starting coming up and beam in through the windows that lined the top of the huge room and I saw alot of faces that I recognized. Twenty minutes into my set, a good friend of mine - Steve Fulton - fought his way past security and came up on stage. He had a strange grin, and said in a very authoritative voice: "Len, you HAVE to play this record - here - it's yours - just play it... TRUST ME". I had no reason not to as he had given me great help with tracks in the past. Without listening to the entire track, I lined up the intro - and mixed it in. It wasn't until I took off the previous track, that I read what the white label said: "1998 - Binary Finary - Paul Van Dyke Remix" ( I found out later Steve had ordered it from New York on a tip and it arrived the day before). I cannot properly explain in words what happened next. Anyone reading this who knows that track (if you dont' look it up) can imagine what it was like to hear it being played for the first time in Canada (it was summer 1998 don't forget). The raw emotion brought tears to most of us in the room (including me). To make it even more powerfull... I was the one on stage - experiencing the same thing as everone else multiplied by 10 as i was the DJ playing it. All I can say is WOW.
As for a worst ever... I think that rather than slag an event/promoter, I'll keep the event name anonymous: Chicago 1998 - I took along a friend (Matt) who put the plane tickets on his credit card to collect the air miles with the agreement from the promoter that he would be re-imbursed. The chore of getting through customs should of been an idication of what was to come. I brought my own mixer, it was a Pioneer DJM-500 (rare at the time) - and placed it through the X-ray machine. This immediately drew the attention of the security guard who barely spoke English. She called her supervisor over, and I could barely contain myself. She was a huge black lady, with eyes that sort of pointed away from each other. Kind of like an Iguana. She was sweaty, out of breath and looking very concerned about the mess of electronics visible on the screen of the X-ray machine. Nevermind that it was being carried by some Canadian freak with bright orange hair and his blue haired friend. I eventually was able to explain to them that it was a piece of musical equipment and to relax. They did and I went on to the arrivals area. We waited to get picked up at the airport for over 2 hours, eventually giving up and getting our own room downtown. We eventually were driven from there to a hotel in the suburbs provided by the promoter. After checking in... myself, my friend Matt and DJ Dominik were transported to the event in what we still refer to as "The Van 'o Death". complete with marginal squealing brakes, holes in the floor and nasty exhaust fumes flooding our spot in the rear. Fearful for our lives, we were "driven" to the venue. We looked out the window and noticed that the buildings were becoming rougher and that the street lights were getting fewer. We casually asked where we were going, and were concerned to hear that "...we're heading over to the South Side" . Never go to South Side Chicago...EVER. Anyhow... after we passed two burned out cars missing their wheels, a 24 hour liqour mart and a hotel with rates for 15 minutes advertised on a burned out sign - we got to the "Route 66 Roller Rink". The event we were playing at didn't START untill 1am, since the Booty House party currently going on wasn't finished untill 12am. Imagine being one of the only three white guys - but you have bright orange hair and a matching blaze orange jacket...arriving through the front doors of a full on, 800+ person Booty House party in the worst part of South side Chicago. This isn't a racist thing at all, I'll make that clear... but there were some VERY tough, VERY big individuals at that place. No one said anything to me, or threatened me in any way... there was no need as I'm sure I looked absolutely terrified. I laugh now when I see poser "gangsta" types. Until you get a look from a 350lb 6'6" black guy with a bulge under the left arm of his jacket... you won't really know what a ganster is. Playing was another matter. I followed TRON-live. Since he was a live PA, he didn't have to deal with the ricketty wooden table that the decks were on. The experience wouldn't be complete if the needles weren't toast and the monitors were on the floor pointing at the underside of the table. It was brutal. Considering where the event was, it was no suprise that no one showed up. It was a surprise however when my manager at the time (since fired and replaced) kept all the money the promoter had given him - leaving me with no cash and owing my friend for the plane ticket he was to be re-inbursed for. We flew home, and tried to forget the whole experience. All you can do is laugh sometimes. As a producer do you use more hands on equiptment or mostly computer driven software?
What are the most important elements in your studio to your personal style of music?
At the moment, aside fom a MC-303; everything is in-board. This is more of a financial thing right now. I have had good conversation's with Commander Tom, Jon Doe, Madam Zu, B.K. and the Liberators about what kind of gear they use and their opinion of what I am looking to get - very helpful...let me tell you. Right now I am learning alot about structuring my tracks properly and mastering them the best I can. I have arragements with S4 in Ottawa to work with him this summer re-mastering my tracks so they have fuller sound. As for ideas, I can do alot at the moment with the software I have - and I still have alot of learning to do. I think that as for an important element... the monitors you use a primary. If you can't hear what you're doing then alot of your work is wasted. I am fortunate to be able to play my music as loud as I want, on our (impressive) sounding home system as well as a 126 dB car system that chatters your teeth.
Any new projects in the works? New Releases?
I am working on my fourth track; "bE LoudEr!- Lightning remix". My first two can be heard at www.acidplanet.com by searching for "Visions" - look for the DJ SOS remix and the PALADIN remix.
You can also hear bE LoudEr! by looking around www.audiogalaxy.com bE LoudEr! will be the first one with three versions that I will send to labels overseas. I don't want to jinx it by saying who, I will just say that they expressed interest at the time of writing this and that they are a major UK label with worldwide distribution.
Final Comments? WE>I We together are greater than each of us could ever be
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Upcoming Events? The usual gagle of Toronto parties, nothing international at the moment and of course my return to Calgary this summer.
website: www.damndjs.com
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