KERRI MASON: BORN UNDER A DISCO BALL

you convey your opinion, and of course, on what you choose to opine. But in today's dance music, what is success? How do we gauge it? If Pete Tong plays it? If 3,000 people buy it? If it charts on Beatport? I could praise a record up and down, and people might hear me and check it out, but then what? We don't have a centralized way to gauge a hit."

You once stated: "DJing is just like politics. You have to mobilize your base and bring your voters out." Do you think it has become more difficult for DJs to promote themselves?
"Some DJs have a warped idea of their own popularity potential. Is there a giant audience out there for bhangra-inflected minimal electro from Poland? Probably not. How about for arena-styled Dutch trance that kind of sounds like American hair metal? Different story. You can have a million friends on MySpace: No one will come to your gigs if you aren't any good, or if you don't deliver something that they want, even if it's just showmanship or a feeling of being cool or a chance to hang out with their friends. If you're at all interested in being popular, then you have to work at it. If you don't care, then you shouldn't complain!"

Looking back - is the dance scene better off and more fun than in the past?
"For me? Of course not! I'm 29. If I stay out all night I don't feel right for another week. I'd rather wake up early and go to the gym! I listen to all music critically, not purely. The fourth wall has been broken down, the emperor has no clothes, the wizard is a wimpy old dude. Know what I mean? I exist now to try to support the same amazing experiences that I had ten years ago for the next generation. I can't feel what they feel anymore; I'm too jaded. But there are certain nights on certain dance floors where I get a whiff of memory, and it's enough to keep me coming back for more."

In just 4 years time, vinyl is gone and Beatport is called "the iTunes of Dance Music". Do you think that's healthy for the scene?
"One of the main reasons why Beatport is so dominant is because they have it together, let's not forget that. And they're meeting a demand. Buying vinyl, while a lovely, tactile, sensuous experience, was never practical or particularly cost-effective. I have an attic full of the stuff, and I love it deeply, but paying $10 for a single 4-minute padapella was nutty. The problems with sound quality will iron themselves out over the next few years, and labels will find new revenue streams by creating something tangible for collectors, like Nine Inch Nails just did (selling a limited edition boxed set after a digital-only release)."

"Diversification is inevitable, but I am happy that for now the monopoly is in the hands of guys like Beatport, who have a real passion for the music and respect for their customers."



Last but not least we asked Kerri about the best developments in dance music today. To her that is the DFA guys championing disco, back-end remix deals, Baltimore and open-format DJs giving stodgy trance folks a run for their money ;) Thanks Kerri!

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