Slantooth on the Virtual Sessions presented by The DJ Sessions 8/5/24

In this captivating Virtual Session, Darran Bruce sits down with Oakland-based DJ, producer, and label owner Slantooth to explore his decades-long journey through the drum and bass scene. Beginning with a 1996 encounter with a Metalheadz mixtape, Slantooth’s passion quickly evolved from vinyl collecting to performing, thanks to encouragement from the 360 BPM crew in Seattle. His early career included working at Concept Records and managing Compound Records Seattle, eventually becoming the owner before transitioning into the current international platform, Compound Records LTD, alongside business partner Discord.

 

Slantooth reflects on the “golden era” of drum and bass, the importance of balancing dancefloor-ready tracks with music for pure listening enjoyment, and the creative inspirations behind his recent EP Runaway Renegade. He also teases his upcoming Underground Revival EP on Tech Support Recordings, designed as an homage to the late 90s fundamental drum and bass sound.

 

The conversation spans label philosophy, artist support in the digital era, merch as an essential branding tool, and his multifaceted creative life, which includes apparel design and skateboarding. Slantooth shares personal insights on staying authentic, respecting the UK roots of drum and bass, and keeping passion at the forefront of his work.

 

From upcoming shows like Cantana Fest and a September event featuring DJ Trace, to his vision for Compound’s future releases, this episode highlights a dedicated artist whose work bridges eras while looking firmly ahead. For Slantooth, it’s all about the music, the community, and keeping the culture alive.

 

Host: Darran Bruce
Guest: Slantooth
Location: Virtual Studios, Seattle WA & Oakland, CA

Overview:
Darran Bruce reconnects with Slantooth to discuss his evolution from Seattle’s 360 BPM crew to co-owning Compound Records LTD, his creative process, label philosophy, and upcoming releases.

Topics Covered:

• Early exposure to drum and bass via Metalheadz mixtape (1996)
• Transition from vinyl collector to performer with 360 BPM crew
• Work at Concept Records and ownership of Compound Records Seattle
• Founding Compound Records LTD with Discord (Australia)
• Runaway Renegade EP – balancing dancefloor and listening tracks
• Underground Revival EP – tribute to golden era drum and bass
• Label philosophy: artist support, communication, and long-term relationships
• Merch as brand identity and alternative revenue stream
• Skateboarding and apparel design as creative outlets
• Respecting UK roots of drum and bass
• Upcoming events: Cantana Fest & September show with DJ Trace
• Vision for Compound’s growth and future releases

Call to Action:
Explore more at compoundrecordsltd.com and follow Slantooth on social media.
Discover more episodes at thedjsessions.com

[Darran]
Hey everyone, welcome back to another episode of the DJ Sessions presents the virtual sessions. I’m your host, Darran. And right now I’m in the studio with none other coming to you from San Francisco, California.

We have Slantooth in the studios. I’m in the virtual studios in Seattle. He’s in the virtual studios.

All right, in the studios in San Francisco. How’s it going today, Slantooth?

[Slantooth]
Hey, good, Darran. Good, Darran. Thanks for having me.

Appreciate it.

[Darran]
Yeah, long time no chat. It’s been a while, been a hot minute since we were doing shows back at the Waterland Arcade.

[Slantooth]
Yeah.

[Darran]
They’re still holding it down out there. Monty and crew, ECM and everything throwing shows out there. I’m good to see they still have things going on out there.

[Slantooth]
Absolutely, yeah. Monty’s definitely holding it down. Just having a good time, getting the community booked and just having fun on some Fridays out there.

So good for him.

[Darran]
Yeah, absolutely. You know, it’s a great little spot. I’m a video game nerd.

I grew up in the arcades of the eighties. So, you know, going back, it’s like playing on some of those old school games and listening to music is just the place to be, you know? Fun little spot, fun little spot.

But we’re here to talk about you and what you got going on in Compound Records and all that fun stuff. You know, how long have you been in the music industry for as a DJ and producer? Did that both happen at the same time?

And how long have you been doing that for?

[Slantooth]
Yeah, pretty close to the same time. So, I mean, I started out as a DJ. Just heard, I heard drum and bass for the first time probably around 1996.

It was a Metalheads mixtape. Soon thereafter, got hooked obviously. Soon thereafter, started collecting records.

I think my first gig in Seattle was probably around 1997. And then production started about a year after that, probably 1998 was like, you know, when I first started to put my first studio together and start tinkering, you know? I’d like to say that I’ve been in the studio that whole time, but I have a whole bunch of other interests so I haven’t, you know, gotten to put the time in that I would like to just say, let’s just say that.

But as of late, I’ve been hitting the studio pretty hard. So that’s kind of the main thing, you know?

[Darran]
You know, what was the main inspiration behind you wanting to get into this industry and start producing music in the industry?

[Slantooth]
So that’s a funny question as far as like the DJ part of it anyway, because I mean, I didn’t get into DJing to play gigs. I got into the music because I found the music and at that time, you can only purchase it on a vinyl record, right? So when I heard this tape, Metalhead’s promo tape, kind of my intro to drum and bass, you know, I wanted more.

So, you know, my first inkling was to go to the record store and the only record store that I knew of at the time was Tower Records, right? So I go to Tower Records and, you know, I find a CD. They didn’t have any drum and bass vinyl at that time, this is around 1996, but I found this Goldie CD, Inner City Life, you know, blew my mind, you know?

So I just, that’s when the record store, you know, the record hunt started. You know, that’s when I got involved in all the record stores, you know, hit every single record store in Seattle and ended up working at Concept Records in the University District owned by John Lee.

[Darran]
I did not know John Lee owned Concept Records back in the day.

[Slantooth]
John Lee was the owner of Concept Records, myself and the 360 BPM crew, which is, you know, Justin Carr, you know, Zach Stone, Max Birdwell, our buddy Brian Rauschenbach, 360 Crew, those guys were running heavy drum and bass back then, Zach and Justin both worked at Concepts at that time. And just through me being at the store once or twice a week, you know, I ended up working there myself. And, you know, of course ended up owning Compound Records Seattle, or I should, let’s back up a little bit, Compound Records Seattle kind of pops on the scene, you know, right around 1999, 2000, Demo and I were the managers, and then I ended up buying the place, so.

[Darran]
Yeah, you know, you take me back because that’s when I first started like really going out to clubs, well no, I started going to clubs in 92, 93, but I wasn’t 21 until 95. So, you know, I remember all of that coming up in Seattle growing up, you know, and definitely the 360 BPM Crew, Zachary, everyone out there, I mean, that was a very awesome time. In the youth, I’m seeing electronic music go from underground to boom, and it wasn’t even mainstream for years, for a while, it still had that real good underground feeling to it.

Sorry, I didn’t mean to interrupt, but I’m just like, oh wow, Emery Lane.

[Slantooth]
No problem, no, I get it, I understand. It’s what I like to call the golden era, so that was my favorite time, the best times, good time for, you know, as far as drum and bass is concerned, I call that the golden era, just like that’s when some real heavy stuff was happening, you know, some real heavy music, different types of drum and bass coming on the scene, so. But to fully answer your question, once again, yeah, I wasn’t looking to be a DJ.

I was just looking to gather the music and make mixes, and just have mix tapes to play in my car, and I was just really crazy over the music, you know, I wasn’t even worried about a gig. And really what happened was I was working at Concepts one day, and Max of 360 BPM walked in the store and asked me if I wanted to play a show. The first time he asked me, I said no.

I said no, because I wasn’t, I was like, no, I’m good, like, because I wasn’t interested in really, it wasn’t something that was on my mind, you know, to play shows. I was like, oh, no, no, no, I’m cool, I’m good, I just, you know, I just collect music and make mixes and stuff, and he was kind of like, what? You know what I mean?

But he came back in, came back in again and asked me another time, asked me a second time, and it was basically, it was the intro to the Baltic Room. So he and a guy named Allo, they started the Baltic Room Tuesday, back in, what was that? Probably 1998 or something, you know, something like that.

But that was my first show. And that’s, again, it’s kind of weird how it happened. It’s kind of weird how it happened because I ended up playing a whole bunch of gigs and being involved in the drum and bass scene in Seattle, and that was great, but not planned, not planned.

So hold on, give me a second here, I lost your audio.

[Darran]
You didn’t lose, nope, not you, that was me, my mic was on, because I had some police, some ambulances going by, that was my bad. That’s all good, my bad, microphone’s back on. Anyways, but no, I remember back in the day, Baltic Room starting up and, you know, going there on Tuesday nights, especially when I was in college, my buddy and I would head down on Tuesday nights and that place would just be off the chain.

I mean, it was just so amazing, those Baltic nights, Baltic Room nights, even when the club was its original layout, was just awesome to get up there, post up top, you know, the bar, you had to put the DJ booth, the bar was kind of round, in the round bar, you know, but the DJ booth was there, but we’d get upstairs, we’d get our booth, we’d get our drinks, we’d kick back, and then we’d just go sit and just watch the whole show evolve down below, you know, very awesome night there, historic night, you would say, in Seattle. It’s been running through, still running, doing its thing.

[Slantooth]
It needs a documentary, it needs like a short film.

[Darran]
Yeah, yeah, yeah.

[Slantooth]
A lot of stuff happened there.

[Darran]
A lot of content, a lot of footage, I’m surprised somebody isn’t already on that.

[Slantooth]
Yeah, I’ve talked with a couple of people about it, we just haven’t really been able to get it together, but the chats do happen about it, that’s for sure.

[Darran]
Absolutely. Well, speaking of, you know, you kind of branched out and gone from, you know, Compound Seattle, now you have Compound based out of San Francisco, but it’s now Compound Limited. You know, in making that move from, we were talking a little about this pre-show, is that, you know, you want to branch out, you want to reach more of that international base.

What was the transition like, going from kind of saying, we’re the Seattle thing, to we’re in San Francisco, but we want to reach out international? What’s the transition been like that for you over the years? Has it been an easy, we just started reaching out to more people.

You know, we got the internet now. It’s not records, you know, we can sell this digitally. Has that been an easy process to transition?

And has the growth, have you seen successful growth with that?

[Slantooth]
Well, it’s, to be honest, the transition, it’s been pretty natural, just pretty organic as far as the Compound story goes. You know, Compound Records started as a brick and mortar in San Francisco owned by Rinse and Flux. I was never a part of the crew or anything.

They were just friends. And I ordered lots of records on a weekly basis from Compound San Francisco. They would send me giant packages of tunes, you know, 20, 30 records a week, you know.

And our relationship basically kind of started like that. And, you know, we would always book Rinse and Flux and Jamalski, again, they’re friends and family, bring them up to Seattle. And we’ve always had that relationship.

Basically what happened was Compound Records Seattle was opened by a man named Marcus Valario, which you might’ve heard his name in the Seattle area. He owns Little Woodies and a bunch of other places. That’s a long list.

I don’t wanna get all the way into that, but Marcus and Rinse actually opened Compound Records Seattle, right? And Demo and I were the managers and, you know, just kind of skip ahead. And, you know, I ended up purchasing Compound Records Seattle in 2001.

So the store shut down, the brick and mortar shut down in 2005 and, you know, me just being a drum and bass lover, once again, music lover in general, but drum and bass is, that’s my main stuff. You know, that’s just something, I’m not gonna quit. You know, of course I just kept it going and I’ll just skip ahead to 2018, where a buddy of mine, really good friend of mine, originally from the UK, now lives in Australia.

His name’s Joff Cole, AKA Discord. He’s now my business partner. So it’s he and I that own Compound Records LTD.

You people want more information on it, you can go to compoundrecordsltd.com. You can check that out. We got a lot of info.

You know, you can see what’s happening, you know, with our previous stuff and stuff coming up in the future. But it has been, we’re still building first off, right? We’re on our second release.

Our first release was A-Sides. He’s a drum and bass Don. That guy’s been around forever since the beginning of it.

So he was our first release, really good music. Our second release was this EP that we just dropped not long ago by a guy named Dauntless out of Australia called The Silent Watchers. That’s available right now on platforms everywhere.

And we have a whole bunch of releases that are in the works. So it’s still, it’s pretty new, it’s pretty fresh, but we’re having a good time. You know, we’re having a good time and we’re just fans of the music, really.

[Darran]
Well, in addition to, you know, doing The Silent Watchers EP by Dauntless on the label, you have released some EPs yourself. You know, we’re gonna talk about the most current one. Maybe they’re both, well, I guess one’s coming up, but the current one you have right out right now is Runaway Renegade on Division Bass Digital UK.

Tell us about that project. What’s the Runaway Renegade all about?

[Slantooth]
The Runaway Renegade, yeah. So, I mean, it’s, so that project, it entails music that is, to me again, I’m really, when it comes down to it, just a drum and bass fan. And, you know, you have your distinctions between dance, you know, dance floor music and, you know, kind of like just listening kind of style music, right?

And the Runaway Renegade is basically saying that I’m kind of a product of both. It just means that it’s, the music that I make is kind of, it’s in a cross between the dance floor and your listening style of music, right? So it’s in between.

And the EP, it’s got, you know, the title track, Runaway Renegade, that’s for the dance floor. If you listen to it, you’ll understand. It’s just, it’s kind of, it’s a dance floor tune, kind of a straightforward dance floor tune.

But if you listen to, for instance, Coastal Living, that’s more of a like, chill out, ride in your car. I made the tune just thinking about, you know, just as, you know, as the track title kind of gives it away. You know, I’m born on the West Coast and, you know, all the way from Seattle, all the way to San Diego, I’ve lived all in between LA, everywhere, right?

And it’s, Coastal Living is really, it’s one of those tracks that you can just kind of throw in. And you can, if you’re sitting in your house, you can imagine driving down the coast, right? Right down PCH.

Exactly, just hitting the one, just seeing beautiful landscape, right? But it can also be a dance floor track. So the Runaway Renegade is kind of me saying, you know, not everything has to be about the dance floor.

The music to me is most important, first and foremost, no matter what you’re using it for. So I like to try to make music to kind of appease to the dance floor, your couch audience, and so on and so forth. So that’s kind of what that EP is about.

A little bit of everything.

[Darran]
An EP versus single release. Do you prefer to do an EP release where it’s a few different tracks or do you go the single track route? I mean, what determines whether you’re gonna do an EP or a single track release?

[Slantooth]
It’s basically, for me anyway, it’s like, it’s the compilation of music that you’re working on. You know, usually, you know, I’m working on, you know, several different tracks at a time. And I’ll, you know, I’ll, you know, you get a couple of tracks and, you know, you finish a couple and then you just have some sort of idea of kind of maybe, like I say, kind of like I explained about the Runaway Renegade of just some stuff that you might be feeling or thinking that you kind of might want to express, right?

So you just kind of put it together in that manner. Yeah, you know, once again, for instance, Runaway Renegade is, it’s not all the tracks. It’s not like a cohesive EP where all the tracks like sound really similar, right?

It’s a bit more like, here’s your couch track. Here is your, like, you know, you can play this on the dance floor or you can play it just sitting on the couch. And of course you can do that for any other tracks, but again, Runaway Renegade title track, that one’s kind of like a dance floor smasher, you know, like a banger sort of, you know, you know, you know, quote unquote.

So it just, I just kind of just make tunes. Sometimes I will have like a theme, you know, that I’m going for, you know, for instance, the other EP that I got coming up is called the Underground Revival EP. And that one kind of has a theme of, you know, I am geared, you know, towards, again, I’m just a fan of the music, but when I’m producing, I am really a big fan of what I like to call the golden era of drum and bass, which is like your late nineties type of drum and bass.

A lot of us would call it like fundamental drum and bass. And that’s just like, like a distinction would be like, like newer drum and bass is just like, you know, has gotten really techie. And, you know, of course, you know, we’re in 2024 and there’s all kinds of stuff going on, right, and I love it all and I play it all.

But when I make stuff, I personally kind of veer towards that golden era of fundamental style drum and bass.

[Darran]
Yeah, no, I think you’re right. I remember when I was in, I remember I bought that, what was the goldie double disc album? It was Saturnized.

[Slantooth]
Oh, I mean, there’s a mix and then there’s the album, like.

[Darran]
I mean, it was a double disc collection. I remember I just used to have that.

[Slantooth]
I think it’s called Incredible. Was it? I’m not sure.

He did put out a, he put out a double disc that was called, it was either Incredible or maybe Invincible, I’m not sure.

[Darran]
But anyhow, yeah. I just remember rocking back to that all the time and awesome stuff there. You know, you mentioned the Underground Revival EP though, coming out on tech support recordings.

Is there an estimated release date for that? Is it still in the works? Is it in the canon?

[Slantooth]
It should be dropping. It’ll definitely be dropping soon. I’m not exactly sure what the release date is, but it will be dropping real soon.

[Darran]
What’s the most important thing that record labels should be doing for their artists now that the industry has shifted over the last few years going to a more digital based area? What’s the most important thing record labels should be doing for their artists and are most record labels doing a good job with that?

[Slantooth]
That’s a good question. I mean, I think that that all kind of really depends on, you know, the artist, what the artist is looking for, the label, what they’re looking for, you know, because I think it’s okay if you are, you know, a producer, artist producer that you’re just looking to get your stuff out there. And, you know, you just want people to, maybe you just want people to hear your music.

Maybe you don’t care about being like a giant producer and like making money and yada, yada, yada, right? I know we all need cash and this and that, so on and so forth but, you know, for some folks, you know, it’s just a passion, it’s a love. And I think it’s, you know, I think as long as the label and the artists have good communication, they both understand what they want, they both understand what they can get from one another, then I think that’s the way to go.

You know, for instance, Division Bass, Digital, Christian, I’ve been working with this guy for, it’s gotta be 15 years now. I mean, I have tracks released from, it used to be called Vinyl Related UK, name switched over to Division Bass Digital UK. But I released tracks with these guys, you know, 10 and 15 years ago.

And it’s just kind of cool, right? To have somebody that’s like, you know, interested in your music at all. You know what I mean?

At some point, right? And you just appreciate that and you appreciate the fact that, you know, that they’ll get that music out there for you. You know, some people are a little more, you know, kind of serious about the money thing.

The realm of streaming and, you know, digital music nowadays is, you know, it’s just a little crazy and kind of hard to speak on. That’s just a whole nother show, right? Whole another subject.

It’s huge, right? To take on that subject. But I just like, I just really think that, yeah, as long as everyone has like a, you know, good communication and that understands kind of what they want out of whomever they’re working with.

And yeah, you know, so on and so forth. I think it’s all good stuff. You know, if you go into something and, you know, you were promised something and you don’t get it or something like that, then that’s a whole nother story, right?

Yeah.

[Darran]
Is the first record you ever bought, is it worth mentioning or is it embarrassing?

[Slantooth]
The first record that, like my first record, like ever?

[Darran]
First record you ever bought. Do you remember the first record you ever bought?

[Slantooth]
I do remember the first record that I bought. Yeah, the first record that I bought and you would think it would be embarrassing to, you know, to some people it might, but I love it. You know, I’m an eighties kid.

And the first record that I bought was Cyndi Lauper. True Colors. True Colors?

That’s the first record that I bought. For some reason, I was just a kid in the record store and that was a song. And Cyndi Lauper’s record that I ever purchased.

And soon after that, it was like Michael, like Thriller.

[Darran]
Yeah, yeah, yeah, yeah. Was that before Girls Just Wanna Have Fun?

[Slantooth]
Same album.

[Darran]
Same album, that’s what I thought. It was the same album. Yeah.

Yeah, absolutely right on that. Hey, no, I’m a huge fan. I’m a huge fan of that song, but huge fan of Cyndi Lauper.

We just, a magazine that I work with here, I’m the vice president of music direction for them. Publication LGBTQIA plus magazine that’s here in hard copy and physical copy. Just did a cover article on Cyndi Lauper.

So out Northwest.

[Slantooth]
Right, yeah, she’s a… She’s an amazing artist, an amazing person. I mean, I don’t know her personally, of course, but just, she seems like she’s somebody that I could hang out with, put it that way.

[Darran]
She seems like she’d be fun, she’s definitely fun. Are there any other aliases other than Slantooth under which you release music?

[Slantooth]
Nah. That’s it. Never thought about it?

Yeah, I thought about it a couple of times. I thought about it a couple of times. I’ve had that alias nickname, really.

That name was given to me by Marcus and the 360 BPM crew. We used to live together, right around 1998 or something like that. I think my DJ name, my self-claimed DJ name at the time was DJ Vape because I used to smoke marijuana with a heat gun back then.

[Darran]
Okay, okay.

[Slantooth]
Yeah, so anyhow, yeah, the guys, if you can’t see, I have a tooth, I’ve had it forever. And Slantooth is just a nickname given to me by the boys.

[Darran]
Nice, because one of the questions I usually ask is what is the origin of the person’s DJ or production name? So I’m glad you covered that for me without having to ask for it. If you had to pick one of your productions as your most favorite one, which one would that be?

And what’s the thought behind it being your most favorite production?

[Slantooth]
As far as my produced music, we’d have to go back again to what I was just speaking of, or maybe that was us kind of speaking about it earlier, which is Coastal Living.

[Darran]
Coastal Living.

[Slantooth]
Yeah, Coastal Living, which is the part of the Runaway Renegade, I don’t know why I have such a hard time saying that, the Runaway Renegade EP. And it’s my EP, right? Thought all of that, still can’t say it.

Coastal Living, that’s about my favorite production kind of right now, just because it really is something that, again, I made it just as a kind of an ode to the West Coast. And for some reason, it’s just kind of one of my favorite things. It’s a little lighter.

So it’s not like a dance floor smasher or anything, but it’s just something that I personally enjoy listening to. Yeah, it’s just kind of a real nice tune, just kind of a, can be a couch tune, can, you can play it on a dance floor, but it’s just something that kind of reminds me of like my journey throughout, through the West Coast and through drum and bass.

[Darran]
Yeah. Do your neighbors ever complain about your music?

[Slantooth]
No, living in my neighborhood here in Oakland, California, I mean, we got a pretty cool block first off. Nobody really cares, but no, we don’t get any complaints or anything like that. And I also just kind of got done finishing the studio here and we’ve done a lot of soundproofing, so that helps as well.

[Darran]
Do you feel that the drum and bass generation understands the techno and house generation or not? And as somebody from the drum and bass generation spanning almost about 30 years, do you feel techno and house side of things or do you feel there’s a separation between the genres?

[Slantooth]
Yeah, that really all depends on the person to me. For instance, like for me, when I got into drum and bass, so when I first heard drum and bass, like my first drum and bass track, which by the way was a metal heads, two metal heads tracks, one of them was called Your Sound by J Magic. And the other one is called You Know Ya Big by Dillinger.

These were both on metal heads imprint. When I first heard drum and bass, I heard, I’m a fan of, first off, I’m just a fan of music, but I love punk rock music. I love metal music.

I love hip hop music. I love jazz music. I love pop music.

I love, you know, I love music, right? And when I heard drum and bass, I mean, I heard punk rock drums, right? I heard like, you know, drum and bass plays that, you know, anywhere from 170 to 180, right?

And BPM that is, beats per minute. So I heard punk rock drums and I heard jazz, you know, and breakbeat kind of, you know, subscapes of like, you know, keys. And I heard all these music, all the music that I like breakbeats, you know, I was a little break dancer, you know, back in the day, you know, I’m an old B-boy, you know what I mean?

So it just sounded like, it sounded so futuristic, but it had all of these different styles of music that I love all crammed in to one track. And I just, I could not believe it. To this day, I’m still amazed how like, you can even do that.

Like it’s, and it’s done so seamlessly and smoothly, right? So for me, you know, I’m a fan of, you know, I’m definitely a fan of techno, fan of breakbeats. I’m a fan of house music.

You know, me personally, I’m like, if I were to, I think if I were to ever, I don’t, like I’ll play some breakbeats sometimes and I’ll play some like what they call juke or footwork style of music nowadays. You know, I have played some juke sets and footwork sets. I’ve never played like a full techno set or a full house set or anything like that.

I’ve always just played drum and bass as far as the DJ aspect is concerned. But yeah, I’m into all of them. If I were to ever, if I were to pick a house music, it would be like tribal house, right?

Okay. And then for, you know, for like, I love techno, but I kind of just like leave it for listening. You know, just kind of leave that to the pros, leave it to listen and just kind of focus on what I really love, you know?

[Darran]
Yeah, I mean, obviously house is my kind of go-to job. I mean, get me house, but you know, coming on the end, trance is there, but trance, I see a lot of people, to me, I’m a dancer. Like you said, you’re a beat boy.

Let’s go with you. I’m a dancer. That’s my first, my first getting into the nightclubs is sitting there waiting for like a surfer, waiting for the wave to start on the dance floor and then feeling that boom.

Okay, now I’m on the dance floor and I’m out there for three and a half hours nonstop. You know, I like to dance when I’m out there on the dance floor. Trance, you’re kind of like, you’re watching the show and it’s like, it’s beautiful.

Boom, boom, boom, boom. You know what I’m saying? But drum and bass, man, I’ll dance to that stuff all night long.

I love it. You know, it gets you moving, gets you pumped up. Great to drive to, too.

Back in the day when I used to race cars. Yeah, that was kind of crazy time of life. But, you know, it’s just, you know, you have all these different genres.

When we were kids growing up, you’d go to the music store and if it wasn’t a record store like, you know, what John Lee owned back then, I’m talking 92, they had a small section and they just called it electronic music. And there was house music and there was techno. There was like that, you know, those were the two genres, but they didn’t even classify it in the record stores back then.

It was just electronic. It’d be like, out of all the CD bins, you’d have one CD bin and it’d be like 30 or 40 CDs in there. And they were all compilations usually.

No one artist, you know, had a DJ compilations or a compilation mix. I think I actually have one with electro set on it in my repertoire somewhere with how does it feel? You know, that old track, you know, on a compilation disc, but, you know, as it grew, it started to build out and become its own sections.

Then now when I have a DJ, a resident DJ come on the show and sign them on, you know, be on the show, it’s kind of like, okay, what tracks, what genres do you play? And I say, go to Wikipedia and pick the top key ones. Don’t pick all the sub-genres.

Cause now it’s like, you see Wikipedia, it’s like 500 different sub-genres under genres. And it’s like, whoa, you know, it’s just crazy how it’s grown like that. You know, and then how people try to do infusion tracks.

So it’s kind of housey, but it’s kind of drum and bass, but it’s kind of trance. It’s like, just pick a genre and stay in the genre.

[Slantooth]
You know, it’s almost went full circle to where it’s like, you know, like the mainstream folks just kind of call everything just electronic music, kind of how it started, right? Just like one crate or row, where it’s like, this is electronic music, right? And then through the nineties, we kind of got to separate that and people were kind of starting to understand, you know, oh, okay, this is this and this is this.

And now it’s kind of back to where it started. Like, they’re just like, ah, just there’s too much of it. Just it’s all electronic music, it’s all EDM, right?

So that’s what they got to do. That’s what they got to do.

[Darran]
Over the years, you know, speaking of the industry growing, who’s been your biggest influence when it comes to your career as an electronic music artist, label owner, entrepreneur, who has been your biggest influence when it’s come to all that in the industry?

[Slantooth]
Wow, well, the biggest effort as far as Drum and Bass is concerned, Dillinger. Dillinger. Dillinger was my main influence.

You know, the promo tape I was telling you about had the Dillinger track on it called, You Know You’re Big. And that release is Metalheads, I believe number five. That’s like, it’s like the B side of it, right?

The A side is this tune called The Angels Fell. And that was a really big tune back then. And this is number five of Metalheads, right?

It’s pretty early in the Metalheads catalog. But once I heard Dillinger, he was kind of the guy, you know, as far as like beats. He made really hard beats, but they were also beautiful.

At the same time, lots of strings and chords. And with the hard beat, just, of course, you know, Drum and Bass, it’s always got that. It’s always got those beats in there, just kind of running.

But, you know, when you can mix, you know, a hard, something that sounds kind of a hard and abrasive with something that sounds like, you know, like really melodic and nice, it’s just, you get my attention, right? So Dillinger, he was pretty much my, like, my inspiration, you know, when I started collecting records. Doesn’t mean that’s all I bought.

Now, I was just crazy about Drum and Bass, and I basically bought anything that my ear liked. You know, within Drum and Bass, you know, of course, like as we were talking about earlier, you got all these subgenres. You got jump up, then you got tech step, then you got jungle, and, you know, you have all these different types of subgenres within Drum and Bass.

And I was never, you know, I was never, like, privy to just stick to one. I was just so enthralled with Drum and Bass itself. I just, whatever I liked and I thought was good to my ear, I just put a needle on it.

And if I liked it, I bought it. And I took it home and I mixed it and I put it on a mixtape, right? And I put it in my car and that’s what it was for me.

It’s still basically like that to this day. I like to make mixes just to have, you know, just to hear the new tunes, right? All the new music that’s coming out, right?

You get your new music, you make your mix, you listen through it and you keep doing that, right? And I’ve done that for decades now. It’s not gonna stop anytime soon, you know?

Beyond Dillinger, it’s just, it’s, you know, I’m influenced by music itself. Just all the music, man, I’m, like I say, I’m a giant fan of punk rock music, you know, a giant fan of metal music, giant fan of hip hop music, giant fan of jazz music, you know? So I just get inspired, you know, by kind of what’s happening, you know?

Whatever’s happening and whatever I’m like, you know, feeling, that’s what’s inspiring.

[Darran]
Nice, yeah, it can be tough after spanning such a long career. Sometimes people ask me, who’s been my influence over the years? And I’ve switched from, you know, working in public access television in 92 in Seattle to broadcast television in the early 2000s to podcasting to live streaming.

And, you know, back in the day when I was doing television broadcasting, you know, my person I would say that I wanted to kind of look up to, wanted to be like was Aaron Spelling. People are like, who the hell’s Aaron Spelling? Or I’d say Michael, Michael, gosh, what’s his name?

What’s his last name? He was the NBC exec for Saturday Night Live and a lot of shows that went to NBC. But Aaron Spelling, you know, created 90210, Saved by the Bell, these TV shows.

Because I was looking at being a television producer, I wasn’t trying to go after Lucas or Spielberg or, you know, whoever it was at Tarantino, even those artists, you know, those directors at the time I was looking for the television world. And I’d say Aaron Spelling, people are like, who the hell is that? I’m like, have you ever seen 90210?

Have you ever seen Saved by the Bell? Or, you know, these kind of afternoon shows that I grew up with as a kid and I didn’t want to make shows like that. I just wanted to be synonymous with that person who’s doing that content on a daily basis or weekly basis that was in launch in multiple markets, almost like Evening Magazine.

If you remember that show, that was a nationally syndicated show. Seattle had its own version, but every market had a version of Evening Magazine or Northwest Afternoon, you know, these local shows. They weren’t news shows, they were variety shows.

And that’s what I really wanted to be was this variety show featuring independent artists. So when I’d say like, these are my mentors, people are like, who the hell are these people? You know, like, okay, cool.

You know, and most people in Seattle didn’t say, oh, I want to be a television executive producer. They all wanted to go for the short film or the filmmaker and try to be in the SIF or, you know, get the can or something, you know, or be in the New York Film Festival or something like that. So, you know, definitely influences, a lot of influence has been, you know, the industry itself of covering the industry itself, talking with people like you is an inspiration to me, you know, and helping keeping that alive is awesome.

Speaking of artists and inspiration though, there is going to kind of be a little bit of a, I don’t know if it’s a compound showcase, but there’s a show coming up this weekend in the Seattle area called Cantana Fest. Can you tell us, does Compound have a part in that? I know there’s a few Compound artists that are playing that.

Are you involved with that show at all? And then tell us about that.

[Slantooth]
Yeah, that show was booked by our friends in Des Moines and also a friend and coworker of Monty at Waterland Arcade named Teresa. And basically she had been talking to Donald Glod. Okay.

And, you know, Teresa, you know, she helps us as a label and with various things. And she just kind of mentioned, well, yeah, well, you know, I work with these guys, Compound Records crew and Donald, you know, I’ve played with Donald. I know Donald, you know, we have a, we’re not best friends or anything, but we have a relationship over the decades, you know, you know, via the music.

So Donald knew the name, knew who we were and just wanted to get us on the lineup. So basically, you know, Teresa facilitated that and the lineup would be me and Monty and Eva, which, you know, from, you know, various, various different nights and various different house and drum and bass nights in Seattle. She’s a part of Compound crew.

And yeah, it’s just us three, just, you know, doing our thing, kind of showcasing what Compound does.

[Darran]
Yeah, we’re super excited for being, to be a part of that series. You know, we’re gonna be actually pulling out the mobile sessions, the DJ sessions, mobile sessions, and that’ll be the mobile, the EDMs, sorry, they say EDM. I don’t like using that term personally myself.

That’ll be the electronic music stage. We’re looking at live streaming that as well. We’ll be recording it, hopefully doing some onsite interviews on location with all the artists and also adding silent disco in the mix.

We’ve got some really cool activations we’re doing for that electronic music area. You’ll be kind of really impressed when you see what’s gonna be out there. Can’t give any hints away.

We want it to be a surprise for everyone, but super excited to reconnect with all the homies and see you in person, have you on the show again and be out there for Cantana Fest. That’s August 10th and 11th. And you know, Donald curated that stage, correct?

I’m super excited to be officially working with Donald in this capacity because he was literally the first electronic music DJ I ever saw play at the Underground in the U District in 92 when I first started going out to clubs. And so he holds a special place in my heart. I’ve known him for years in that sense.

Not best friends, but he knows who I am. Seattle’s not that big of a city, but definitely working in that capacity with him where he’s curating the stage, we’re providing the stage. I’m kind of doing some stage management with them and activations there.

It’s kind of like a little bit of a dream come true to say, I’m working with Donald, yeah! You know, and I’m working with these other local DJs. Yeah, and Cantana Fest, bringing that together is gonna be super awesome.

You also have another show, though, coming up in September in Seattle. Tell our DJ Sessions fans all about that.

[Slantooth]
Yeah, Compound Records. We are putting on a show. Really gotta give Monty Hathaway the credit for this one.

I mean, he’s basically our promoter for the United States as far as shows are concerned. And of course he helps in many other capacities. But yeah, we have DJ Trace.

Of DJ Trace from the UK, he’s the godfather of drum and bass tech staff, okay? You know, if you don’t know who this guy is, do some research and check out the history because he’s a part of drum and bass history, not to mention just a cool guy and a beast of a producer. So we got him headlining at the rendezvous in Seattle September 20th.

And he will be supported by Grimm, No Fucks Givens, and our buddy Filthy Rich. And again, yeah, that’s September 20th at the rendezvous. Should be a really good show.

[Darran]
Nice, that’s right in my neck of the woods. I can make that.

[Slantooth]
That’s easy for me. Yeah, they’ll also be a special guest, but we haven’t let that cat out of the bag yet, so.

[Darran]
Now, if you were to play a party where only 20 people showed up, would you finish your set and make a hell of a party? Or would you be like, I don’t know, I gotta go. What’s your thought on something like that?

[Slantooth]
That would be crazy to walk out on any set, first off. First off, that’s just insanity talk. I don’t even understand that at all.

I can’t, that doesn’t comprehend in my mind. I don’t care, you know, I’ve played shows. I’ve played shows where, you know, there was literally, you know, five people on the dance floor for whatever reason, that’s what happened.

And, you know, again, for me, it’s about the music. And I do love DJing, you know, as an art, it’s really fun to do, it’s just really fun, right? And in a situation like that, it definitely, it’s, you know, first off, it’s not about me as a DJ, you know what I mean?

It’s about the music, and it’s about getting the music as cliche as it sounds. It’s the absolute truth when it comes to me and what I do, because there have been times where I’ve been playing and I’m so locked in to just the music because it’s brand new music that’s being played, you know, music’s coming out every week. And I’m so just kind of locked in to like, wow, I can’t believe how crazy this is, that I’ll just be stuck, just kind of like, and I’ve learned how to like step out of this zone because it’s not good for the crowd.

But I’ve just, you know, I’ll just get so locked in to where it’s just kind of me and the tables and the music. And I look up and everyone’s like, we’re over here, you know, we’re, you know, you are playing to a crowd. I’m like, oh, sorry, you guys, my bad, you know?

So, you know, it can go both ways, it could go both ways. I’ve learned to like, you know, definitely pay more, like just make sure that doesn’t happen. You know, it’s a two way deal when you’re DJing, you know, you’re, of course, you know, you got people like me where you love the music so much and you just kind of get stuck in what you’re doing and you’re having too much of a good time.

But yeah, you gotta kind of, you definitely gotta appease your listeners as well, right? So, no, I don’t care who’s there, you know? I mean, I shouldn’t say it like that.

It’s not the number of people.

[Darran]
I understand, yeah.

[Slantooth]
Not the number of people, that’s for sure. You know, the music’s the music and however many people are there, we’re all there to have a good time.

[Darran]
If you could change one thing that bothers you about the electronic music scene, what would that be? And how would you suggest going about that change?

[Slantooth]
I mean, I don’t really, that’s a tough question for me. You know, I’m not gonna say that, you know, I love everything and the music industry is perfect, right? Not gonna say that.

That’s not, I can’t say that. But at the same time, I don’t really have anything kind of bad or anything that I would change, you know? Just because, you know, everything’s, you know, every person and moment and club and all that, it’s all individual and it’s all different, you know?

Yeah, there’s, I don’t, there’s really not too much, you know, that I could, I really don’t have a good answer for that one. I just kind of do my thing, you know, to be honest with you. And I just simply appreciate, you know, the fact that somebody’s interested in anything that I do, because I’m definitely doing it, you know, just really because I love it.

You know, I can’t stop doing it. It’s a serious passion and I’m gonna do it no matter what. So it’s just kind of cool that there’s anybody listening beyond myself, to be honest with you.

It’s just cool and I’ll definitely take that, you know?

[Darran]
Have you ever experienced, that was a good answer. I like that, I like that. You know what I mean?

You said it’s just stay in your lane, do your own thing and don’t focus on the drama and shit, you know? Have you ever experimented with mixing audio and video at the same time? And if not, would that be something you’d be looking into for the future?

[Slantooth]
Never live, I’ve never done that live, but I am interested in, you know, a little bit of, I wouldn’t say VJ, but more of, you know, kind of, I like to make, like I’m, for instance, I’m currently in the process of making a video for Coastal Living, which again is, you know, on the Runaway Renegade EP. And it’s just something I like to, it’s just, I’m just dabbling basically, you know? It’s like, you know, you wanna make these things, like you wanna make some like short videos for content and for promotion.

So I do that for Compound. I kind of do all, like most of that stuff myself, like as far as like all of our like graphic design and, you know, any of our content video making, any of that, that’s kind of on my plate right now. So I do do stuff like that.

But yeah, I would like to get more involved in, for instance, you know, making some video stuff to go along with my productions basically. And I’m doing that, I’m in the middle of doing that for Coastal Living right now, so.

[Darran]
Nice. Yeah, it’s interesting. I mean, now that video production has become a little bit more accessible or it isn’t another full-time job doing stuff, you know, it’s interesting to see that.

Have you done anything in virtual reality or looking for anything in virtual reality or? I have not. Not experimented with that?

The reason I ask is I’d love to talk to you off show about our virtual reality nightclub and possibly doing like a record release in a virtual club. Right now, this interview is being streamed into our virtual reality nightclub in VR chat. You know, we’re pretty excited to have a night, you know, a presence in virtual reality.

We’re looking at interactive experiences as well. This costs a lot of money to set those things up. Well, lots of money to, maybe not a lot of money to some people, but a lot of money when you’re an independently owned and financed production company.

But, you know, looking at technology though, if you could go back, say 35 years, because we’re going to go back to 95, go back 35 years, or wait, 30 years. 30 years? Wait.

Yeah, 30 years in music history or forward 50 years in music future, which way would you pick and why would you pick that direction?

[Slantooth]
I would definitely, well, let’s not say definitely, but I would say I would, no, let’s say definitely. I would go forward. I would go forward because to me, drum and bass, I always like to say to people that don’t know what drum and bass is, aren’t familiar with it completely, they’ve probably heard it, right?

Everyone’s heard drum and bass in some sort of commercial or movie or something in like a short clip, right? And they just didn’t realize what they were hearing, right? But to me, drum and bass, and this is just, this is only in my head here.

This is not something that I, I’m not the spokesperson for drum and bass, right? So this is only in my head, but it’s the future of music. It’s the future of all music.

And I’m not saying that everything’s gonna be 180 BPM, you know what I mean? But drum and bass is an evolution of all of these different musics and it’s gotten sped up and it’s really a futuristic style of music. It almost makes you think about the movie Blade Runner.

You know what I mean? It runs along those lines where it’s really, that’s why it’s so good for like motion picture. But it’s a really futuristic style of genre and it belongs in the future, man.

[Darran]
It’s amazing you brought up Blade Runner because I wasn’t sure where we were gonna go with this answer, but I remember watching the remake of Total Recall. And when that movie came out, dubstep kind of had a little bit of influence on the scene. And the soundtrack, some of the scenes they had when he was walking through the city part, when he was going to recall, I think, I think it was when he was going to recall, even when he’s out of recall and he’s in the city and stuff, there was a lot of dubstep influence in there.

And you gotta look at somebody future-proofing a movie. And they put this movie out there like, this is what the future is. I mean, maybe it’s now it’s an alternate reality.

We can go with that theory. Now Star Trek has blown that and Marvel has gone and blown that as multiverse. And even DC’s now gotten into multiverse.

It’s like, all right, cool. How long are we gonna have multiverse for? Not saying anything about Deadpool and Wolverine, but loved it.

That being said is, you look at that, what would it be like being 50 years in the future and seeing what the progression of a genre of music would be like? You know, I think it was funny. And even in Star Trek, you know, the remake of Star Trek with J.J. Abrams and, you know, you got Kirk and they’re putting on the music and they’re using the Beastie Boys from, I think that was off of Check Your Head, was the track they used off of Check Your Head. ♪ I can’t stand it, I’ve gotta plan it. ♪ ♪ I can’t stand it straight, it is Watergate. ♪ You know, and they use that in two films of Star Trek, you know, and it’s going back to, okay, this is like 400 years in the future.

They’re still rocking out Beastie Boys? Like, okay.

[Slantooth]
Right, right, right. Yeah, that’s what I’m saying. There should have been some drum and bass in there, you know?

[Darran]
Yeah, you know, like really, like all the, like, and I, you know, it’s just interesting that they dropped that track in there. I don’t know if J.J. was a huge fan or the person doing the score or soundtrack for that was like a huge fan of the Beastie Boys or whatever, but it’s just, there couldn’t have been anything else that was produced over time, what stood the test of time, Beastie Boys. Hey, don’t get me wrong.

First concert I ever went to in 86 was the Beastie Boys and Fishbones. Second concert I ever went to was Beastie Boys and Run-D.M.C. in 87. So I’m a huge fan of the Beastie Boys.

It was just interesting, you know, to see how people depict what the future of music will be in these future films. Right. Yeah, 50 years in the future would be awesome to do that.

Have you ever considered moving to another country and like, I’m just, I’m done with the States. I’m gonna go to the UK. I’m gonna move to Europe or somewhere.

Have you ever considered that before?

[Slantooth]
My thoughts. I have my thoughts, but yeah. I mean, let’s just say, just to keep it recent, I’m very happy where I’m at.

Um, I was born here in the Bay Area in Oakland. You know, I lived in Seattle for 20 years and, you know, moved back to the Bay in probably like 2018. And I’m loving it.

I’m like, I’m not going anywhere. I’m not going anywhere. Yeah, I think if I, you know, of course, you know, back in what, again, what I call the golden era of drum and bass, you know, I was so enthralled with the music.

Of course I was like, oh my God, I wanna move to the UK. And, you know, this is, I wanna, this is what I’m doing. I wanna be where at the heart of where the music started.

You know, drum and bass is UK music. That is where it started now. That doesn’t mean that, right, drum and bass is global.

Like, right, it’s not just people in the UK. Drum and bass, but I just straight, you know, a lot of people, there’s just like this weird thing where it’s like, you know, like American D and D or something versus like UK D and D. And I’m like, whoa, whoa, whoa.

First off, be respectful about where your music came from. You need to understand, at least know your history and just know where your music came from and please pay respect, please. And on that, no, I’m happy.

I’m on the West Coast and I’ll probably live about the rest of my life here.

[Darran]
Nice, nice. I gotta, the Bay Area is one of my favorite areas to visit. I love San Francisco.

I love to visit down there. I moved there years ago, but my roots are in Seattle. I’m here.

I love it here too, but now I’m going a little bit more international and doing a little bit more travel. I’ll have to come down there and visit you sometime soon. Love the Bay Area, love to check it out.

You know, a couple last questions here though. You know, how important is merch to your brand?

[Slantooth]
Merch is, I think, I think merch is a brand, right? Yeah, I started basically making our merch. I also have a small business called East Bay Area Apparel and that business started out of the necessity to merch myself.

You know, it can be kind of hard to, you know, when you’re a small company to get smaller runs, right? Because I’m not into buying like a thousand t-shirts and just having them sit there, right? So yeah, I just basically just kind of started up, you know, my kind of my own deal, do my own printing in my studio.

Merch to us is, you know, and record label, I believe, is definitely something that you need. It’s pretty important, right? It’s like, you want people, you know, with your wearing your logo and also, you know, you want the want to feel.

So, and I think merch helps that.

[Darran]
I think your phone switched on one more time. That’s all good. I’m not sure why that happened.

It’s all good, it’s all good. Technical stuff happens, that’s why I love doing a live show. No, I just see you producing so many posts with new merch on your site.

You know, we have our site, we have our merch store, it’s there, it’s awesome. It’s on a donation kind of thing, like the support of what people buy, you know, it’s obviously not the cost of the merch. You’re actually supporting, but we’ll give them something back for showing their support and love of our brand.

We love getting merch out there. I love people getting pictures of them in the merch and getting them online. But, you know, you always come out with something new.

If it is a hat, it’s a hoodie. If it isn’t a shirt, it’s something else. The logo, different reiterations.

That’s really awesome to keep that going. I think merch is definitely a huge supporting thing that most people need to look at as kind of an alternative revenue source. But again, having the fans wear your gear and then come out to your show, you know, wearing the merch is also something that this is.

I was in an interview with Vintage Amorelli just a few moments, right before our interview, and he said, merch is key. You know, when you see somebody in the audience and they’re wearing your gear, it kind of gives you that boost. You know, it’s like, ah, thanks for the support, you know?

So after all of this, one last question, really get in here and wrap it up. You know, when you’re, what do you prefer doing when you’re taking a break from all of this music stuff? What’s something Slanty likes to do when he’s like, no more music stuff, I’m out doing this.

What is that?

[Slantooth]
Yeah, so I have been basically a lifelong skateboarder. Been skating, been riding a skateboard since 1984, you know, and I still do that. Still one of my outlets to this day.

And, you know, again, like as we’re, you know, we’re talking about the merch thing, you know, I’ve been doing kind of like, you know, a little bit of designing and my primary day job is it has to deal with apparel. I’m a project manager for an apparel company. So that’s another hobby of mine, even though again, it’s also work, but that’s another hobby, just like printing.

And that’s one of the reasons why you see kind of a whole bunch of, you know, merch coming out from me is because I do have another, you know, apparel company called NOR 74, which is just like my kind of, you know, passion streetwear company print. So a little bit of that, you know, a little bit of skateboarding and that’s the main ones. Those are the main ones.

[Darran]
Nice, always side business, side hobbies, side hustles. I encourage them always keeping, I think when sometimes, you know, one thing might get stagnant, at least you got something over here that’s keeping you interested in moving and then, you know, come back. I have typical, I’ve had burnouts with the DJ sessions.

I’ve had burnouts several times, not several, that sounds like a lot, but a few times, enough to be significant with film and television production where I’m like, I don’t want to touch a camera. I don’t want to do an interview. I don’t want to do this.

And luckily there was something out there that sparked my interest that kept me going. And then I’m like, let me dive back into this now because I got inspired, re-inspired by that to go, okay, now it’s time to get back over here. So awesome that you got all that going.

Well, congratulations on everything you got going. I know we’re going to see some awesome things coming from Compound, coming from Slantooth and, you know, your releases and everything out there and the shows you’re putting on. Is there anything else you want to let our DJ sessions fans know about before we let you go?

[Slantooth]
Well, I think, well, first off, I appreciate the opportunity first off. It’s always good chatting with you. We’ve covered most things.

I do have a new EP that we kind of went, you know, went over real quick called the Underground Revival EP that will be released very soon on tech support recordings. And yeah, beyond that, just keep your eyes and ears peeled for Compound Records LTD releases and mixes. Again, we got the website, compoundrecordsltd.com.

And yeah, we’re just kind of, you know, not forcing anything, you know, nothing’s forced. We’re not in a rush, you know, to make anything happen. Again, this is all passion and just having a good time.

So, but we’re always on the move. So just your eyes and your ears open.

[Darran]
And that’s at compoundrecordsltd.com. Love the website layout. Looks a little familiar, but you know, I love it.

I love it. I love that theme.

[Slantooth]
We got the same themes going.

[Darran]
Well, we’ll follow up with you here in the next few months. You know, we try to stay engaged with all our guests every six months. Maybe we’ll get some of those other compound artists on the show as well, DJs and slash producers.

Always a pleasure, Slantooth. Again, looking forward to working with you. Seeing you at Cantana Fest.

Have you on the show out there. And thank you again for coming on the DJ sessions today.

[Slantooth]
Absolutely. I appreciate you, Darran. And I’ll see you very shortly.

[Darran]
Just some days. Next few days. Next few days.

We’ll be in the mobile studio. Yes, sir. It’s funny.

More people are using that as a mobile stage now. More businesses. And I’m like, that’s not the business that I got into.

Okay, I guess it is. You know, it’s all good though. So super excited for that.

Thanks again for coming on the show.

[Slantooth]
Hey, I appreciate you. You’re welcome.

[Darran]
On that note, don’t forget to go to our website, thedjsessions.com. Find us, you know, all our socials are there. You can find that and more information.

We got 600 news stories a month. Exclusive live interviews. Exclusive guest mixes.

And more. Our merch store. Get some of that merch.

And more. Over 2,500 past episodes at thedjsessions.com. You can get tickets for our shows.

Win to win free prizes. All that information and more. There’s the QR code right there.

This is something I just threw into the show now today. The DJ Sessions. Check us out.

And you’ll find out everything about us at thedjsessions.com. Oh, go to the Apple Store and subscribe to our shows. If you want them just automatically downloaded to you, leave a comment.

That’d be really awesome for us. But all that and more can be found at thedjsessions.com. I’m your host, Darran.

Coming to you from the virtual studios in Seattle, that’s Slanted Tooth. Coming to you from Oakland. Oakland, California.

Oakland, California. In his studio, where The DJ Sessions presents The Virtual Sessions. And remember, on The DJ Sessions, the music never stops.

[Slantooth]
Peace, guys.