Kazell
The L.A.-based DJ on the local dance scene, its place on the world map, and touring with Sasha and Digweed
Moby's 'Night' Out
The Circus Stays in Town
Running the Voodoo Down
Life in the Fast Lane
Something 2 dance 2
The Cool Kids Are Alright
Too Much Junkie Business
Up until recently, the rest of the club world didn’t take Los Angeles too seriously. Sure, the city’s been a destination for Hollywood-minded electronic-music producers, touring trance DJs, and those artists who still think raves rule. But as electronic dance music moved into swankier, legitimate super-clubs at the turn of the millennium, there was a vacuum of local DJ talent ready to fill the bill. Enter Kevin Bazell, a.k.a. DJ Kazell, who came to the United States from Manchester, England, in 1991 and quickly became a fixture at more-refined progressive house parties in the southeast and – for the last 10 years – Los Angeles.
That the 36-year-old has become one of America’s great spinners is no joke: True DJ fans appreciate the extra work and skill that goes into opening and sustaining a big night, including setting the mood, modulating energy, and handing off the baton off to the next spinner with aplomb. This week Kazell ascends to the highest level of the jock ‘n’ roll hall of fame as he joins Sasha and John Digweed on their much-anticipated Spring Club Tour 2008. The DJ has also been handling his own business – running a label, Influx Audio, and hosting a bimonthly Saturday-night party of the same name at Avalon Hollywood’s terrace. Certainly he’s one resident DJ who’s helped put Los Angeles club life on the international map.
–Dennis Romero
CityBeat: How did you end up on Sasha and John Digweed’s Spring Club Tour?p> Kazell: I’ve played with Sasha and John many times over the years, and more recently I toured with John throughout the States and Mexico. We go back a long way and understand each other’s respective styles. Both of the guys have very specific needs when it comes to selecting a DJ to set the right mood before they perform. I’m very grateful that they like what I do enough to ask me on the tour.
How do you plan to open for them?
It’s a great opportunity to showcase some of the deeper, more-atmospheric music I enjoy. I’m planning on keeping the music forward-thinking and intelligent while maintaining a subtle, elevating energy.
What have you been up to in the studio in terms of production?
Last year I focused most of my production efforts in the film industry. I did a soundtrack for an independent film, Rolling, as well as built some custom instruments for [film coposer] Harry Gregson-Williams to use on Disney’s new Chronicles of Narnia: Prince Caspian film [due May 16]. This year I’ve got several new projects almost ready for release as well as some exciting collaborations in the near future. I’ve also been exploring putting together a live band project that draws on some elements of dub, hip-hop and electronica.
When you go to other cities, what do people say about you and the L.A. dance scene?
I think people rightly assume that L.A is a mainstream-music-driven city, which, I believe comes down to a lack of smaller venues for electronic music. In most European cities there is a wealth of smaller clubs where underground musicians can build a good fan base. I love the city and it’s my hope that the scene can continue to evolve and allow more underground sounds and styles to flourish.
How’s the state of dance music in L.A. compared to the trance boom of six or seven years ago?
I’d say it’s pretty healthy. We’ve got some really diverse events; promoters like Pocket Underground and Droog come to mind immediately. The bigger clubs like Avalon and Vanguard are packing in crowds every week, and the scale of the Downtown New Year’s Eve events bear testament to how many people love electronic music in all forms in L.A. It’s good to see a major venue like Avalon diversifying its programming to incorporate a wider mix of electronic genres.
How has the influx of Daft Punk-crazed cool kids affected the scene in L.A.?
I think over the past few years artists like Daft Punk have introduced a lot of new faces into the clubs, which is always welcome.
Do you play differently as a result of the cool-kid craze?
Not really. I always try to gauge different crowds’ reactions to my sets, and when something works particularly well, I definitely incorporate it again in the future.
People decry the state of music sales, but the scene in L.A. still includes three huge, DJ-centric super-clubs: Are people at least voting for dance music with their feet?
The music industry has dramatically changed over the past few years in terms of the way music is bought, sold, and devoured by the public. I think, realistically, with sales declining, most electronic artists look at their production as a promotional tool for their live work these days. The fact that L.A. can sustain three clubs is evidence that people still want to hear and support electronic music.
Hollywood has the clubs, downtown has the new energy: Which area is hotter?
Downtown is undeniably hotter in summer!
Who are the L.A. DJs who are bringing it on a global scale these days?
Other than the already well-established DJs like Sandra Collins, Doc Martin, etc., I think there’s an amazing group of talent here that’s ready to explode globally. There also several L.A. artists, like [a]pendics.shuffle, who play a huge amount of gigs overseas but rarely play in LA.
What direction do you see dance music going in the next few years?
That’s the million dollar question! I personally believe in the next 10 years we’ll see people experimenting with sounds in a more scientific way, using specific frequencies to generate emotional responses. But I might be watching too much sci-fi on TV.
Kazell hosts his Influx Audio Pre-Tour Party featuring Ian James and Nelson Sanabria, Saturday at Avalon, 1735 N. Vine St., Hollywood. 21+. Doors at 10 p.m. Tickets: $20 presale. Info: avalonhollywood.com.
Published: 03/26/2008
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Kazell has been rocking it on the Sasha & John Digweed Spring Tour. Here's videos, interviews, pictures, and tales from the road www.30daysontheroad.com
Enjoy!
Co-poser seems like a funny typo
in a story about a DJ.
Did you mean composer?