Chicago’s South Side DJ and producer DJ.Mc has cultivated a deep-rooted passion for music since childhood, tracing his musical journey back to the Bud Billiken Parade and performing ghetto house beats with the South Shore Drill Team. His early exposure to Chicago’s juke and ghetto house scene took a defining turn in 1998 when he discovered Gant-Man's iconic tape, which inspired him to begin producing. During high school, DJ.Mc connected with fellow local producers DJ ROC and EQ-Why, later finding invaluable mentorship with Majik Myke and Gant-Man.
DJ.Mc’s international debut on Planet Mu’s seminal *Bangs and Works* compilation in 2010 marked his arrival on the global footwork stage. Though he took a five-year hiatus, his love for production was reignited after DJ.Mc’s unique and spacey take on footwork was released on his Hyperdub EP entitled Relentless
One of the tracks', entitled "1,2,3,4,5" has a great video up on the Hyperdub Youtube Channel found HERE
For *Safe as Fuck*’s Volume 4 compilation, DJ.Mc brings “What That Be Like,” a track that embodies the expansive, unmistakably Chicago footwork sound. Layered with a slowed-down jazz sample and a heavy, driving bassline, the track also pulls in a vocal sample from *Friday After Next*, the third movie in the *Friday* trilogy. Speaking on his approach, DJ.Mc shared:
“Well, I started off with the jazz sample first and then I thought of the *Friday After Next* scene and I grabbed the vocal sample from there. The breakdown of the track came when I slowed down the jazz sample and added a massive bassline. Once those things were in place, it EQ’d itself into that classic Chicago footwork vibe.”
With “What That Be Like,” DJ.Mc channels Chicago’s signature footwork grit and soul, continuing to expand and evolve the city’s underground sound.
We had the chance to ask him some more questions:
1. Footwork's Evolution:
As a key figure in the Footwork scene, how do you feel the genre has evolved since its early days in Chicago, especially with its global expansion through labels like Hyperdub and Planet MU?
2. Collaborating with Legends:
What was it like working with legends like Gant Man, and how did those collaborations influence your approach to production and the Footwork sound?
3. Bridging Cultures:
Footwork has crossed many cultural and geographic boundaries. How has working with international labels shaped your creative process, and how do you stay true to Footwork’s Chicago roots while pushing its boundaries?
4. Impact on the Dance Community:
Footwork music is deeply tied to Chicago’s dance culture. How do you see the relationship between the music and the dancers evolving, especially with Footwork’s global spread?
5. Legacy and Future of Footwork:
As someone who has contributed to Footwork's legacy, where do you see the genre heading in the future? Are there any new directions or innovations in the music that excite you?
FRIGID
Frigid, a fixture in the Canadian experimental bass scene, has forged his path through a blend of sonic textures that span dubstep, grime, lo-fi, hip-hop, trap, and wave music, all while maintaining an urban, avant-garde aesthetic. His journey from ambitious newcomer to pivotal tastemaker began with High Etiquette, a platform through which he not only helped build Canada’s experimental bass scene but introduced many of today’s most influential bass producers to Canadian audiences.
Now a seasoned DJ and respected producer, Frigid holds a monthly residency on Subtle Radio, where his meticulously curated sets highlight his forward-thinking approach to bass music. Having shared the stage with PAV4N of Foreign Beggars, Monty, Ternion Sound, and others, he’s earned support from key figures like ENiGMA Dubz, Wreckno, and Wraz, bringing a unique voice to the evolving electronic landscape.
After a monumental year of performances, including his debut at the iconic Shambhala Festival in 2024, Frigid now turns inward, experimenting with fresh rhythms and ideas as he builds a new body of work. In this interview, Frigid delves into his inspirations, reflects on Canada’s evolving bass scene, and gives us a glimpse into what’s next for his unmistakably raw and boundary-pushing sound.
1. You've experienced both Vancouver and Montreal bass scenes. Do you feel one city is more supportive or innovative than the other, and are there aspects of each scene you'd change if you could?
"Both cities have a lot of really supportive listeners, lots of people really trying to put on for the music scene and support artists. Overall I'd have to say Montreal has a larger scene, more venues and more crews doing their thing. People in Montreal really love to party and they're open minded to new acts/styles. Having some easily accessible venues that can accommodate bass shows really gives Montreal an edge and encourages more people to take the risk of putting on an event, while Vancouver is known for being pretty sparse and expensive when it comes to venues for underground electronic music".
2. Some say Vancouver’s scene can feel a bit cliquish, while Montreal is known for being more open. In your experience, how true is that, and what do you think each city could learn from the other?
"I think most scenes are pretty cliquish from what I've seen. I think I had a relatively easy time getting to know a lot of different people in Vancouver when I was throwing shows there and performing as a local dj, though I've heard some people have had a harder time connecting with the various groups in the city. I think really just putting yourself out there can go a long way though. Montreal felt a bit tougher at first, and I think overall I'd have to say it's more cliquish here, but once you connect with people here the connections feel really genuine. There's a lot of collaboration between crews here too".
3. As someone who's built a career in multiple cities, how do you feel about the way Canadian bass artists are represented on the global stage? Do you think the scene here gets the recognition it deserves, or is there more work to be done?
"I think the global crowd is really just starting to platform bass music at a higher level, so naturally there's a lot of talent that is still going unnoticed. Canadian artists in particular tend to be a bit more slept on I think. I've noticed a lot of artists I've been following don't really get much recognition until they're getting established in the US market or somewhere overseas".
4. As someone who's been in the game for a while, what trends or shifts are you noticing in the bass scene, especially with the Canadian influence?
"I'm really noticing people getting into more groove based production, more appreciation for unique rhythms and a big rise in 140 and modern takes on classic concepts of dubstep. Riddim is still huge in Montreal but the 'deep' scene has been steadily on the rise. I've also noticed a lot more custom built sound systems popping up across the country, and more small level festivals establishing themselves. The underground scene is probably the strongest I've ever seen it".
5. Can you give us a sneak peek into any upcoming projects or collaborations? Are there any artists you are particularly excited to be working with in the near future?
"Nothing I can really talk about much, but I do have some more dubs with Perkulat0r and Wraz. Got in the studio with Pav4n after Shambhala and we recorded a bunch of stuff, really looking forward to that all getting finalized".
"Wraz is awesome to work with, super efficient and just holds a wealth of musical and technical knowledge. Learned a lot collaborating with him. And we get really excited about the same kind of stuff in the studio so it's always been a fun jam with him. Working with Pav4n was really something else, in a good way. Him and I are more similar personality wise than I'd realized. Just a couple savages going demon mode for real. But at the same time very professional, to the point and just so crazy talented. I really want to work with more rappers in the future, it's a workflow and creative environment I absolutely love".
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