INTERVIEW BYSEAN OCEAN
DJ Hockey is a bold and innovative force in the electronic music scene in the Pacific Northwest. Known for dynamic blends of Techno as well as hints of broken beat and electro, his sets feature textures and intense rhythms that are both somewhat sinister and simultaneously psychedelic. As part of PPRZ Records, a Vancouver-based label, DJ Hockey continues to push boundaries and shape the future of music with an original spin. Dedicated to fresh beats and bold collaborations, he’s carving a path within the scene all his own. In preparation for the Ground Level podcast, we caught up with him to discuss his influences and inspiration.
How do you balance blending varied styles of music in your mixes? The textures you’ve chosen in the past to blend are pretty wild. Do you look for common paths and routes between varied records to blend them seamlessly?
I approach podcast series and online mixes differently than my sets in clubs. I really enjoy hashing out a complete story for the podcast series. Finding that string of tracks that fit perfectly together creates something to get totally lost in with headphones. In clubs, I think there is more energy taking sharper turns & a more spontaneous approach. I still try to be smooth, but it’s less important in that context. I’ve always been attracted to songs that lean heavily into sound design and textural elements. I typically go through my collection to pull songs I already have and purchase a few more that will fit the gig or set to build something cohesive.
What themes are most present in this latest mix for us? What was your overall approach? How did you find your direction in this set?
My mixes usually start out being particularly inspired by a few songs I’ve recently discovered. For this one that was Zadig’s “In The Abyss of Time” which is the song following the ambient intro. My brain keeps thinking about an electrical storm when listening to this mix. I like the dissonance and distortion in the songs, and it has that heaving low end energy throughout to push it along.
What inspired you to start the collaboration with Adam 2 with PPRZ Records?
We really wanted to have a platform that showcased both local artists and our friends in North America. We were joking one day, as we both are fans of Poppers, and laughed that we should make a label out of it. It stuck, so we did! While not exclusive, our label aims to feature queer artists often which aligns with the name of course.
How does PPRZ Records support emerging artists in the electronic music scene?
We like to give artists a platform to release their DJ sets and productions. Whether that be through our compilations, or working with an artist to release a whole ep. We try to be fair and pay our artists for their music which is important to us.
PPRZ has been known as a particularly ravey enterprise. Can you share the vision or mission behind PPRZ Records? What sounds are you looking to curate and represent?
Adam and I both enjoy moody, trippy music which swirls around your head. I think that is also representative of the feeling while doing Poppers. PPRZ is a ‘techno’ label not confined to 4/4. We appreciate and platform music of many varieties under the techno umbrella whether that be broken beat, electro and even some dnb or half time stuff!
In your own music, such as in the “Push/Pull EP”, and “Celestial Pursuit,” what do you search for the most? Is it uniqueness, or is it a detailed attempt at twisting neurons in unexpected ways? Some of the suspensions in there are quite mindbending.
One of my favourite things about techno is how versatile it can be. I love how you can create or release tension, whether that be drawing people in with a moody and reserved song, or creating a moment of intensity. I try to think about that while creating music. From a technical side, often what I am searching for the most when I make music is an answer to the question, “would I buy this?” It’s something to aspire to, atleast. I want to always keep growing with the goal to be at the level of my favourite tunes I’ve ever purchased.
How important is it for you to represent the queer community and its visibility in Vancouver?
I think queer representation in dance music, including Vancouver is pivotal. I genuinely think the girls and gays do techno on another level. Queer’s (often) in my opinion have a sensibility of SASS in dance music that can be injected into any style. I don’t feel like I ‘represent’ the queer community in Vancouver, but I do feel a part of an ecosystem of queer talent which hopefully props up other queer artists I believe in when I can.
What challenges have you faced getting your music out into the world stage and connecting to people? Have you encountered any barriers?
I honestly just love this music so much, I haven’t faced many barriers. I think because I forge relationships slowly and genuinely things have slowly developed through friendships near and far. Of course I’ve faced rejection, but that is par for the course and something to take with a grain of salt. I like to party and attend other people’s events which really helps being a part of your local community and meeting new people. Instead of being bitter about not getting booked here, there or wherever, it’s best to just book your own parties!
Politics seems to be hard to escape, even in the electronic music community and everywhere these days. Is there any political aspect to PPRZ? Are there causes or charities you’re passionate about and would support through your PPRZ platform and podcast?
We’ve made donations through our three fundraising compilations. One for a local organization named Atira which is a resource society for women offering many services including low barrier housing etc. Our second compilation we donated to the Vancouver Black Library which is a library which features resources by and for BIPOC. Our latest compilation we raised funds for The Palestine Children’s Relief Fund. Politics in my opinion are not something to try to escape, they are a part of everything we do, and dance music has always been political.
Take the good and the bad. What’s the biggest change you’d like to see for yourself and in the scene in the coming years?
For myself I’d like to continue to push myself as an artist, follow my passions and expand my audience and build upon providing memorable experiences for people through events, productions, mixes and sets. For the scene I hope this capitalistic, boring business techno phase fizzles out which I am fairly confident it will, as all trends do. Whether it does or not though, I know there will always be a strong undercurrent of events and people which prioritize inclusion, accessibility and have good intentions through sharing amazing music experiences.
