Smile for Camera: Music, Nightlife, Photography, + more

It’s not often you get to speak with someone who basically invented an entire musical sub-genre. When speaking today with DJ Icey, this is exactly what I got to do. Icey is, of course, one of the original forces behind the Breakbeat sound (and more specifically a pioneer of “Florida Breaks” and the Florida scene in general), and has DJ’ed at some of the world’s largest venues and festivals alongside the biggest of A-list DJs. Words can’t even begin to cover the Icey’s influence on music in the Sunshine State and the US. One tiny example: The Chemical Brothers played their first US gig (here in Orlando at the now defunct Edge) at his behest. Alas, months in the dance music world feel like years, and sounds change and evolve, as must a DJ and producer. Icey’s done just that, and will be showcasing some of his new material and style THIS FRIDAY (Jan 13th 2012) at Smile For Camera’s “Fuk’d”. Also on the bill is a young up-and-comer on Icey’s label Zone Records…Meaux Green!

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Listen to Icey’s latest track while you read:

Here’s a little of what the man himself had to say about his return:

So, tell us a little about what you’ve been up to, musically. We’ve seen a flurry of new material.
Yeah just always banging out tracks, Originals for my Zone Records Indie label and remixes for my DJ sets or to give away on my Soundcloud page. I do a weekly show on Sirius XM Electric Area channel, so I also like to make exclusive content for the show as well.

How would you describe your sound now?
My sound still has it’s roots in my Miami Bass background, the 808 kit, big kicks layered with massive sub bass, etc.. It’s all worked into a down low goodness of booty shaking electro bass, def on the party rocking tip, everything thrown into the mix vibe.

Give us a quick ‘state-of-the-industry”. Who are the producers/DJs/labels to keep an eye on this year?
Very exciting time for EDM. With the advances in digital audio musical production and a greatly diminished learning curve compared to even 4 years ago with packages like Abelton, the playing field is wide open for producers. If you can make that one tune that a wide range of DJs want to play, whether you sell it on beatport or give it away on soundcloud, and be able to follow it up consistently with a handful more of the same caliber, you can fast track to success in the business quicker than at any other time in the history of electronic music. Labels are becoming increasingly less important and have taken a back seat to the Artist. I routinely find gems of tunes i put on my radio show from new producers on Soundcloud. Sadly though to me, the days of someone making it big in the industry strictly as a DJ are over, You have to be a producer now or the odds are extremely stacked against you to take things to the level of a touring DJ. Don’t underestimate Youtube, more EDM music is consumed through Youtube than all the other platforms combined.

A lot of people are talking about Skrillex and the Grammy nominations. What does that mean to you? What do you think it means to dance music in general?
I think it’s great Skrillex grabbed 5 Grammy nominations, Deadmau5 grabbed 3. The Grammys has always had “dance” categories but Skrillex being nominated in “Best New Artist” is huge, i hope he wins. The massive explosion of dubstep in the last year alone really helped fuel the acceptance of EDM to the masses. 2011 was definitely the year that electronic dance music invaded the mainstream in America, what does that mean to dance music in general, don’t know, the definition of what is considered “commercial” will be challenged along the way. Three years ago there were very few EDM Artists who could tour like a rock band and play concert venues, that barrier has been tossed out the window

What do you think of Orlando’s (and on a larger scale, America’s) current dance scene? Where do you see it headed?
There was def a bit of a dry spell for a handful of years in the US, with the recession, venue closings, venues switching to hip hop formats, new kids coming of age to go clubbing but listening to bands and hip hop and not dance music, that’s all changed. Dance is on a upward spiral all over the U.S. currently, it’s like the rave scene of the 90s on steroids and available to a much wider audience, enhanced through digital and multimedia consumption.