May 1 2008
THE RCRD LBL INTRVW: Jason Bentley Of KCRW + West Indian Girl (Jason Bentley Remix)
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RCRD LBL: Give us some quick and colorful background on who you are and where you've been.
Jason Bentley: Growing up in Boston and Los Angeles, I always had a fascination with music and culture and a special interest in radio. In 1988, while back-packing across Europe, I fell hard for Acid House and what was termed New Beat at the time. Once settled at college (and realizing House music was an American art form), I got involved at the campus radio station and made my new found interest in underground dance music a focus. The LA rave scene was kicking off in a big way in the early '90s, and I was on the front lines. I started writing for URB Magazine, and became their first Managing Editor. In 1992 I scored a regular slot on public radio station KCRW, which I still thoroughly enjoy each weeknight. By '95, I was approached by alternative rock station KROQ, and have produced Afterhours every Saturday night since. Both my KCRW and KROQ programs feature a wide range of alternative and electronic music. In the music business, I have worked at London Records, Island and Maverick, and done quite a bit of Music Supervision for film, advertising, and video games. I have also produced countless music events locally, and hit the studio for a string of remixes.
RCRD LBL: Tell us a bit about your current projects. You seem to have your hand in all sorts of interesting things from being a DJ to a music supervisor to an A and R man to a party promoter. How do you see these things harmonizing with one another from a professional standpoint?
JB: There's definitely a broad continuum that connects my interests in music, from DJing to music consulting, writing and remixing, and from a professional standpoint it's a challenge to make sense out of it all. I think you have to fundamentally trust your instinct for what you love as a starting point. To quote Ralph Waldo Emerson, "once you make a decision, the universe conspires to make it happen," and you've got to have that kind of confidence when going out on a limb for a career in music. Of course, having the commitment to follow through is no small task either, but it all starts with believing in yourself.
RCRD LBL: Since radio shows have always been a great medium for breaking new talent and DJs have always been responsible for breaking records and artists, I wanted to ask you how you see the role of the tastemaker today as compared to five or ten years ago.
JB: I don't have to tell you guys at RCRD LBL that the model for how people are exposed to new music is changing. I think radio is still a healthy format, but it's not the only outlet in town. I have definitely noticed a shift, both in the ways I acquire new music and produce my program, and how the listener is engaging the show. Innovations in the DJ booth have given me instant access and creative control of vastly more music, and I find more music online than ever before. At KCRW, our online audience has increased significantly, and we've supported this growth with all kinds of web features to personalize the online listening experience. At the same time, I do have some concern for the quickening pace of music consumption, and I notice a lot of bands being elevated to global status before they're quite ready for it. There's a danger of art becoming somewhat disposable when it reaches a critical mass too quickly.
RCRD LBL: Who are some current musicians/artists/producers you see as being innovators today?
JB: I'm enjoying the new M83 record a lot. It's a fresh take on a very familiar feeling having been a teenager in the '80s. The album is an homage to the fragile idealism of youth, and plays like the soundtrack to a classic John Hughes film. Other than that, I've been working with this Director Joseph Kosinski for a while, and I'm always amazed by what he's doing in the advertising and film worlds. To see his process first hand, it's amazing how he imagines an entire world before it exists in any real way, and pieces it together though a process of computer visualization. Once you see the final result, it's pretty stunning.
To wrap things up, we had Jason hand pick some of his favorite tracks from the site and talk a little bit about each one. Here's his top five:
Little Dragon - Fortune
Love how the synth melody works with Yukimi Nagano's vocal on this choice track recorded for the Japanese release of LD's debut.
Jamie Lidell - Figured Me Out (LA Garage mix)
I can't believe what a stone cold funk furnace this kid is. We're seeing a lot of artists return to a vintage production sound these days, but it doesn't feel contrived here. Jamie Lidell just owns it.
Kid Cudi - Day & Night (Crookers remix)
This remix has a sick rave style synth riff that's hard to resist.
Santogold - L.E.S. Artistes
Really been getting into Santogold's album, and this song sets off the CD in a fine style. Can't wait to check her out at Coachella.
The Black Ghosts - I Feel Space vs Something New
Touche' from The Wiseguys meets Simon from Simian? I'm down.
Zoot Woman - We Wont Break
I'm definitely looking forward to their third album, especially if this song is any indication of what's to come.
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