Something about Stacey Pullen:
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit\’s legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world\’s most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability – defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator.
From the age of 9, playing flute in his school band, Stacey has always been playing musical instruments. Throughout his school years, he developed a fantastic groundwork in analogue instruments and performance, moving from flute to his self-taught next choice of percussion. In his final years at school he found himself travelling around to a lot of cities in the USA playing in school bands, which gave him a taste of – and preparation for – the travelling involved in life as a musician. He had also seen and been prepared for a musician\’s life from watching his father who was in a Motown band called the Capitals in the 1970\’s, filling much of Stacey\’s childhood with observations of a life dedicated to music and travel.
Around 1985, while Stacey was still drumming and travelling with his high school band, the Detroit Techno movement was born, and provided a revolutionary sound to the youth of Detroit. The Electrifying Mojo filled the airwaves with this radicalism through new electronic rhythms, and showed a generation or more of musicians and DJs what true musical eclecticism means. Jeff Mills began to take musical technology to new levels redefining the borders between DJing and production in a way which had never been done before. DJs in Chicago like Farley Jackmaster Funk, Ralph Rosario and JM Silk were spinning proto-Chicago tunes on WBMX and Hotmix: they were the leaders of the new school of black music. The youth of Detroit, including Stacey, were listening and learning.
Stacey Pullen and some friends from his band took their cue from these musical leaders and began to experiment with turntables and a mixer. He would – as have many aspiring DJs since – spend his allowance on records and go hungry, going straight from school to the house of his friend who had equipment. He also started clubbing around the age of 15, the first club he frequented was called \’The Primadonna\’, the first DJ he remembered was a local legend called Alan Ester and the first music he was clubbing to was called \’Progressive Techno\’ – not in the sense of the word that we currently understand, but because, in Stacey\’s words “back then the music we called house music, techno, was also called progressive music – the meaning of \’progressive\’ was a futuristic way of thinking about music. That was what we called progressive. Back then for party music in Detroit only hip hop was big – music like techno was progressive then.”
His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn\’t remember much about the music, but he certainly does remember the experience:
“It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet – to have that power and make people respond to the music that we played.”
Stacey graduated and went to university in Tennessee, which was devoid of the progressive sounds of Detroit, and artists like MC Hammer reigned. He DJed at a few gigs, playing Model 500 and Rhythm is Rhythm and clearing the floor. He would make the eight-hour trip home at weekends to go to legendary Detroit club \’The Music Institute\’, and get his fix during the week with tapes he would share with fellow Chicago and Detroit students also left high and dry in Tennessee. In 1989, while still at university, Stacey bought his first drum machine – a Yamaha RX7, he thinks. Between the excitement he felt playing and the experiences he was having on the weekends, Stacey was left wanting more than he could fit into his university life. He decided to quit school and return home to Detroit and make a life of music. His parents, with his father\’s own musical history, supported Stacey\’s decision and he returned home, moved back in with his parents, and quickly started to develop his musical ambitions.
Artist: Stacey Pullen
Tittle: Electronique Podcast 137
Rls date: 03-10-2011
Genre: Minimal Tech
Stacey_Pullen_-_Electroniqu…mp3 (86,57 MB) – uploaded.to
Free File Hosting, Online Storage & File Upload with FileServe
Download Stacey_Pullen_-_Electronique_Podcast_137.mp3 for free on Filesonic.com
Get Stacey_Pullen_-_Electronique_Podcast_137.mp3 on Wupload.com