DJ Star Eyes is a Brooklyn-based DJ and music producer who recently wrote in to discuss her road to becoming a DJ, her approach to production and crazy memories such as getting a gun pulled on her by a Russian mobster. You can witness her outstanding DJ talent at the 2011 Voodoo Music Experience at City Park in New Orleans this October.
Catch Star Eyes at VooDoo Experience! (Photo Credit: Blog.dubspot.com)
How old were you when you first starting DJing?
15 years old. When I told my mom I was using my savings to buy turntables she said “Is this just like the bass guitar you bought that you never play?” Boy was she wrong. I’m pretty sure DJing is the thing I’ve stuck with the longest.
What were the hardest aspects of DJing when you were first getting started?
Just tapping into the right music was the hardest initially because it was the mid-1990s and before MP3s and rampant internet access and everything. You had to go to the record store and ask a lot of questions and do a lot of digging. I was kind of shy so that was hard for a while to be up in front of people. And for a few years I always had to be snuck into DJ gigs (if they were at clubs)!
How did you get the DJ name Star Eyes?
I’m named after an old-school rave song that I really like called “Star Eyes” but I think its a pretty appropriate name for me. I’m kind of a dreamer and I’m into astrology, astronomy, Egyptology, and all that romantic, star-gazing type stuff.
What do you feel are the worst trends in today’s dance scene (musically or otherwise)?
I think the worst trend in general is people making music just because its going to sell and not because its what they are really feeling. There is a lot of pressure to make big bangers and huge dancefloor anthems and sometime I think some great music that could have been made gets lost. I also think U.S. dance music lovers could be a bit more open-minded about what they hear on a night and festival promoters could take more chances with the acts they book. Crowd-wise, some people get so upset if every DJ isn’t playing the same sound or same style, and my favorite nights are where there is a music variety. In general though, I think the dance music scene is healthier than its ever been so can’t really complain.
Who are some of your favorite DJs and why?
I love the DJs from my Trouble & Bass Crew (Drop the Lime, AC Slater, and The Captain) because they all play tracks I really love and I get so much inspiration from how they do what they do. I also love Redlight, Plastician, and Andy C from the UK (heavy bass, dubstep, and drum & bass respectively), and oh man… i dunno. got to think more about this one. i probably have a favorite from every style.
How did Trouble and Bass first come together?
I met The Captain in the Lower East Side and we started doing a debaucherous party at Lit Bar called Dirty Down. During the same summer, I met Drop the Lime and we embarked on crazy adventures including tequila shots, me getting a gun pulled on me by a Russian mobster, 6 am jam sessions with Holy Ghost and Roxy Cottontail, graffiti, and plenty of big bass. Fueled by our joint obsession with big heavy bass and something we felt was missing from the NYC club scene, DTL and I started Trouble & Bass and here we are now with a record label, clothing line, booking agency, parties, and plenty of crazy stories.
What do you enjoy most about the scene in Brooklyn?
People are so up on new music and there are so many people DJing and producing there its like Mr. Rodgers Neighborhood of dance music. You run into so many people whether you’re going to get a coffee or going to one of a bunch of great parties. But probably the absolute best is that people are pretty supportive of each other’s music across totally different genres. It’s very inspiring and exciting.
What is your setup when spinning live?
Pioneer 800 mixer, serato 3, serato vinyl, microphone, monitor speakers, Makers Mark bourbon, lots of vibes.
Do you prefer spinning with vinyl or CDJs or via laptop?
I usually play with Serato using vinyl. It was a godsend after years of lugging around a really heavy record bag, but I still love the charms of playing vinyl and the smell of a dubplate.
How has your approach to production evolved over the years?
I haven’t been producing for very long so I guess its always evolving. With every track I learn about five new things that I can put into my new stuff, and whenever I work with other people I always learn some new tricks. But I think the evolution of software has made it so much easier for me to make the sounds I want. I originally tried my hand at production in 2000 or so but I think I got frustrated with the equipment at hand (outboard samplers with Cubase).
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