I found this sweet interview with DIrtybird’s Christian Martin on www.musicalmissionary.com (interview posted by “Musical Missionary”):
New Christian Martin Interview
After chatting with Christian in Miami this past March at the kickass WMC Early Bird Dirtybird party, I learned that Christian has been managing the label since January. I thought this little known fact might be a good nucleus for an interview, so…
Give me a quick rundown of how Dirtybird got started and your involvement?
Dirtybird (the party) began in early 2003, before I ever played a gig. A good friend threw an outdoor party in the Mojave Desert, 6 hours south of San Francisco. Somehow, the only thing they forgot to pack was their mixer. While we waited for a backup mixer to arrive from LA, someone popped in my just-completed first mix CD and let it play as the sun came up. People danced! I felt like I was on the right track. When I returned to San Francisco, I decided to purchase my own sound system so I could throw outdoor parties in Golden Gate Park. Our first party had 20 people at its peak – now we regularly see 600. The original dirtybird lineup is myself, my brother Justin, Worthy, and Claude VonStroke (aka Barclay Crenshaw).
Dirtybird (the record label) released its first record in January 2005, but the idea began in 2002 during Barclay’s production of “Intellect,” one of the most intensive studies on DJs and producers of house and techno music ever filmed. The Intellect DVD featured over 40 interviews with legendary producers from Juan Atkins, to Swayzak. Crenshaw created the concept of the label in order to supply tracks for the DVD’s soundtrack. The bird logo was derived from a sketch cartoon character Barclay has drawn since he was 10 years old. In 2005, dirtybird began releasing vinyl. At the same time, Barclay created the DJ alias “Claude VonStroke” as a joke but the name stuck forever after his debut record “Deep Throat” sold through more than 11,000 vinyl copies worldwide.
How did the original Dirtybird crew meet and who has been adopted into the family since those first days?
I met Barclay while working on a music video back in 2000. He was at a video postproduction studio at the time – we would have been sunk without him! (the video is here: http://www.youtube.com/watch?v=x-Qf0MOqztQ)
He was working on evil drum & bass in those days. Justin and Worthy have been roommates since their days together at Fordham in Manhattan. It was pure serendipity that our interests collided to create the dirtybird BBQ. Since then, we’ve worked with so many talented people! I have to give shouts out to Tanner Ross & KiloWatts for consistently blowing our minds with their production skills, Jesse Rose & Style of Eye for rocking Golden Gate Park into the dusk, and of course Riva Starr for flipping his style almost every other week. Last but certainly not least is the 5th member of dirtybird since day one – Fernando Rivera!
So how long have you been at the helm of the Dirtybird music machine?
I’ve managed daily operations at the label since January 2008.
What were you doing right before you took over?
I was managing the bar at a sushi restaurant right around the corner from the dirtybird office!
How has it changed your daily routine?
Switching from a service industry sleep schedule to waking up early every day has done wonders for my priorities and work ethic. I am elated that my passion has become my livelihood.
Which of the label duties are democratic between you Barclay and Justin? And which do you handle by yourself now?
Justin’s feedback on potential signings is crucial, but he isn’t generally involved with the day-to-day proceedings. Barclay and I are always on the lookout for standout unsigned tracks, and we collaborate on strategy and content as each record hits the promotional stage. I handle all production matters and back catalogue management, and I am the go-to for all of our label artists and distribution partners.
How many unsolicited demos do you receive at Dirtybird Headquarters every week/month? Is that still a good way of finding quality unreleased music or do you find yourself working your network harder these days to find hidden gems with the flood of overnight bedroom producers out there?
I probably receive 20-30 unsolicited demos per month via the internet and mail. It’s not exactly the best way to get music, but I have to listen to everything, because I would kick myself if I heard a bomb track out or on the internet somewhere and then discovered it later sitting in my inbox.
What’s the typical release process you go through for a new record as far as hyping it up?
It starts with a onesheet, which contains crucial info like tracklisting, UPC code, release date, and artwork. It also contains a very short (1 – 2 paragraphs) description of the record. I have to strike a balance between descriptive writing (a summary of how the tracks unfold & what they sound like) and business writing (hyping up the artist’s previous accomplishments on other well known labels). A successful one sheet should make you yearn to hear the music immediately. This goes to our distributor, who puts it on their site and packages it inside promo copies of the record when they are ready to be sent out to around 60 tastemaker dj’s and press contacts around the world. We also send digital promos out to more djs/producers in our network – people we’ve met, producers who have worked for dirtybird/mothership, etc. I gather & organize the feedback, as well as trying to track down any videos of tracks wreaking havoc in packed clubs. It’s a lot easier to sell a record if you can show the effect it has on people.
What are your short-term and long-term goals for the label?
My short term goals are to keep the production schedule running smoothly on dirtybird and mothership (the more experimental techno label). Each vinyl is a nine week process (acquisition, mastering, test pressing, promotion, distribution), so there are always several releases in various stages of development at all times. On mothership, I am coordinating the fall ‘08 release of an artist album from Catz ‘n Dogz (aka 3 Channels).
In the long term, I will continue to expand the dirtybird brand, both within and beyond the dance music community. I recently coordinated a deal to place selected dirtybird music on airline radio networks, beginning in June. We are planning a remix contest with a high profile music software company, also happening in June. I would like to introduce our dirtybird party to more cities as a complete entity and experience, much like Ghostly have done. We will be together in Europe this summer for several dirtybird parties, so the groundwork is laid!
Give us a taste of what’s coming out soon and maybe not so soon on the Dirtybird label?
There is a new Martin Brothers record, the “Rocket Surgery EP,” in the final stages of production. It’s due out in early June. It is three club-smashing tracks, heavily influenced by Bay Area hip-hop and werewolves. Due in July is a single from SF’s J.phlip, called “Rumble Rumble.” She built the song around an earth-shaking 40 Hz bass tone and soda cans opening. It was a lock after hearing it on massive sound systems all over WMC. In August, we’ll be dropping EP’s from the next Claude VonStroke full length album.
Describe what makes Dirtybird unique?
From our first BBQ in Golden Gate Park to our recent label showcase in Miami, we have strived to create events that gain momentum and intensity as they progress. That philosophy - combined with elements of playfulness, surprise, and nasty bass lines - is the driving force behind all of dirtybird’s music.
How about DJing? Do you find yourself DJing as much as before?
I am DJing more than ever now, travelling to new cities all the time. In San Francisco, I now have two monthly parties. There is the long running dirtybird residency at Shine (3rd Fridays), where we throw down nothing but dancefloor bombs after about 11:30 PM. Then there are 4th Tuesdays at 222 Hyde with Justin and Monty Luke (mothership, XLR8R). It is more of an experimental night – we delve into the newest deep techno and subterranean house we can get our hands on. It’s a pleasurable challenge to consistently entertain both crowds.
I hear your Dirtybird parties are quite the rage in San Francisco. What do your guys have planned on that tip?
We have two confirmed Golden Gate parties, on June 1 and August 10. On October 3rd, we’re taking over Mezzanine’s rib-rattling Function One soundsystem. October 4th is Lovefest – San Francisco’s take on the famous Berlin party. We’ll all be playing on a float downtown. It will be a memorable weekend - bring earplugs!
How did your WMC go this year? What were your highlights?
Without a doubt, this was my best WMC. Instead of running around town chasing after parties, I played four stellar gigs and relaxed (sort of) the rest of the time. Highlights are all gig related: pulling up to our dirtybird party at Studio A at 7:30 AM with Barclay after flying all night and entering to see packed dancefloor was easily the best start I could have asked for. I had a ton of fun playing for Sean & the Heatr crew on Friday night – it was a nice break from Miami mayhem, and it led perfectly into my Saturday morning Aquabooty warehouse set. Sunday morning, I was lucky enough to play up on a rooftop with the ocean at my back and all my friends lounging around as the sun came up..
What can we expect from your upcoming gig down here in Miami on May 24th?
I always welcome the opportunity to play on a nice large sound system like Vagabond’s Funktion One – it gives me the chance to drop those tracks with the lowest notes, the illest buildups, and the best payoffs; tracks that I would be less likely to trust on smaller systems. Plus I have a treasure trove of unreleased goodness from both dirtybird and mothership. That always helps!
