SPILL FEATURE: FIRST MOVEMENT – A CONVERSATION WITH MISTER JOSHOOA

FIRST MOVEMENT

A CONVERSATION WITH MISTER JOSHOOA

Detroit is the birthplace of techno and Mister Joshooa (aka Joshua Guerin) is a product of that place. For the last 20 years he has been a DJ, and under the mentorship of club owner Ivory “Tree” Graves, helped develop the Detroit electronic music hotspot TV Lounge, where he is now both the general manager and music director.

Mister Joshooa has worked with a number of local and international labels alike. He has released solo projects and collabs with 20|20 Vision, Planet E, Life and Death, Info Lines, Cryovac, Moteur Ville Musique, Mule Musiq and Party Store Records, just to name a few. Inspired by his love for vinyl and deep respect for music and production, he launched his own label, My Baby, in 2016 with Eric Ricker of Ataxia.

Detroit’s annual Movement Electronic Music Festival, which took place over the US Memorial Day weekend, is annual pilgrimage of techno and other electronic music enthusiasts. Covering three days and five stages, the festival presents a dynamic cross section of electronic music, with a special place for Detroit-artists.

Mister Joshooa joined in on the celebration with a Sunday set at the Waterfront Stage as well as three sets at the TV lounge over the weekend.

‘Playing Movement means the world to me. I remember going to the first Movement, when it was called Detroit Electronic Music Festival. At the time, I knew very little about the music or the Detroit scene; I was a total newb. I also was completely enamored by the whole experience. I remember thinking that I knew nothing and wanted to know everything. So, to get to be on stage now still kind of seems like a dream.’

Performing is a bit like walking on a tight rope. Depending on the day it can be unequal parts frightening and exhilarating. Unlike live band performances which usually follow a relatively static setlist, DJing is a lot more seat of the pants.

‘I don’t pick out my set, ever. I have an idea of some records I’m going to play, but I think committing is a mistake. I think the magic is in the surprises, the unexpected things that can happen when you stop trying too hard. Stop trying to control it.’

Magic and surprises can work both ways, of course, but their creation does not evolve from nothing. It is not an accident.

‘When you get on stage it’s just about knowing the records that you have inside and out and being prepared. Prepared so you can respect the thing. What do they say? If you fail to prepare, prepare to fail? I pack my records very carefully. I pack a few different styles just in case I want to make a change. I don’t like to commit.’

This approach is totally risk and reward but sometimes the risk is not rewarded. ‘I mean, you have to roll with it and own it. If you sweep it (mistakes) under the rug it brings down the energy level of the crowd. But if you own it and work with what you got until it’s good to go, that’s okay. People actually enjoy that sort of thing. I think they enjoy listening to people fix their “mistakes”. They’ll forgive you and they’ll also forget pretty quick as long as you give them something that lets them forget.’

Mister Joshooa’s use of only vinyl in his performances really pushes the edge. While technology continues to march along on in in the live performance of music, making the process simpler, there are ebbs back to the way it started and the way it used to be. Just look at the resurgence of vinyl. In the context of techno (and house) music turntablism pays homage to this artform’s roots.

‘I mean, I guess what it comes down to is I just really enjoy playing vinyl. It makes it fun for me and if it’s not fun, I’m not really going to do it. I find CDJs (digital music players) to be kind of boring because they’re so easy to play.  I just think it’s not for me. Vinyl is how I started, and I dabbled in a couple of other ways to play and then even when I was playing vinyl, I would have a looper and a delay pedal and a reverb pedal and all this stuff, and a fancy mixer.  At the end of the day, honestly, I ended up with just two turntables and a mixer. That’s it. No effects. Maybe a filter. To me, that just seems to be the best tools for improvisation.’

Speaking of ebbs and flows Detroit is very clearly in the midst of a renaissance, and Movement is such a clear testament to this. It is obvious that the music scene in Detroit has played a critical role in this revitalization, fostering the city’s culture and community and creating this sense of togetherness.

‘Well, I think what they’ve been is a constant, the arts community, it’s just been one of the few things that has always been a constant in Detroit. When I moved down here in 2002 or whatever, Downtown’s all boarded up. There was nothing. There were no city services really. The lights weren’t even turned on at night. It was just whatever. But it was still incredible art scene. That’s why I moved down here and it’s still that way. It’s always held the test of time. I think it’s important that it’s still here because that’s the one thing that has super defined the city and continues to and always will.’

‘I mean, DJs, they seem to be sort of unofficial ringleaders of it all. They’re the ones who are always finding new music and bringing it to the table. I don’t know. It’s interesting because now it’s very saturated to DJs. If you would’ve asked me that question 15 years ago, it would’ve been simple. Every DJ in Detroit is fucking incredible, and the bar is set super high.’

It’s not like everything is chocolate and roses though and there is a cautionary tale waiting to be written. ‘Now DJing is so common. Every little hotel lobby, every little restaurant has DJs playing dance music, and it’s starting to feel a little watered down. So, it’s interesting. It’s still very important for Detroit DJs to do what they do to go against all this watered-down bullshit that’s happening’.

Maybe things are becoming a bit oversaturated but honestly the audience that cares about art should be able to discern the wheat from the chaff and the art from the entertainment. It may portend some future musical disruption, which, by the way, is how both techno (and house) got its start anyway. For now, artists like Mr Joshooa are caretakers of this scene and ensure that the art remains strong.

(Festival Photography/Video by Paul van der Werf)

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