1. what’s your name, where are you from & how did you get involved with music?
my name is Justin Deremo. i’m from Joplin, Missouri but grew up in different areas due to my father being in the army, so that i don’t identify my childhood with any one particular place. when i was very small there were adults around who talked about music a lot so that i always assumed it to be a big part of life; i started paying close attention to MTV and the radio around seven. when i was 12 someone gave me a guitar and i took lessons. a year or two after that one of my friends purchased a four-track and a combination delay/pitch-shifter pedal that both remained at my house for unusually long periods of time. my musical activities continue to be an extension of sitting on the floor and playing with instruments and effects.
2. how did your particular track in the mix come about/is there a story behind its creation?
i let my emotions point organically to whatever forms or concepts may develop. the Joplin tornado is the dominant thread in “Bless No Stress,” but it also associatively alludes to the Japanese tsunami and Madonna’s “La Isla Bonita.” not in a way that makes complete sense intellectually, but rather as an impressionistic ebbing and flowing, similar to a dream environment. dub is the skeletal form on which associations are hung, appropriately so since where reggae may be thought of as conscious, so dub is the subconscious – literally the flip-side in the case of vinyl.
3. who or what inspires you to create? and how do you STAY inspired?
inspiration is anything that moves me, which may come from any area: personal life, the works of others, global events, public discourse. staying inspired is not something i perceive as a problem since there are infinite varieties of experiences and ideas in the world and i do not have enough time for everything i want to do/take in as it is.
4. your opinion on copyright and the sharing of music? (specifically tunes made by unsigned, under-the-radar and bedroom artists that are then shared by fans?)
it’s an artificial situation in the past century that music has become such a controllable economic commodity via physical recordings and mass-production. art may thrive independent of economics, suggesting that its inherent value is not economic. this isn’t to suggest some over-simplified idealism or to say that culture and economics don’t overlap, only that the way things are extends from the natural dynamic of average people sharing their talents with each other and heavily-subsidized art remaining the realm of the affluent or privileged. technology has revealed the artificial nature of the 20th-century economic situation with regards to music, causing the bubble to burst.
via the internet, we have access to greater numbers and varieties of people, allowing for more opportunities to share and learn from each other, not being stuck to our villages and towns. culture is surely at a peak, even as many lament its downfall. increased interactions means greater opportunity for mutation: more muck destined for extinction, but also more opportunities for evolution.
5. the best place to listen/download/buy your tunes? and any final words you’d like to say to the Internets?
i hope you may like it or find it interesting on some level; i promise to keep making things as long as i live.