Glimpses of the South Florida Scene: The Get
of the South Florida Sceneis devoted to the
artists thriving within Broward and Palm Beach counties featuring
interviews with the folks making it happen. This week, The Get.
Edwin Jantunen, AKA the Get, has the ability to take any track he
remixes and put it through a juicer of metallic stardust -- it always
ends up dissolved (check out his remix of
Phoenix's "1901," which skips some of the build-up to the anthemic
chorus). His own dance tracks have that same unrefined, gritty quality
-- dubstep with beats that nearly fall to the wayside before
unexpectedly rematerializing more banging than before; glimmering
tracks tailor-made for a blurry night. Now that he's a co-creator of new
he's got new platforms to help let the glinting light of his creations shine.
New Times: When we first heard about you, you were DJing at
Sumsun shows, but you're also a musician. Tell us about how you started
DJ'ing, doing remixes, and eventually making your own tracks.
Edwin Jantunen: I have been playing in some band or another ever
Foreigner w/ Cheap Trick and Jason Bonham's Led Zeppelin Experience
TicketsTue., Aug. 1, 7:00pm
Double Feature: Straight No Chaser/Scott Bradlee's Postmodern Jukebox
TicketsTue., Aug. 1, 7:30pm
Blondie & Garbage: The Rage and Rapture Tour
TicketsTue., Aug. 8, 7:00pm
Guns N' Roses: Not In This Lifetime Tour
TicketsTue., Aug. 8, 7:00pm
Lionel Richie: All The Hits With Very Special Guest Mariah Carey
TicketsThu., Aug. 10, 7:00pm
since I bought a bass guitar in the eighth grade. I met Judson [Rogers, of Sumsun] in high
school, and we ended up recording a few things. By
this time, I had started making my own tracks because I just couldn't
find any friends that were as into post-rock as I was. I was very big
into Constellation records and Sigur Ros, Mogwai, etc., at the time and
loved the whole concept of dynamics within instrumental music. I
started DJ'ing later on because I thought it'd be fun. It was a new way
to express myself, and it also gave me an excuse to buy a PA and some
live performance gear. My approach was definitely not the traditional
one at the time, but it was the cheapest. I don't use turntables simply
because I was broke, so now I do everything internally with Traktor.
I did some house parties and a couple of mobile gigs -- kids' parties -- to
pay off my equipment. Mobile gigs suck, by the way. After that, I
started remixing a lot more, just because it's a crucial part of music
culture. Eventually I started playing at more legitimate venues, though always as a DJ and never as an original artist. (I really have to thank
all the DJs at Respectable Street, especially J.J.) My music is so
eclectic and varied stylistically that I've never been able to make a
cohesive live set that truly captures my vision. I'm a real
perfectionist when it comes to this.
Wait, why do mobile gigs suck?
I had to deal with parents who thought they knew everything about
everything and still tried to stiff me at the end of the night. That,
coupled with spoiled little kids asking for Soulja Boy and Lady Gaga --
plus stupid party games -- equaled me out of the equation as soon as I paid
off my gear.
You've already mentioned how you met Judson, but how did you get
involved with Sumsun, performing live with him? What are you bringing
to the act?
The first incarnation of the current Sumsun was in December '09 at a
Dewars' house show. We played a one-time show as the Real Sun, doing an
early version of "Ants" and a couple of other Samo
songs. It was a really relaxed thing with our samplers all chained up,
sitting on the floor across from each other. It was funny that we found
ourselves back there a year later playing some of the same songs with
the same gear. I ended up in Sumsun because Judson had been looking to
expand the sound and live dynamic for a while. As far as what I do
live, I'm basically handling a majority of the drums and bass as well
as mixer and line effects. This frees Judson up to really nail the
guitar parts and add further texture and tones with his samplers on top
of the core that he already has. Structure-wise, we are very loose, and
it's different every time we play, so we just cue each other on what we
want to happen next.
Your own music has a wide range -- it's dubstep-y, house-y. I know
you're into Sigur Ros and Mogwai. What are your other influences that
have contributed to your own sound-making?
As far as my influences go, it's a very difficult sound to nail down.
Post-rock, especially Lift Your Skinny Fists by Godspeed You Black Emperor! was a huge
influence in my early attempts at songwriting. Later on, going to UMF
and learning about minimal techno and techno in general really made me
fall in love with dance music. Going to Philadelphia in '09 also taught me a lot. I've ended up DJ'ing quite a bit up there during
the last two years, but it's more guerrilla stuff -- basements and
rooftops. More recently, it's been my friends and all the local
bands/DJs and other, lesser-known bands that I've met. It's not always
so much the sounds they make but the attitude and personalities they
have. I've really expanded my idea of what's possible as a musician
over the last year because of all the musicians I've met.
How do your songs come about; what's that process like? For example,
that song "Mawf" is feel-good and pretty. Do you know what you want
the song to sound like before you record?
My songs come about from everyday incidents -- a slip of the tongue or a
friendly smile. Pinning down that which moves me is a feat that still
eludes. A strong feeling will overtake me, and then I will be compelled
to translate that feeling the best I can through music. I start with
this feeling, and it evolves as I carve away at the timbres and
textures. I may have some kind of idea of where I am going when I start
a song, but I let each piece take itself to where it wants to be, which
may explain why I have such a wide variety of music. I am very much at
the whims of the everyday occurrence, and anything can create an emotion
that sends me on some tangent which I may work out one way or another. I am still waiting for that inspirational
moment that will drive an LP's worth of music that I truly believe in.
I know you've been working on tracks and that you hope to eventually
put them on an LP. Do you think an EP
could be in the works first?
The only thing that will determine whether or not I put out an EP
versus an LP will be the amount of content that comes out of the
fountainhead. It's definitely possible.
Let's switch gears a little -- tell me about Lush Haus. How'd you get started on that project?
approached me and P.J. (Secret Hideout) around mid-November about
starting a monthly. We
settled on the name and the idea that we all really wanted a way to
showcase sounds and styles that aren't necessarily represented in the
local scene. Whenever I'm DJ'ing somewhere else, I try my best to play to
the crowd and their expectations in a way that supports the
other acts. This doesn't always mean I can really play what I'm into at
that moment. Now I have a space to let down my hair, have a great time,
and hopefully turn on people to some really new and interesting sounds.
I really love what everyone is doing here in the 561, so contributing to
the melting pot in this fashion seems logical. I'd love to see the
music scene keep growing and become ever more vibrant and resilient. After
a better-than-expected first show, I'm hoping the ball keeps rolling and
that people can find an experience in it worthwhile enough to share with
Any upcoming live dates you can let us know about?
I have never played a live show, and I don't have plans to yet, although
I feel myself getting closer and closer to it. Maybe it'll happen at a
Lush Haus sometime.
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