Pat Mahoney/Tim Sweeney/Mike Simonetti/Terrence Dixon

Pat Mahoney DJ set (DFA/LCD Sound System)

Pat Mahoney
Boston born DJ Pat Mahoney on connecting the dots, breaking the tempo and Tokyo karaoke.

Boogie isn’t all about Saturday Night Fever and white flares, as Pat Mahoney proves with his colourful career full of dirty disco and loud, very loud sets. Mahoney is probably best known for his involvement with NYC dance-punk band LCD Soundsystem along James Murphy, however his love for music started way before that. It all began with his school bands: Distorted View (he was kicked out for not being a goth), The Five Deadly Diseases (think sexually related… boys will be boys) and finally, Les Savy Sav, where he first met Murphy, who recorded the band’s first album. It wasn’t long before Mahoney left Les Savy Sav and joined the LCD dark side. With Mahoney on drums and Murphy on bass, they got high on Liquid Liquid and their mission was to simply make people boogie. They made people dance all over the world with their buzzed about sets, at a time full of indie kids with static feet. LCD parted ways last year but they all remain on the DJ circuit with their sets intertwining; Mahoney and Murphy were on the decks together at the Future Music Festival in Australia. Mahoney has now partnered with Run Roc Dennis McNany, the drums have been put on hold for a while (due to complaining neighbours) and his singing voice has come into action.
i-D spoke to Pat about his bouncing beats and his exclusive mix for this week’s i-DJ.
When and how did you first get into dj-ing? It was back in 2001-2002 or so. James Murphy was doing a residency at APT on 13th on a Wednesday night, Plant Bar was still going and I had started falling in love with being out, dancing. I grew up in the punk scene in Boston and later the indie rock scene in Providence RI and came to nightclubbing sort of late. I was probably 29ish and totally disillusioned with standing around watching bands make the same gestures over and over. I was already listening to a bunch of disco and ‘dance’ records and Murphy’s night was a real eye opener because he came from a similar place musically and was connecting the dots between disco, house, and experimental/ post punk rock (hip hop too!). I bought some decks and a mixer and started figuring it out. I threw some parties in Greenpoint, Brooklyn at a semi-private nightclub/bar called Irene’s. People responded well and I was hooked. When LCD started touring heavily I had the opportunity to do a lot of late night dancing as well as crate digging all over the world, and James and I started playing together for festival after parties. He was already a successful DJ, and I was definitely the junior partner, but I learned the ropes.
How would you describe your sound? I like to play only hits. Maybe no one in the room has ever heard a single track that I’m playing, so they’re only hits to me, but it all has to have that feeling of being special. I love vocals and musicality and non-musicality and live drums and drum machines and synths and log-drums and Spanish guitars (deployed judiciously). When I first started playing out, the club scene here was really insular and playing a mix of disco and rock and techno and whatever else you might have been loving at the time seemed crazy. I remember early on spinning at a place in Manhattan and being scolded by the resident for “BREAKING THE TEMPO”, because I played some Soft Cell track or whatever. I didn’t know any better; I just wanted to make all these songs that I loved talk to each other. I was also playing to a bunch of indie kids who hated dance music or thought they did, at any rate, so the trick was to find a way in by stealth, not force.
How has the NYC vibe affected your music? We are standing on the shoulders of giants… But right now going out kind of sucks. Manhattan is full of aggressive normals, everyone here in Brooklyn is like a total expert in obscure rarities and proto-rare-profundities… I guess the vibe is a little bitter? No, just joshing, when you play a show here or go out dancing (if you can find a place that survived or was born and thrived in the post Giuliani nightclub apocalypse), you are rubbing shoulders with people from all over the world, who know good music, who know how to have fun. You can’t sleep on it, you have to be good.
Where are your top places to DJ? In no particular order: Glasgow. San Francisco. Chicago. Philadelphia. London. Barcelona. Toronto. NYC. Sydney. Dublin.
Who is on your playlist at the moment? In alphabetical order: Aleem, Art Department, Bottin, Holy Ghost! Husky Girls, Jai Paul, Museum of Love, Neneh Cherry and the Thing, Sinkane, Tronics, Tunnel Signs, Young Marco…
What have you got coming up? Making music with my musical partner, Dennis McNany aka Run-Roc aka Jee-Day. We just finished our first single that we co-wrote. I didn’t play the drums because you can’t play the drums in his studio, are you kidding? The neighbours would kill you. So I sang instead. Or crooned. We don’t have a name yet, thank you very much, but by the time it comes out, we’d better have one. I’ll also be on the road this winter and spring spinning in a club near you.
Text: Felicity Carter

LCD Soundsystem's Pat Mahoney Rocks You in the Hammock of Love
Like steamy basement punk, but sunny and sandy
LCD Soundsystem drummer Pat Mahoney can disco. He proved that on FabricLive.36, the 2007 mix CD he assembled alongside his bandmate James Murphy, taking in not only Peech Boys, Chic, and Was (Not Was), but also Junior Bryon and Peter Gordon and Love of Life Orchestra (probably confounding a few DFA fans in the process — but then again, that was the year that LCD brought out their own Confuse the Marketplace EP, so perhaps that was part of the plan).
But it's funny: I remember watching Mahoney drumming with Les Savy Fav at grotty warehouse spaces in downtown Providence back in the mid 1990s — the kind of frenzied, communal punk-rock gatherings that really do make you want to shout, "I was there!" (I guess I just did.) I never would have suspected that a decade and a half later, I'd be sitting at my computer listening to Mahoney play a DJ set of Balearic house, recorded in a friend's living room as a promo for Australia's Future Music festival. Providence felt small, but the world just keeps getting smaller. In this case, in a good way: Mahoney's mix is just as sweaty and urgent as his old band's shows were, even if he's slowed the tempo and swapped punk rock for tropical disco.
Taking in dewy-eyed, mid-tempo tracks from Joakim, Tensnake, Recloose, and John Talabot, it's a pretty definitive declaration of "deep," circa 2012. Featuring Todd Terje's Norwegian nu-disco update of Bryan Ferry, as well as DJ Harvey's sarcastic disco rework of Art Department's "We Call Love," the mix is big on building bridges. Listen to it and say to yourself, "I was there!"

Tim Sweeney (Beats in Space/ DFA)

TIM SWEENEY (Beats in Space / NYC)
Tim Sweeney and Beats in Space. The story of the man/boy is synonymous with that of the infamous radio show. Over the course of a decade plus, Sweeney has built Beats in Space into an international brand. In return, BIS launched Sweeney’s career as one of New York’s most sought-after DJs. Constantly traveling the globe with gigs all over, he’s also managed to find the time to launch the official Beats in Space label. With releases so far from Paradis and Secret Circuit, this newly born label has been steadily gaining heat. It's clear that Tim has learned a thing or two from his formative days with legendary Steinski and iconic label DFA.

Terrence Dixon Live ((Tresor/Metroplex/Rush Hour- Detroit)

Dixon has been making that sound called TECHNO under his own name and as POPULATION ONE for the last 20 years. He is one of those guys whose training in his craft goes all the way back to the genesis of the genre: his first releases came out on Juan Atkins’ METROPLEX and Claude Young’s UTENSIL RECORDS. Since then, Dixon has always kept his music in all the right places, as he continues to release on some of our favorite labels, including DELSIN, RUSH HOUR, and TRESOR. Just last year, he dropped the 'From the Far Future Pt.2" LP, which stands as perhaps his most acclaimed effort to date. Dixon's tracks do that DEEP RUGGED AND SPIRITUAL thing—just how we like it.

Mike Simonetti (Italians Do It Better)

-1987: sneaks out of his house to go to his first hardcore show at CBGB at age 15.

-1988: got a job as a lowly receptionist at club Mars in NYC through a friend in Feb when he was 16.

-1988 worked his way up to "promoter" by mid 1988 going to clubs and handing out flyers

-1989: promoted his first party at Mars called 'FRIDAY NIGHT FEEVER' in March. a disco themed party. the only one in NYC at the time. DJ Duke Of Denmark was the resident.

-1992: started Troubleman Records with money saved from working as a stockboy at a supermarket

-1993: started djing house parties and lofts for fun

-1996: signed Glass Candy in 1996

-1997: got first "real gigs" in NYC

-1998: starts the CONTORT YRSELF party in the basement of the Knitting Factory playing post punk, disco, funk and hip hop lasts until 9/11 shuts the club down for almost a year.

-1999: is a 'resident' at the infamous HAPPY BIRTHDAY HIDEOUT parties in Brooklyn. his bookings increase throughout the hip parties in NYC.

-2000: is a 'resident' at Rubulad which he still holds to this day. known as the best loft party in Brooklyn. his 8 hour sets are legend.

-2000: is a resident at Lit in NYC, a legendary party thrown by Justine D. was one of the first djs to try out disco and house downstairs in the club, which was usually rock based.

-2000: is a semi regular resident dj at MOTHERFUCKER in NYC. the essential downtown club kid party and recognized as one of the best NYC parties of the era.

-2002: starts the AEROSOL BURNS party in Brooklyn. all night parties become legendary. The Fall plays unannounced show. capacity of bar is 70 people.

-2003: cops raid AEROSOL BURNS at 11am, everyone gets arrested. party ends.

-2004: Troubleman signs CHROMATICS, releases HEALER 12". it sells out in a week.

-2004: begins djing seriously, traveling all over the world to play records to people in any club they will have him

-2005: Glass Candy plays their last show with a drummer, opting for a more electronic , dancey sound.

-2008: Mike and Johnny start an offshoot of Troubleman for dance music in Mike's kitchen while drinking red wine. They call it Italians Do It Better as a joke thinking it wouldnt be a big deal

-2008: After Dark compilation is released, and a mini revolution is born and the bar is raised…

-2010: releases his first songs and does his first remixes, almost 20 years after going to Mars for the first time

-2010: starts new sub label of Italians called Perseo focusing on edits.

-2011: releases debut lp CAPRICORN RISING


Off Sale

FACE & Public Works Present: PAT MAHONEY DJ set (DFA / LCD soundsystem) TIM SWEENEY (Beats in Space) MIKE SIMONETTI (Italians Do it Better) + Eug (Face/Public Release) + ICEE HOT LOFT w/ TERRENCE DIXON & Icee Hot DJ's (Shawn Reynaldo, Ghosts on Tape & Rollie Fingers) 2 rooms Party with House, Techno, Disco, Italo and Jamz.

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