Stacey Pullen: The Ransom Note Mix

This mix comes to us off the back of a new record for DFTD. You can catch that in there.

Listen below:

Looking back, what moments do you think truly defined your career?

“One of the moments that really defined my career was working on my very first remix with Kevin Saunderson. It was a remix for R&B singer Karyn White, and the original track was produced by Jimmy Jam and Terry Lewis. I remember thinking, if I can have my name on the same production credits as these two legends, then maybe I really have a future in this.

The second moment was probably when an A&R representative from Virgin Records started courting me to release an album through one of their underground labels. I remember checking into my hotel and finding a message waiting for me from Virgin Records asking me to return their call. That was definitely one of those moments when I realized things were moving to another level.”

How do you think techno has changed as it has become more global?

“Techno has always been the light at the end of the tunnel for me. So many genres and trends have come and gone, but techno has remained at the core of my existence. Being from Detroit gives me a completely different perspective on it because the ideology and foundation that we have carried since day one are rooted deeply in my soul.”

Are there any artists outside electronic music who continue to influence your work?

“I listen to a lot of ’80s R&B because that era played such a major role during my teenage years. The sound, the feeling, the musicianship and the way so many different singers, groups and musicians influenced one another had a huge impact on how I think about music.

As far as specific artists, I would definitely mention A Tribe Called Quest, Prince, Marvin Gaye, J Dilla, Thundercat, Flying Lotus and Little Dragon, just to name a few.”

What’s one misconception people have about life as a touring DJ?

“The biggest misconception is that touring life is all glitz and glamour. People don’t realize that sometimes we barely sleep for days, and most of the time we’re running purely on adrenaline because the schedule can be so grueling.

They also don’t see the years of hard work that go into building and maintaining a career, only for artists to now feel like they could eventually be replaced by an AI bot. One minute you’re onstage performing, watching people laugh, scream and enjoy themselves, and less than an hour later you’re alone in your hotel room trying to fall asleep, knowing you have a flight in three hours. That contrast can be very intense.”

What’s the best lesson you’ve learned from the dancefloor?

“That one is pretty simple: ‘what worked last night may not work tonight.’

In other words, just because you had a great gig last night doesn’t mean tonight will be the same. Every crowd, room and situation is different, so you always have to be ready to adjust.”

Is there a track you’ve made that you feel never received the recognition it deserved?

“It’s ironic that you ask me that because, even though I had a great experience making my Virgin Records album, Today Is the Tomorrow You Were Promised Yesterday, I still don’t think it received the recognition it deserved.

It was pretty much a straight-up jazz album with only one real dance-floor track, so I think it may have caught some people off guard. But I still consider it one of my masterpieces. I’m also still trying to get the masters back, but that’s a whole other story.”

Buy the new release HERE.