Homegrown
The Fade album connects original productions through a DJ-like sequence.
Artist
Why we feature this artist Steve Porter: production heard through a DJ’s sequence Steve Porter’s early-2000s DJ work is one route into a catalogue that connects studio production with the shape of a mix. Homegrown makes the relationship particularly clear: Por…
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Why we feature this artist
Steve Porter’s early-2000s DJ work is one route into a catalogue that connects studio production with the shape of a mix. Homegrown makes the relationship particularly clear: Porter described the album as something like a DJ set assembled from his own material, with different sounds and colours brought into one continuous programme.
Chris Fortier’s Fade Records provided an important home for Porter’s work. In their contemporary interviews around the 2005 Miami conference, the two discussed a label and artist relationship built around productions as well as DJ appearances.
That context is useful for the broadcast sets associated with Porter’s name. A DJ recording documents selection and pacing; an original album reveals what happens when the same musical interests are expressed through material made in the studio.
Porter’s account of Homegrown focused on the wish to make something expressive at a time when commercially released mix CDs were plentiful. Using his own tracks let him connect the work of a producer with the transitions and contrasts familiar from DJing.
The album is therefore a rewarding companion to a period set. One presents records as a sequence chosen for a room; the other turns a collection of original productions into a related kind of journey.
The detail to listen for is continuity rather than uniformity. Different rhythmic or tonal ideas can belong in the same programme when the changes are placed carefully. Homegrown gives that approach an explicit studio setting, extending the identity already apparent in Porter’s DJ work.
The Fade album connects original productions through a DJ-like sequence.