The lower floor of Kerri Chandler’s house looks like the backstage production labyrinth of a massive arena. Hallway after hallway, shelf after shelf, room after room, there are stacks of music gear, flight cases, records, records and then some more records. Plus 36 sets of turntables, a drum machine closet and enough technology to fulfill any audiophile’s dreams. He has a live recording room and another room for programming, set up with numerous screens like a multiplex theatre.
“What happened was,” says Chandler, who begins all his stories and/or explanations with these three words. “What happened was, I was a studio engineer before I ever started making records. Early on, I found out a lot of gear wasn’t doing certain things I wanted it to do,” Chandler explains to DJ Mag how “Chandlerizing” became a thing.
On it are sounds from Earth: nature, animals, music from across the globe, and a variety of languages.
“I was thinking maybe we should put something positive into space,” says Chandler, fondling the cherished Golden Record replica. “Music is always universal. What we do always seems to unite people. I met someone who works with Messaging Extraterrestrial Intelligence and we found a planet to send audio signals to. We got sponsorship and now there are a few DJs with 8-bit clips ready to send out to that galaxy to hit that planet.”
At the same time, Chandler is working on the third volume of ‘A Basement, A Red Light, And A Feelin’’, the Madhouse compilation series whose first volume was released in 1992, the second 10 years later in 2002. A third one would be another marker for the quarter century landmark. Much more recently Chandler launched his MadTech label in 2012 and even more recently than that, Kaoz Theory, named after his oft-used nickname “Kaoz”, in 2015.