Stream Delroy Edwards' Special Guest Mix For Recommended Dose : All Songs Considered The 26-year-old producer's guest mix also serves as an introduction to his label, L.A. Club Resource.

Guest Dose: Delroy Edwards

Guest Dose: Delroy Edwards

  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">

Delroy Edwards introduces you to L.A. Club Resource with this guest mix. Morad Janeb/Courtesy of the artist hide caption

toggle caption
Morad Janeb/Courtesy of the artist

Delroy Edwards introduces you to L.A. Club Resource with this guest mix.

Morad Janeb/Courtesy of the artist

There are a number of reasons why the 26-year-old, Los Angeles-based producer recording under the moniker Delroy Edwards stands out from the pack of young guns who've begun impacting the American house music underground over the past half-decade.

First, there's the sound of Edwards' tracks, and those released through the L.A. Club Resource label he co-founded in 2012, which are antithetical to usual club productions, substituting clarity and brightness, for thick, punk-y, tape-hiss textures. It is, likewise, fair to call his DJ'ing approach an "anti-style," valuing cut'n'paste atmosphere and vibe over seamless perfection. Meanwhile, his personal pedigree — familial (real name: Brandon Avery Perlman, son of actor of Ron Perlman), creative (growing up making noise music in L.A.'s passionate underage punk scene, before being expelled from Cal Arts' prestigious music program), cultural (moving to New York at age 20 and falling under the wing of Ron Morelli, whose L.I.E.S. label was then reshaping the sonics of non-mainstream dance-music) — exemplifies how privilege can feed experimentation and progressive thinking, instead of commercial values.

"I don't make my music to be heard," he says when we speak by phone. "I make it because it feels good, without the notion of trying to make a buck. And then I have the gift of actually having an audience that wants to listen to it." Since his 2012 debut EP on L.I.E.S., 4 Club Use Only, the amount of people who've clamored for Edwards' music has grown by leaps and bounds.

Delroy's new album, Hangin' at the Beach, presents his style in grand excess. Compiled as a lo-fi collage tape, its 30 tracks span 52 minutes, mixing stripped-down drum-machine soul of original Chicago house, with the sonic curiosity he self-describes as both "conceptual" and "computer-challenged," and the cultural reference points of an (almost) lifelong Angeleno.

Though Morelli's influence is undeniable, Edwards says the foundation of his sound can be attributed to a lesson accidentally learned while still a teenager, from one of his older sister's friends, also the first person to play house music for him:

"He gave me a drum machine, and showed me how to use it, and opened my mind to a really simple idea that most people take for granted: With cables, sound goes in and sound goes out, so if you have inputs and outputs, you can really just keep making chains of sound, and use whatever you want to make 'music.' That notion blew my mind at the time. It's what made me think about experimenting with weird sound really early on. It made me go, 'This is fun, I can mess around with my hands and record with a VHS player, a tape player, a boom-box, with anything.'"

This youthful curiosity became intertwined with L.A.'s local musical energy: "I grew up with a lot of the [local radio station] KROQ punk-pop/new wave vibe, New Order, Joy Division, Depeche Mode — a lot of that is still in my brain. But I would also go to noise shows, see the Haters, Smegma, wild stuff like that."

Yet Los Angeles does not simply assert an aesthetic environmental impact on Delroy's music; it has sown the seeds of civic pride, the main reason he relocated back to his hometown and started the label here.

"L.A. has inspired me so much. I'm here to add to it, to give this city some variation in music," he says. "That's why I chose the label name, L.A. Club Resource, so that it was impossible for L.A. to not get a piece of the credit, that when people hear the music — my own music, or all the music by people we put out —it creates something that hasn't been seen before, and it's immediately associated with the city."

For this month's Guest Dose, Delroy Edwards provided a DJ mix that is also an introduction to L.A. Club Resource.

Guest Dose: Delroy Edwards

  • 1. Innsyter, "A-ENV (Numbnut Remix)"

    White Label

    "This is my unreleased mix of a track from his new album, Poison Life. I work a lot with Fernando Seixlack, who does Innsyter; he did the production of four or five tracks of my new record. We both like to remix each other's tunes a lot. This version is still mostly his tune, but I did a rework one night and totally forgot about it; and then found it when I was doing the mix."

  • 2. Zipcode, "Untitled"

    Zipcode, Untitled

    "This is a project by Oliver Vereker, whom I've known for a long time and been in bands with. It's one of my favorite tunes that L.A. Club Resource has ever put out. It's such a great sound. I hear so many melodies in there. Oliver makes great collages of sound."

  • 3. Delroy Edwards, "Wild Animal"

    Delroy Edwards, Hangin' At The Beach. hide caption

    toggle caption

    "This is one of my favorite tracks from Hangin' at the Beach. It's one of the first ones I made, so it helped give a scope to how the rest of the sessions went. It feels free to me; it's an uninhibited feeling that still has a heartbeat and a pulse to it. It was just one of many sessions — I make a lot of music, it's all I do. I really felt that all the tunes told a story, so the best thing to do was to put them all together. I always stopped myself from doing it in the past, being into the 12" vinyl format. And it was actually very therapeutic to forget about that, and bring together as many songs as I wanted."

  • 4. Lil NoiD, "Hamptown"

    Lil NoiD, Paranoid Funk.

    "This is from Paranoid Funk, a reissue of a '90s hip-hop tape from Memphis by Lil NoiD. It's a record that really resonated with me — really out there, really wild, reminded me of early Devo in a weird way. These guys — NoiD, the producer Blackout — were not doing this music as a job. They kept saying to me, 'We were doing it because we had to do it — feeling these songs, writing these songs, there's nothing else to do.' They had this vibe and they had to put it out themselves, regardless if anybody heard it. I heard the Paranoid Funk tape and I just kind of went searching for them, seeing if I knew anybody who knows them, asking around. I had some friends out in Memphis who sort of knew some of these older guys. I just looked until I found them, and they turned out to be really sweet."

  • 5. Delroy Edwards, "Untitled"

    Teenage Tapes.

    "This track is quite a bit older than anything else on the mix. It's from a compilation called Teenage Tapes, but it's hard to pinpoint when, or what I was thinking when I made it. I just sit down and make stuff — sometimes it's more linear, sometimes it's more syncopated and funkier, so to speak. I love this sort of goth-ier music and I guess it permeates my brain. I made this with my friend Sara Gernsbacher; I made a little beat, she picked up the bass, and we recorded it, one take."

  • 6. Delroy Edwards, "Empty Pools"

    Delroy Edwards, Hangin' At The Beach.

    "One of the things I love about music is it goes into your brain and you forget that it's still there. That affects how I make music. When I was making this track and much of the Hangin' at the Beach record, I was mostly listening to a lot of '60s-'70s garage rock, and messing around with the drum machine on MIDI, linked. With house music, everything is exactly on time; so I would take a drum-machine and hook it up to some triggers, and try to create a more free sound, as though a full band was playing this sound."

  • 7. Steve Poindexter, Johnny Key & Trackmaster Scott, "Cats"

    Street Fighter.

    "A classic Chicago house vibe. Steve's a great guy — he's one of my heroes. I hooked up with him through [another Chicago house veteran] Gene Hunt, when L.A. Club Resource did his records. Gene said, 'You've got to meet my buddy Steve.' So I called him up and we were chopping it up. He'd seen what we had done with Gene's records. He noticed that we were into the off-kilter-ness of house music. He asked what kind of stuff we were interested in, and I said, 'Send me the craziest stuff you have. Go wild — I want some groovy, freaky stuff.' He totally understood the vibe of the label. So we've been working a lot, we're going to have a new Steve Poindexter record coming soon. That record is Steve with Trackmaster Scott and Johnny Key, all together, jamming. And they kind of call the group Street Fighter. It's just a great record."