Tune in, turn on.
DJing has always been an art form to me and continues to be a substantial creative outlet. I love the euphoria and freedom on the dance floor and I aim to bring this to life through my broad spectrum of sound. I want my listeners to feel my deep passion and excitement for top-notch, intense, and memorable house music through the aural journey I create for them...and to come away feeling completely moved and elated.
Historically my sound has been known to be full-on energy — the kind of you'd hear during the peak part of the night in a packed, underground club. In the 1990s I had an affinity for uplifting vocal house, and I still occasionally tap into that sound. These days, however, my sound tends to be a crossbreed of driving progressive grooves and epic tech house.
There are three primary ways to enjoy my DJ mixes. You can subscribe to the Remarkable Podcast, which contains the largest library of my mixes to date. Alternatively you can listen to almost all of my mixes via Soundcloud or Mixcloud. Both of these sites stream on their desktop websites or mobile device apps, and Mixcloud even has an Apple TV app you can enjoy as well. And while you're busy exploring, I would appreciate it if you headed on over to my Remark Facebook page and clicked “Like”. As always, your feedback and thoughts are welcomed, for I love hearing from people all over the world who enjoy my music. Feel free to let me know.
If you're curious to know more about my passion for DJing and history with music and the scene, keep scrolling down a bit and you can read my short DJ autobiography.
Life is a dance floor: A brief autobiography.
I have been collecting records since I was 7 years old. I’ll never forget my first 7” single, Air Supply’s “Lost in Love”, or my first 12” single, Lipps Inc.’s “Funkytown”. This passion for music would become a DJ career at the age of 17 when I began working for a nightclub called Visage in Orlando, Florida, playing goth hits from Depeche Mode, New Order, The Cure, and The Smiths; synth-pop from Pet Shop Boys, Erasure, and Book of Love; and of course some industrial classics from Nitzer Ebb, Ministry, and Front 242. The new wave and industrial tracks of the 1980s paved the foundation for an obsession for house music that continues through today.
Fueled by Orlando's exploding dance music scene, my DJ career skyrocketed in the early 1990s. Throughout the decade I held residencies and played at every club in the bustling nightlife of Orlando, including Renaissance, Cairo, Icon, Ultraviolet, Southern Nights, The Edge, and the legendary Club at Firestone. I travelled extensively throughout the US playing major events in several cities, including spectacular gigs in Indianapolis, Boston, Charleston, Atlanta, and Miami. I’ve had the pleasure of playing alongside other renowned and respected artists, namely Robby Clark, Chris Fortier, Jimmy Van M, DJ Feelgood, DJ Dan, D-Fuse, Terry Mullan, Kimball Collins, Andy Hughes, Blue Amazon, John Debo, and Icey.
My most significant contribution to the Orlando house music scene was undoubtedly my weekly Saturday night radio show on WPRK 91.5 FM, Remarkable, where I played the latest and greatest in club and house music for almost ten years — from 1991 to 2000. In addition to my weekly set, the broadcast showcased several guest DJs and musicians, including Paul Gotel, Union Jack, Humate, Future Sound of London, Pete "The Shaker" Bones, Keoki, Evolution, and Andy Ling; not to mention nearly all major local talent. My radio show featured the "latest and greatest" tracks in house music, due in part to my job at Underground Record Source, one of the most popular dance-music-only stores in the southeast United States. Those years in Orlando were absolutely some of the best of my life...so many memories and so many friends made along the way.
If you'd like relive some of those golden years of the Orlando club scene, and experience a sort of biography of my world at the time, you can watch the 75-minute documentary below called Remarkable – The Story of the Orlando Nightlife Curfew. The 1997 film, made by director Luis Fernando Schultz, documents the historical legislation that ultimately forced Orlando nightclubs to close their doors at 3:00 a.m. due to the perception that the city's world renowned nightlife culture was ruining the city's reputation. The director approached me to be the subject of the film because of my heavy involvement in the scene at the time: my radio show, DJing gigs, and dedicated work at one of the city's best known record shops.
For some further nostalgia, I managed to retain several old-school cassette recordings of my radio show from those days as well. You can listen to some of those mixes below, but please note that the sound quality varies greatly from mix to mix due to the age of the cassettes and the digitising process.
In 2000 I changed career direction and moved to Dallas, Texas, and still stayed involved in house music culture. I often played at a thriving dance spot called Club One, and had a few gigs in Austin. In 2002, I relocated to Atlanta, Georgia. With club music still playing a prominent role in my life, I enjoyed DJing regularly there as well where I could showcase my spectrum of sound: everything from intelligent house to my signature intense, vocal-inspired, uplifting tunes. I held a residency at a lounge called Bazzaar through 2004 and 2005, bringing momentum to their Saturday nights. I was also featured on Proton Radio in 2005, broadcasting my sound globally via their website. 2006 was also bustling, with several successful gigs at The Mark Ultralounge, and the official launch of the Remarkable Podcast, bringing my music to the world. The following year was filled with some amazing gigs in my home town of Orlando, including a triumphant return to a popular spot called Crooked Bayou. In 2010 I had the honour of DJing at the Official Firestone Reunion, bringing back so many memories of those incredible years of clubbing, as well as reuniting me with many friends from the past.
In the spring of 2011, I relocated to the motherland of club culture: London, United Kingdom. This move was highly inspirational and 2012 proved to be one of my most creative years yet. I released 8 podcasts that year, clearly showcasing that music is still a significant priority in my world. During this year I also launched my Soundcloud and Mixcloud pages. I also began remastering some of my sets from the 1990s by re-recording them into a new series called Remarklassics, which has become one of my most popular series to date.
And the beat goes on: 2013 brought some important and very emotion-centric releases. The 2-part mix Exitus Egressus was a musical outlet for my then tempestuous breakup; followed by the extraordinary, life-affirming Resplendent to celebrate my 40th year of life. 2014 started with a mix that had been in the works for 5 years: it was the climactic release of Run. Released on my 41st birthday, Run memoralises life at 136 beats per minute — and has since had a part 2 released and a third installment is on the way.
In 2015, my creativity continued to evolve. Originally an uplifting mix was going to kick off the new year, but the late night dance floor darkness got a hold of me tightly paving the way for the three hour, moody Presager. The uplifting feeling returned with carousing vigour in my summer mix Harmony, one of my most popular mixes ever showcasing five decades of vocal house anthems and influence. After a few more releases, the year concluded with the epic Leitmotif.
In 2016 I added a significant milestone to my DJ career. An academic seminar was organised in Edinburgh, Scotland to celebrate 30 years of Pet Shop Boys. Called Pet Shop Boys Symposium, the event was hosted by the University of Edinburgh to discuss the Pet Shop Boys' 30-year influence on pop music and culture. And as if by fate, the event organisers contacted me to DJ a set to close out the event. So in March I got to DJ one of my favourite sets ever, playing three hours of Pet Shop Boys music from their entire catalog. The set, titled Remark presents Pet Shop Boys: Encomium 1986 – 2016, is a significant and personal tribute to my favourite band of all time.
2016 turned out to be a challenging year for the world — terrorist attacks, the rise of nationalism, and we lost great musical talent — so of course I turned to music to deal with this relentless negativity. My mix of the summer was Solstice, an uplifting sonic journey dedicated to the Pulse Nightclub shooting victims who lost their lives on the dance floor in my hometown. The first hour of the mix was played on NSB Radio as part of an online tribute and benefit for the victims. The intense energy of 2016 climaxed with the release of Mementomomentum, a progressive stomper engineered to appreciate the momentum of the moments on the dance floor.
During 2017, I had one of the longest pauses in creative output in sometime. But seven months into the year, Meteoric erupted as an extraordinary progressive journey that encapsulates so much of the definitive and current Remark sound. Shortly thereafter, the fifth installment of the Remarklassics series emerged, Dreamin'; and the year triumphantly concluded with the release of Lovelife, a chipper and funky-vocal-house monster that harks back to the vibe of 2015's Harmony.
Remark, back to mine.
In addition to house music, I have an equally intense passion for avant-garde soundscapes that are charged with, or greatly imply, an emotional experience. In 2003, I began experimenting with mixing non-dance music and I was inspired to combine such songs into ornate aural narratives. I decided to name the project Back to Mine after the popular series of the same name.
Each musical venture reveals some of my more intimate sound selections. Generally speaking, they have been engineered to provoke thought, reflection, emotion, and introspection and explore the twists and turns on the road of my life through sound — an intimate wander around in my head, heart, and soul. The episodes are intended to be enjoyed from start to finish, as they take the listener on a journey from beginning to end. Although most episodes in the series are ambient in texture, there are a few that stray from this pattern. However they all meander through an emotion or experience like a masterfully curated playlist, telling a compelling story along the way. I use the music to tell these tales of my life and to make statements about the world I observe. In some episodes the sentiment is obvious, and in others the message is obscure or subliminal. For instance: in 2011's Epilogue I navigate my anxious feelings of moving from the US to the UK; in 2012's Irreverence I'm coping with an unsettled and collapsing relationship; in 2014's Verisimilitude I explore how music can invoke feelings of sensuality and sexuality; and in 2016's Valentine, I boldly celebrate my love for Luis. Ultimately I hope that the listener of any episode can enjoy each soundscape and take in his or her own interpretation. I'm particularly inspired when people tell me how much a specific soundscape resonated with them, or how it impacted them and their own lives. It's highly motivating to hear how music can do this, which is the entire intention of this series and one of the primary reasons I love doing it.
The Back to Mine series is not updated as frequently as the Remarkable Podcast, but each release is heavy with intention and purpose. You can enjoy most of the Remark Back to Mine collection by streaming episodes via Soundcloud and Mixcloud. Feel free to email me if this series has impacted you in some way or if you're curious about hearing more about each episode's implied or obvious sonic story.
A remarkable discography.
Although I've been recording and releasing mixes and compilations since the 1980s (during the good old days of cassettes), I consider my official discography to begin in 2000, when I released my first double compact disc anthology. Titled The Best of Remark: Remarkable Anthems 1991-1999, Disc 1 and Disc 2 feature several of the classic songs that truly defined my DJing career in the 1990s. Since then, I've continued to release mixes showcasing my love for house music. In 2010, I evolved beyond using CDs as a distribution method, which freed me from the 80 minute time limit. As the years have progressed, my mixes have averaged 2 to 3 hours in length. I believe this length allows me to fully explore a complete aural journey — taking the listener with me and uncovering the emotions and feelings on the dance floor.
In addition to all of my house music mixes above, below is the complete discography of my Back to Mine series from 2003 through to now.