Knock Knock #33

Few names in house music conjure as much instant respect as Kerri Chandler. The East Orange, NJ native came up during the genre’s formative years, in the late ‘80s. Introduced to clubs by his father, who was himself a disco DJ, Chandler was “hooked” from the age of 13. “You would hear house everywhere - in streets, in cars, on the radio,” he said in an interview. “You couldn’t get away from it, but you didn’t really want to.” He dove in head first and began making edits and experimenting with basic production techniques. A prodigious musical talent, Chandler quickly honed his chops as a record producer and DJ, but waited until the early ‘90s to release music under his own name. His debut “Super Lover” EP showed an artist emerging fully formed, with some of his most indelible cuts. Soon enough he would establish himself as an essential voice, channeling soulful uplift and gospel’s expressive power into the emergent language of house.

These influences intersected with his interest in technology to make his records not only musically impactful but also sonically cutting edge. He had custom modifications made to his Roland 808 drum machine, collaborated with Pioneer to develop the first CDJ and to this day brings keyboards with him on stage for spontaneous live additions to the mix.

East Orange was both a fruitful musical milieu - Chandler name checks Whitney Houston, Naughty By Nature, Biz Markie, Queen Latifah and many others as neighbors and contemporaries - and also a dangerous one. The town was besieged by gun violence, and gatherings of any sort could suddenly turn into deadly altercations. “If you make it out of East Orange without getting shot or stabbed, you’ll be alright.” he told Attack Magazine. “That’s the truth.” Chandler channeled the stark realities of his immediate surroundings directly into his productions, giving his tracks a bracing realism and emotional rawness. Yet his songs, over and over again, express hope over despair and joy in the face of pain. In advance of his upcoming all night set at Knockdown Center, let’s look back at six essential Kerri Chandler tracks.

Kerri Chandler - “Get It Off” - Super Lover EP

Kerri Chandler’s debut EP is so packed with hits that his reputation would endure even if he never followed it up. Sitting next to quintessential cuts like “Super Lover” and “Drink On Me,” “Get It Off” sits back, a little deeper, a little moodier. The bassline bubbles against a subaquatic kick and plaintive pads. Devastated by the brutal killing of Chandler’s girlfriend at the hands of her ex, “Get It Off” channels geysers of grief and rage into a taut, pleading groove. Yet despite its wrenching origin story, the track hints at forgiveness and a tenuous peace.

Kerri Chandler - “Insomnia Again” - Panic EP

Chandler is an artist of remarkable consistency; there are very few duds to be found in his sprawling discography. Throw a dart at his early ‘90s output and you’re almost guaranteed to strike gold. A typical track from this era is marked by breezy, swinging drums, thick, punchy basslines and deft, jazzy piano chords. Add some melodic flourishes and a choice, hooky sample woven in and you’re good to go. “Insomnia Again” fits this winning formula to a tee, but both the track and EP’s titles again allude to a sinister undercurrent. As with “Get It Off,” the longevity of Chandler’s music lies in the way he marries silky smooth textures with a subtext of life-or-death urgency.

Kerri Chandler - “Climax 2” - Atmosphere EP

“Climax 2” is just one perfect track from a record that’s full of them. Chandler’s “Atmosphere EP” on Shelter Records is a timeless encapsulation of the Jersey house sound. The sunny, yet subtly complex chord progression sits perfectly atop a punchy 909 beat. The hi hats sway in the breeze with loose authority, small latin accents decorate the periphery and the bass adds a rock solid weight that still breathes. Most of all, using only a few elements, Chandler writes a song, playing the machines with the suave control of a seasoned bandleader. And that deliciously syrupy earworm of a vocal sample… what a hook. People often say “house is a feeling.” This is exactly what they mean.

Kerri “6:23 Kaoz” Chandler - “Be There (Club Mix)” - Kaoz on King Street Chapter II

Gospel is so present in Chandler’s music it would be an understatement to describe it merely as an influence. On “Be There,” he brings it front and center, with an extended sample of a soaring vocal performance that’s chopped and integrated into a joyous arrangement. As always, Chandler’s musicality shines with expertly arranged keyboard vamps, choice percussion and an indelible mix of the synthetic, the sampled and the organic. When he finally hits the climax just shy of the five minute mark, it’s so natural that you barely notice all the subtle push-and-pull that brought you there. Thankfully, Chandler doesn’t stop there, and the track rides on for nearly four more minutes of a dubbed out coda. Even then, you don’t want it to end.

Creative Violence - “Reprise tha Dred” - The Steel Drum EP

Speaking of dub, Chandler’s sole outing as Creative Violence finds him in a particularly spaced-out place. “Reprise tha Dred” pumps thick bass and sizzling highs behind a heavy organ loop. Splashes of reverberant percussion and slivers of a reggae vocal give this a special NJ-meets-Jamaica flavor, while the trackier, groove-focused arrangement brings the focus squarely on the introspective, meditative mood. One great detail: the haunting finger snaps that run throughout, evoking a rain-soaked alley at night.

Kerri Chandler with Aaron Braxton Jr. - “Back to Earth (Find Your Peace) [The Knockdown Center]” - Spaces and Places

For Chandler’s most recent album, “Spaces and Places,” he recorded performances of each track in one of his favorite clubs. “Back to Earth (Find Your Peace)” brings him together with Aaron Braxton Jr. for a soulful tribute to Braxton’s late father. Recorded in the main hall at Knockdown Center, it demonstrates how Chandler continues to grow and evolve while staying true to his core sound. As ever, there’s a rich interplay between his driving, swinging drums and expressive, laid-back harmonies. What’s striking is the exceptional level of detail in the mix; Chandler has always been a master, but on “Spaces and Places” he mixed in cutting-edge Dolby Atmos. You can hear his visionary approach rendered in a new light, more dimensional and enveloping than ever.

Apr 11, 2024