By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
By Drew Ailes
It was in 1995 that the three recognized kindred spirits in one another and began to seriously consider producing their own music, rather than simply being DJs for hire. Daisey founded Daisey Age Records and the tiny label's first release, "The Lift," did better than they expected it to. The Games of Life EP followed in 1996 and was eventually incorporated into the U.S. rave circuit and spun by club luminaries such as DJ Dan and Donald Glaude. The record brought the trio its first taste of true nationwide exposure -- but as with Pound's Funkless endeavor, the act's current success with Om could mean a welcome farewell to the upstart Daisey Age. And that's fine by Daisey: Despite his relative success as an indie operator, he concedes that in the long run, it's "more desirable to work for an established label that's willing to get behind its artists rather than handling everything yourself. A label like Om stays true on every level and works with the artist to establish a name. Major record labels like Sony aren't digging too deep into underground dance music right now. Most artists aren't evolving into the larger-scale moneymakers like Fatboy Slim or the Chemical Brothers."
Biddle agrees. "Certain artists are gaining notoriety within the scene, but they aren't getting the dues they should be getting," he says.
As for Denver's status as a comparatively small fish in the huge pond of electronic dance music, the Mile High Club sees the market as full of potential. Truly, as any survey of the city's dance-music offerings will reveal, Denver's problem isn't a lack of talent. Local artists Craig C and Dealer have made good names for themselves in the house-music world, and their work has been featured on several of the more established U.S. house labels. In addition, Terraform Records has recently inked a deal with Astralwerks (the U.S. home of Fatboy Slim and the Chemical Brothers). What could be preventing Denver from stepping into that strobing rave limelight, says Pound, is a communication breakdown between producers. "Not a lot of them are in contact with each other," he explains. "The people doing it know of each other, but they don't necessarily communicate."
Daisey, Pound and Biddle hope that the success of the Mile High Club will have a trickle-down effect on the local electronica scene, perhaps initiating more of a collaborative attitude or simply inspiring excitement within its ranks. Maybe then the phrase "Mile High Club," in electronica circles at least, can connote something more meaningful than sex at climbing altitudes.