1. Who/what is Angels of Disruption?
  2. What is the history of Angels of Disruption's events?
  3. How many people typically come to each event?
  4. When/where is the next event?
  5. How much is cover and is there a guest list?
  6. Can guest DJs and/or bands play at these events?
  7. When approaching nightclub owners/managers, what is Angels of Disruption looking for in terms of location, event dates, compensation, etc.?
  8. Are you open to adapting which artists and/or genres you play depending on the venue's preferences?
  9. What sorts of opinions do you hold regarding politically "controversial" songs and/or artists?

Who/what is Angels of Disruption?

Angels of Disruption is a company (formerly incorporated, but currently not) owned by DJ Jinx. DJ Jinx organizes all Angels of Disruption events. This includes finding venues, poster & logo design, advertising and promotion, hiring of guest DJs, finances, website management and Instagram, but does not include Facebook pages for any of the events, which are managed separately.

Jinx has been DJing since 2001, but has DJed under the Angels of Disruption name since 2006. Non-Angels-of-Disruption events that Jinx has DJed at in the past include Deathwish Dogma (Nemesis), Ballet Mechanique (Machine), Schlachthof (Crazy Horse), Datalink (Warehouse/Underground) and Terminus (Dickens Pub).

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What is the history of Angels of Disruption's events?

The first event under the Angels of Disruption name was Chimera, starting in 2006 at Soda. Chimera ran at Soda from 2006 to late 2010, Quincy's from 2011 to 2012, and Sal's in 2013. The other events (Pandemonium, Discordia and Hydra) were all attempted at Soda during 2010, but only Hydra continued to run (along with Chimera) when Angels of Disruption's events moved to Quincy's.

Pandemonium was initially spelled "Pandaemonium" and conceived of as an all-metal night. Jinx had gotten this idea from her observation while in the UK that it was possible to get metalheads to go to club nights there, but as subsequent experimentation suggested this was not the case in North America, this event did not last.

Discordia, meanwhile, was spawned to fill the perceived void left by the Warehouse's closure during this time period, but came to seem redundant as Dickens' Hang The DJ event caught on, and hence was not pursued further. During Discordia's brief existence at Soda, there was also an attempt to run an event called Conspiracy as an all-ages early-evening prelude to Discordia, but logistical difficulties were such that we never managed to pull off more than a tiny handful of these.

In the years since then, the "moving on" both of our original crowd and of Jinx (who is, in her daytime life, a religious studies professor teaching a full course load) have together cut down the number of events considerably from their heyday. Nonetheless, Chimera, though taking place less frequently than in the past, continues to garner enthusiasm, and Jinx is then happy to attempt to continue running it at least occasionally for as long as this remains the case.

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How many people typically come to each event?

For any of our events, the lowest attendance that we have seen is around 25, and the highest has been around 100. Chimera has typically averaged much higher than any of our other events though, e.g. closer to 60-70 whilst others have hovered around 30-40.

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When/where is the next event?

For a variety of reasons, over time we have decided to run events on an occasional basis rather than a monthly one. Check back frequently for updates re: when the events are occurring, as there is currently no regular schedule with regard to either frequency or day of the week when events will take place. That said, inasmuch as we almost always receive weekday nights if we receive nights at all, we aim to keep them on Thursdays as much as possible, since "last Thursday of the month" was Chimera's normal rotation for the majority of its existence.

As to where future events will take place: rather than being at one particular set venue, future Angels of Disruption events may take place at a variety of locations. So again, please check back regularly for updates.

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How much is cover and is there a guest list?

Cover at most events is $5. In the past, up to $10 has occasionally been charged either if bands are playing, or if DJs are from out of town, or if a special event is offering costume prizes. (In all of these cases, additional costs needed to be covered, hence the higher cover.) While business partners of the venues have been admitted for free when they are there to talk to the bar owner, and bars may have guest lists of their own, the general policy of Angels of Disruption has been not to have a guest list - with the sole exception of entourages of bands/DJs coming from out of town.

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Can guest DJs and/or bands play at these events?

Due to patrons' reluctance to pay higher cover, and Jinx's not having an "entertainment budget" per se to cover bands' costs in particular, we are currently reluctant to bring in additional parties for the events, as we can only provide limited compensation.

Guest DJs were typically paid for Hydra events; in the past, the way Hydra worked was that 3 guest DJs would play and the $5 cover would be split 5 ways, with one share for each of the 3 DJs, one for the door staff and one for DJ Jinx (for having done organizing, postering, etc.). A guest DJ for Hydra would thus typically make between $25 and $100 as per attendance numbers mentioned above. However, all other guest DJing (e.g. at Chimera, Pandemonium or Discordia) was always on a volunteer basis, and any guest DJing at Chimera in the future would work similarly (with the exception of our making the effort to cover at least some travel costs for out-of-town DJs).

A couple other things to note on this topic at the current time are: 1) the less frequently events are taking place, the less capacity for accommodating guest DJs is present; and 2) guest DJing is open only to DJs playing our events' current genres (i.e. goth, industrial and metal + their related subgenres), not to guests playing other electronic genres such as dubstep, psy-trance, gabber, etc. We understand that many fans of those genres feel they bear some similarities to industrial, however, as our own crowd has largely tended not to share that opinion, we do not want to hire DJs playing these genres because we do not want them to encounter unappreciative audiences at our events.

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When approaching nightclub owners/managers, what is Angels of Disruption looking for in terms of location, event dates,compensation, etc.?

Our ideal venue-wise would be a venue that has all of the following characteristics. Please note though that this is just our best-case scenario and not a list of absolute requirements:
  • Central location, e.g. near downtown
  • Close to public transit; in particular, close to a train station
  • "Alternative-looking" interior appropriate for goth/industrial events
  • Dim lighting
  • Not frequented by the sort of regular patronage who is likely to randomly show up on the night of one of our events and act as if we don't belong there
In terms of dates, a few of our considerations include:
  • For weekends, we would prefer Fridays rather than Saturdays, in order to try to avoid any competition with the existing non-Angels-of-Disruption events that our crowd sometimes frequents (e.g. Dickens' Hang The DJ event).
  • For weekdays, we would prefer Thursdays because in the past, that has been our "established" day for events. Failing this, the later the weekday the better, e.g. Wednesday is our second choice and Monday is our last choice. At the current time, we are not considering doing events on Sundays.
  • We would like to have at least 2-3 weeks of notice prior to an event in order to have time to sort out promotions and other logistics.
Lastly, re: compensation, our past arrangement has been to have our own door people collect cover while the bar makes its money from drink sales, i.e. the bar technically is not paying us. However, we are also open to other arrangments, e.g. the bar's staff collecting cover and then paying us either a flat rate or a percentage. We are open to negotiating this on an individual basis for future events.

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Are you open to adapting which artists and genres you are playing depending on the venue's preferences?

Within reason, yes. i.e. if a venue were to give us a weekend night and in return would like us to play more accessible music in addition to our core genres - e.g. throw in some retro or some alternative rock - we are willing to do this, so long as it does not require a massive a departure from our usual playlists. Similarly, if a venue were to tell us that they are against playing certain artists for certain reasons, this is easily accommodated, since not playing 1-2 artists is not much of a hardship given that there is always plenty of other music to play.

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What sorts of opinions do you hold regarding politically "controversial" songs and/or artists?

We find it completely understandable that some people may be offended by the contents of songs and/or the political stances of artists if elements of racism, sexism, or other forms of bigotry are present therein. Accordingly, we respect the decisions of venues, other DJs, etc. with regard to limiting content that they feel is transgressive in this way.

However, when it comes to our own events, we tend to adopt a more apolitical approach when it comes to choosing music, i.e. our primary criteria is "do we feel that this song is the right combination of dark, evocative, compelling and/or stompy for this event?" If we do not then play something out of what may seem like political considerations (i.e. bigotry in lyrics), this will almost always be a side-effect of our aesthetic perceptions (i.e. those lyrics are very likely to have struck us as stupid, lazy and uncreative, on top of being bigoted).

A few considerations driving this approach include:
  • On the topic of artists' political stances: As someone engaged in a wide variety of time-consuming academic and creative pursuits separate from DJing, as well as being vehemently anti-Facebook, it is simply not practical for DJ Jinx to go check up on every industrial artist in existence to see whether they said something on social media that they "should not" have said. If other people are of a sufficiently activist mindset to do this legwork and then want to boycott artists, that is understandable. However, we think it should also be accepted that not everyone is willing or able to devote energy to such endeavors, nor is everyone in agreement that artists' political stances are even relevant to the decision of what music should be played.
  • On the topic of offensive content: While we recognize that there are cases in which content may seem "clearly" over the line, we nonetheless feel that this is overall a more subjective matter than some individuals make it out to be. We are thus concerned that too little tolerance for controversy may eventually lead to cases where someone might, say, experience knee-jerk offense at certain kinds of WWII-era content commonly used in industrial, without being willing to exercise critical thinking as to how and why the artist is including it - i.e. in our experience with this genre, very often in critique of contemporary developments that threaten to repeat mistakes of the past, and thus ultimately in agreement with the offended party's own politics upon further reflection. Similarly, portrayals of atrocity in "dark" music of all kinds typically aim to do something more constructive than just blindly endorse that atrocity, e.g. exploration of a state of mind without endorsing it, raising awareness about neglected issues and incidents, etc. We do not endorse bigotry toward any demographic of people, but we feel that if some individuals are not able to engage constructively with artistic complexity, that is the problem of that individual, not something that event promoters are obligated to tailor their events around.
  • On this whole topic in general: Inasmuch as industrial has long revolved around themes of confrontation, loss of control and the world being a generally unpleasant place, we are not convinced that becoming too invested in offense-policing is the most appropriate policy for that scene. While on a physical and social level, we want all manner of people to feel "safe" at our events, there is also a conceptual and aesthetic level on which we would argue that industrial simply is not about "safety." In our past experience, intelligent adults are easily able to distinguish between these two levels, and we would thus hope that such continues to be the case in the future.
In accord with our respect for the views of others on this topic, we are happy to hear out arguments about proposed content limitations from venues whom we are involved with, or other parties with whom we may be collaborating in the course of putting on the events.

However, we also think there is a point with this kind of thing where one is permitted to say, "if you don't like the event's music policy, don't come - go start your own event instead," and we would happily support any new event that comes into existence via such thinking, so long as the net result is more events for everyone in our scene to enjoy.

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