I was the first person to put all these big drum-n-bass artists together for a photo shoot for Dazed & Confused in ’96. From a media perspective, I was instrumental in helping that scene along. Lazarus: When I first started getting into music, I came from soul, funk, jazz and hip hop, that moved into early acid house, breakbeat, and then into drum-n-bass by 1996. You know what’s happening in the future.ĭJ Times: What was your musical trajectory as far as styles and scenes? Magazines work with a two- to three-month advance time period. As a journalist, you get an insight into the music industry from an interesting perspective. I was writing, then I was an assistant editor, then music editor. Lazarus: It started when I started working at Dazed & Confused magazine around 1996. It went like this:ĭJ Times: You’ve been part of the dance-music landscape since the ’90s – what were your first forays into the scene? The London-born talent went all the way back to his nascent years, recounting the events and experiences that brought him to the present time as one of the curators of not only singular DJ sets, but taste-making record labels Crosstown Rebels and Rebellion, and magical destination festivals and events such as Day Zero and Get Lost.
DAMIAN LAZARUS WINDOWS
In between keeping an eye on his quarreling goats, shuttering his windows against a pending rainstorm and sipping tiny espressos punctuated by intermittent cigarettes, Lazarus gave DJ Times plenty to chew on. These efforts sometime have a clear view of the dancefloor such as on “Leave,” “Everybody” and “Mountain.” At other times, it looks inward, such as on “Beth” and “Bas.” At yet other times, such as on “Into the Sun,” it is tailor-made for Lazarus’ signature sunrise/sunset selections. It delves far back into his musical past, unearthing his early drum-n-bass influences, bringing those together with jazzy grooves and skipping house beats or jumpy breakbeats and buzzing basslines. Sequestered with his family and his engineer/tour manager/assistant and all-around Man Friday, Paolo Bartolomeo, at his Monastic Studio in the middle of a nearby forest, Lazarus has never had this much uninterrupted time to focus on creation, and mostly likely never will again.īut it was put to good use because Flourish captures all the isolated, nature-driven environs in which it was created, not to mention Lazarus’ fluctuating state of mind. Lazarus spent the month prior to the pandemic and the ensuing five lockdown months at home at his idyllic farm in Italy, high atop a mountain, working on his opus, Flourish – the second album under his own name, his fourth overall. No gigs and lots of time on his hands to get creative. 10.In 2020, Damian Lazarus, the DJ/producer/label owner with the excellent name – it sounds completely made-up, but isn’t – was confronted with some of the same challenges shared by all DJs. The one-shot features a main cover by David Marquez and Alejandro Sanchez, and a wide array of variant covers by Lee Garbett, Ben Oliver, Felipe Massafera, Ariel Colon, Bernard Chang, Federici, Pete Woods, Helene Lenoble and Tiago Da Silva. Lazarus Planet: Alpha is written by Mark Waid, illustrated by Riccardo Federici, colored by Brad Anderson and lettered by Steve Wands. These include Alpha, Assault on Krypton, We Once Were Gods, Legends Reborn, Next Evolution, Dark Fate and Omega. 21 and features a total of seven one-shot comics and nine tie-ins. In his orders to the assembled heroes, Damian suggests that they might find a temporary ally in Nezha, who may be willing to help them defeat his son. King Fire Bull is Nezha's adopted son, and the pair share a deep animosity toward each other. Nezha's onslaught was also stopped by King Fire Bull, another villain based on Chinese mythology who first appeared in DC's Monkey Prince series.
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