You might think that serving as one half of a production duo that helped to define the modern Balearic sound would be enough. You might reckon that serving along with her musical partner Steve Jones as a sound designer for museums, galleries, theatre, film and radio would be plenty. And you’d be pretty sure that serving as a senior lecturer at Leeds College of Music, along with leading the school’s new Electronic Music Ensemble with Mute Records mastermind Daniel Miller, would be the capstone of a career.
But in the case of A Man Called Adam’s Sally Rodgers, you’d be wrong—you’d have to add ‘acclaimed DJ’ to that list of accomplishments. Spinning everywhere from San Francisco to Singapore, from San Antonio to throughout the U.K., Sally’s sound on the decks is even harder to pin down than that of the proudly genre-defiant AMCA. Rare Japanese ambient, Italo-disco, post-punk art-pop, French house, ’70s soundtrack material, beard-stroking bangers—that’s just a small sampling of the flavours likely to end up in her sonic stew.
We’ll let Sally herself expound on her theory of deejaying: ‘Without wanting to sound too wanky,’ she says, ‘I do think of deejaying as a poetic form. Linking the old with the new, helping people join the dots, and giving context to that century-old body of recorded music and newer, more abstract forms of music— a big continuum. And in this world where you can listen to all of the music at any time, it’s the DJ’s job to guide that journey. Like Virgil through the underworld!’
Words By Bruce Tantum (Time Out New York)