ANA SIA
Photo by Spencer Hansen
Interview by Andria Bennett
When I first arrived in San Francisco nearly two years ago, my ears were no strangers to the low frequency bass-friendly sounds. But I was fresh to the local artists and culture that was supporting such inclusive growth of these sounds. And I was really fresh to the uniquely subaqueous experience and movement happening within this city by the Bay.
It wasn’t until I branched out from local scenes primarily defined by their grime and drum-and-bass roots, that I began to hear the name Ana Sia, and connecting that name with the spritely yet surprisingly serene dj I had witnessed behind the decks. To experience her dj is to experience an individual clearly being herself within a musical state, and doing so while creating sound that inescapably slays the dancefloor.
Over email, this incredibly gracious gyal gave us a chance to pull back a few layers and get to know the real Ana Sia.
Who is Ana Sia? What crews are you representing?
I am a passionate, hyperactive beat-head attempting to dissolve social biases and be recognized as a talent… not only as a female talent. But through this expedition, upon meeting so many other artists and partygoers, how symbolic it is that I am indeed a lady. I am a solo artist, but I often feel like I’m serving as an ambassador for women by default, and that is an honor.
Can you tell us a little bit about what you do, where you do it, and about your musical roots?
Ugh, the label of ‘DJ’ kinda makes me cringe. I accept the reality, but I do more than mix track into track. During a set, I am constantly weaving in sounds/hits/samples/loops/bits and beeps to sculpt songs and create re/fixes live. I grew up playing classical instruments, so I’ve sort of always been making music. But now it’s less about traditional structured theory, and more about finding the non-conformist, uber-wonky beats that confuse the brain… [and please] the body.
What inspires you to create and play music?
At the risk of sounding trite or hokey, my single most inspiration is: dance. Starting at the age of four, experiencing my body as tool for communication and expression has been the constant in my life. And I’m in a gracious situation of being able to share that on a macro-scale. I’ve only been in the role of ‘dj’ for bit over two years now, but the role of ‘dancer’ forever!
What kind of vibes do you like to bring to the decks?
Ultimately, my intention is to guide an odyssey in sound and movement through multi-genre music. I’m patient with the crowd. I really want to develop an entire experience for them, introducing music that’s admittedly sometimes complicated to dance to, [one] that urges authentic creative movement… [to be] changing rhythms and tempos, and develop an eclectic episode for the real dedicated dancers.
If you had to choose three records to represent Ana Sia, what would they be?
Ooh… that’s tough. If you’re speaking artistically: Cafe de Phresh by Rustie, ANY vinyl cut of Rusko, & the Beauty in Distortion by J.Davey.
You’ve performed with a lot of different people and in quite a few places. Who’s been the most pleasurable individual or crew to work with?
It was a total dream getting to work alongside Rustie, Hudson Mohawke and Dom Sum of Lucky Me, and Vadim with Yarra Bravo. Total honey stand outs are: Headhunter, Lazer Sword, MegaSoid, & Lynx. I’ve learned the most from the Glitch Mob.
Can you tell us what a typical production session is like for you?
Drums. I always start with pounding out a drum beat, and I trace that back to tap dancing. Producing is the newest quest. I have loads of bash-ups & re/fixes that I make for self-indulgent fun, but the full-on originals are soon coming. I have vast estates of ideas and noise in my head, just anticipating [them] being drawn out digitally.
What’s your approach to collaborating with other artists?
I find that collaborations are the most fun because of being able to ping -pong ideas with someone. It makes creativity expand. I’ve liked writing around lyricists/MC’s and bouncing files back and forth (plug in: BIG UP to the internet)
Are there any particular artists and producers you’re really feeling right now?
Hands down, the entire Lucky Me crew out of Glasgow are the hotness. All of them are hyper-talented, young sound sculptors that are creating the juiciest tracks full of chunky beats for your lower half and etheric pretty shit for the upper.
What kind of advice would you like to give to any up and coming musicians?
I encourage anyone who desires to place their ears/hands/ hearts into the music scene to carve out your own unique soundscape by integrating all things you love, and having the courage to take risks. Whether that’s adding humor, nasty basslines, or emotional content to any set. Truth is, anyone can own great music, but to be a great selector/dj is an entirely different facet… that’s the art.
What are some regular West Coast club nights you’d recommend for someone looking to hear more of the glitchy and lower frequency sounds?
There’s not any one specific club I’d steer anyone to that well defines the sounds of the West Coast, it’s more about finding the collectives that throw events at different locations – whether at grandiose clubs, or weird obscure spots like an oceanside maze made of hay (that’s no lie). I’d peep anything thrown by Get Freaky, Symbiosis, Raindance, Nexus, and Full Melt crews.
What’s in the works for you right now? What can we anticipate in the near future?
Introducing more shows that include a side project called 3WS. It is a collaboration between Danny Corn and I that focuses on all things crunchy and amazing; fusing dubstep, eclectic hip-hop, and ethnic nuances… [and] keeping consistent in bringing my offering to as many places as possible, throughout the States and beyond this continent soon.
