Mostly: A Sexy, Seductive Sound
Here is the Music Player. You need to installl flash player to show this cool thing!
A husband and wife electronic duo, Mostly is representative of the past 15 years of the electronic music scene. Comprised of multi-instrumentalist Nate Cox and front woman Roxy Valentine. The duo are well known for their electrifying live shows, containing all of the production value, costumes, and excitement that many mainstream acts are known for. Progressive Man is glad to shed some light on Mostly’s musical journey and learn more about what makes them tick.
It’s great to get a chance to speak with you! So let’s start off by learning a little more about Mostly. The two of you happen to be married; did you meet through music or was Mostly something you started after you’d already been together?
Nate was a Midwestern transplant of the Art school variety, already dead set on pursuing entertainment as a career after escaping to California and meeting Roxy in 1999. Roxy was an aspirant, rock stardom obsessed singer who had never been anything but.
Tell us a little about the name of the group, Mostly. Is there any particular significance behind it?
“They mostly come out at night… mostly.”
You’ve been part of the electronic music scene for almost 15 years now. How have you seen it change over the years?
Transmissions From Afar was our first partnered Mostly release. Back then, drum n bass was the backbone of the outdoor music festival scene, which, at the time, were still just called raves. It was all about jungle and breaks: musical styles that physically showcased how competent and omni-knowledgable a DJ was with his records.
The emphasis was for on-the-spot transitioning and looping, the hand-to-record sashay of the headphoned sync; things a party-goer could witness from the opposite side of the decks and appreciate. No one even understands the musical application for a needle anymore. Every kid with a laptop thinks he’s a DJ. The lazy leverage of music editing software has shifted the focus from real-time talent to manufacturing credibility.
What we value now is how well an individual can utilize the creative interface of archaos or ableton in order to formulate the requirements of the mainstream.
With the recent growth and explosion of electronic music, have you noticed your own music changing alongside it?
When Mostly was a baby, no one knew the difference between producing homemade electronica and spinning records. Despite our arsenal of keyboards, drum machines and synthesizers, everyone dubbed us as “DJ’s”.
Since our music was synth based, people considered it “techno”. Prevalent was the incontestable belief that electronic music was repetitive, impersonal, and unoriginal. It was to traditional instrumentation what Elvis was to rock and roll, a sacrilege on the foundation of “authentic music”, a threat to everything that was considered sonically holy. So much pre-existing secernment certainly had a castrating effect on the creative process for us.
I think all those years of maintaining that whatever we produced would invariably fall on discriminating ears prevented us from the knowledge that it was really good, and hastened our determination to be successful. Needless to say, the public is considerably more receptive to us now. The influx of the oft referred to EDM has, at the very least, finally legitimized an emprise Mostly’s been pioneering for more than a decade already.
The change has forced the public to tolerate Mostly not just as “dance music”, but rather, finally, just, as music.
Do you have any projects currently lined up? Can fans expect to hear any new music or see you perform in the near future?
Mostly will be performing at the Whisky-A-Go-Go on April 10th and at the House of Blues Foundation Room on Sunset on April 19th
Tell us about the song you’re featuring, “I Am An Exit.” Is there any particular significance behind the lyrics and the title? Does it happen to be based on events in your own life?
I Am An Exit is about escapism. The earthborn desire we all have as humans to disassociate is nurtured and validated by the personification of the Human Outlet, by the “big blackout” who is “ten feet across” and “all rectangle, no hands no mouth”. I fantasize her into existence all the time.
Being married must make practicing very convenient. Do you set aside certain days and times to practice or do you randomly start jamming together when one of you has an idea?
Rehearsal is less a sanctioned event and more a pre-show ordinance. We are definitely more on the impromptu jam side of the band practice coin. We spend a fair amount of time rocking out individually as well, oftentimes one of us will create the foundation for the song on our own and then coordinate our ideas with the other once we’ve got something substantial.
You take a lot of your inspiration from the late 90’s electronic music scene. Who are some of the acts that most inspire you as artists?
The Orb, Chemical Brothers, Moby, Crystal Method, Sasha, Aphex Twin, and Fatboy Slim are probably our top electronic influences from that era.
Of all the shows you’ve ever played, which one happens to be your most favorite and why?
There’s never a dull moment at a Mostly show. From vacating a venue fire mid-set to serenading sex club patrons, our reputation for facilitating memorable experiences during live shows is uncontested. All smut and fireworks aside, though, our fondest Mostly memory is from one of our first shows ever, an all night homegrown mountain party in the sticks.
Our set was at sunrise, and only a few crazy heads were still mulling around outside the contained havens of their tents as we took stage, which, realistically, was just the expanse of dirt behind Nate’s keyboard and our 303. We played our old jam “Rendezvous”, and as we did, watched in shock the descent of sleeping bag wrapped ravers climbing out of their tents and into the frozen morning air toward the music.
That’s when we knew we were home.
Where can people go to find your music?
You can stream and download our entire music catalogue for free at:
Or you can purchase it here:
And for your linking pleasure: