BIOGRAPHY and HISTORY


 


"The stage name Integrity is derived from a passion for the positive advancement of electronic dance music culture."


 "Brian Gibbs, the man behind the Integrity moniker believes that music is a great equalizer in a world that is so often plagued by division. By earning recognition and a reputable voice through the universal language of music, Brian drives to be a positive influence to all of planet Earth and its inhabitants."



Integrity Says...

As a fairly average child growing up in the New Jersey suburbs of New York City during the 1980s and 90s, music was always a constant presence in my life. My initial exposure came from piano, trumpet, drums, and also from my brother, Tom, who was making a mark in the local metal scene as a singer, song-writer, and guitarist in a band called Red On Black. Beginning at the age of five, Tom introduced me to rock and metal bands such as Kiss, Twisted Sister, Motley Crue, Quiet Riot, Def Leopard, Ratt, and Alice Cooper; all of whose characteristic heavy rhythms and heart-tugging melodies I immediately gravitated to. As I entered my teen years during the 1990s, I was drawn to new sounds that were part of my neighborhood and school culture; the gritty lyrics and infectious beats behind popular hip hop acts such as The Wu-Tang Clan, Notorious B.I.G., Mobb Deep, and Bone, Thugs, and Harmony, among others. My late teens brought me into contact with the fast-paced and emotional rhythms of ska, pop-punk, and hardcore, and bands such as Goldfinger, The Descendents, Earth Crisis, and Strife. As I continued to move through different social scenes and towards adulthood in search of my identity, it became clear that the common denominator, among all the roads I had traveled and the many people I had met, was music.

At the age of eighteen and fresh out of high school, still with much confusion about my future, I continued to put my focus more on music culture than school, work, and other responsibilities. After all, in my opinion, living my life according to others' terms wasn’t worth doing if I wasn’t passionate about it. Music culture was where I found satisfaction, so consequently, I continued to involve myself in local music scenes as a supporter and a promoter.

I believe it to have been fate that lead me to a sports arena in Morris County, New Jersey during the summer of 1999. My friends and I often drove aimlessly among the unassuming roads of New Jersey suburbia looking for a place to party, but on this particular night, our journey lead us to what would turn out to be one of the biggest parties of my life.

A few days earlier, a friend had encouraged me to purchase a ticket to what I was told was a rave. Now bear in mind, I had no idea what a rave was at the time. I was still an avid supporter of the punk and hardcore scenes and the electronic music scene did not exist in my life. I had previously dabbled with some commercial radio dance music in the past, but had for the most part all but forgotten about my brief interaction with electronic music years ago. After finally entering the arena, however, I was blown away and immediately realized that I was making my way through an entirely new dimension of untapped sound, visual stimulation, and social interaction. The sum of all these attributes created an interactive environment I had not been witness to before at any other music or social event. The lyric-less music and lack of a spotlight on any particular performer seemed to offer an entirely unique experience for each individual, creating a non-linear atmosphere with unlimited possibilities for entertainment and adventure.

After recovering from an initial sensory overload of sight, sound, and emotion, I had all but quit school and work to run away with this electronic circus known as rave, becoming a regular at most events around New York, New Jersey, and Connecticut with a fierce conviction for spreading the word about this growing underground phenomenon. As I became further involved with the culture, however, I soon came to know the risks associated with holding such open-ended and often lawless events. Such freedom devoid of checks and balances in the hands of man almost always falls victim to corruption. In the year 2000, after becoming witness to (or becoming more aware of) a rapid decay of safety at events around the New York City area, I came very close to an early retirement from rave culture.

After some serious soul searching, however, I found that I could not help but be drawn back to the music and the idea that rave culture had not reached its full potential just yet. Ultimately, I came to the conclusion that it was my responsibility to be accountable for the forward movement of rave culture in the New York City metropolitan area and beyond. After all, If I had simply walked away, I probably wasn't as passionate as I had claimed to be all along. I had learned a lesson that I still carry with me today: Don’t ever give up on something you believe in, no matter what obstacles you are faced with or how many times you might fail along the way. I now don’t think that anything is impossible. At the very least, I find comfort in the fact that we have the rest of our lives to achieve whatever it is we’re working for.

By late 2000, I had decided to get more involved by purchasing vinyl and learning to beat-match. By 2002, after some time of practice and promotion of my first mixed tapes and CDs, as well as my production of small local events, I drew the attention of Hardmind Productions of Long Island, a like-minded group of individuals who held a similar “do it yourself” attitude and passion for the positive advancement of rave culture. This new union lit a fire of strength and initiative that lead to both the continued success and exposure of Hardmind as well as my growth as a DJ in the local Northeast rave scene through free and low-cost events, such as Saturday Morning Cartunes and The Time Machine, and music distribution that ultimately reached every major rave scene in the country. Later, I would team-up with DPIM Recordings, Drumasheenz, Groove Therapy, NYCRAVERS, and most recently, clothing icon Kikwear, who also share a similar conviction for reaching rave culture’s full potential.

Today, I remain an active participant in all areas of rave culture including DJing, original music production, event production and consultation, dance, and general advocacy. Future projects include continued production of original music, mixes, and events, along with consultation and motivation for others, in and outside of rave culture.


Original Music and Remixes:


The Shake Up, 2016

Alien Communications, 2015

Switch, 2015

Rave Pikachu, Rave!, 2009
Saturday Morning Cartunes: The Anthem!, 2008
Snakes, 2008
Blvd (Sunrise Highway RMX), Vizionary Mindz, 2008
Tortured Soul, DPIM Recordings, 2007



Early Influences:


DJs Gonzo, X-Dream, Jevic, The Dever, Sykopath, Pleasurehead, Dread, Kookane, Rankin, Punch, Samsson, and Excel

Producers D.A.V.E The Drummer, Mark Tyler, The Geezer, Jeff Amadeus, Glenn Wilson, Kai Tracid, A.S.Y.S., Lab 4, Casper, Midi Miliz

Mixes:


Electric Underground Podcast Guest Mix, 2017

The Shake Down, 2016

It's A Secret, 2015

Stress Free Podcast Guest Mix, 2015

Wake up!, 2014

Psy Thrash, 2013

Homework, 2012

Groove Therapy Sessions on Technohouse.fm, 2012

Drumasheenz Podcast, 2012

Unhappy Hardcore, 2011
Lovepsyk Psyber Raver, 2010
Loud And Liberated, 2009
Cyber Raving, 2008
Driving Miss Crazy, 2008
The Hardmind 5 Year Anniversary, 2006
Sparked, 2005
This Means War, 2005
1999, 2004
Learning The Hard Way, 2003
My Definition, 2003
Real, 2002
Devastate You, 2002
Chaos, 2001
Dropping Acid, 2001