As a Detroit native, Sherard Ingram (aka DJ Stingray), is no stranger to A-grade electronic music. Having teamed up with the likes of Carl Craig and Moodymann in the 1990s, the masked man’s Detroit roots have enabled him to rub shoulders with the world’s best. Whilst his Detroit contemporaries are famed more for their association with classic house and techno blends, Ingram’s trade is blistering, quick-tempo electro that pummels the listener into submission.
Whilst Stingray’s take on electro was very much at odds to the popular rap and urban scene in Detroit in the early-mid 1990s, his willingness to push through such alien brands of music is a testament to his bravery. As Ingram has since noted, his sets at Detroit motorcycle club The Outcast pushed the boundaries of techno and electro, using the ego of the crowd as a safety net when introducing the genre.
It was his personal and professional alliance with Gerald Donald and James Stinson, (aka Drexciya) that saw Ingram’s career jump forward several steps. The Drexciya duo, both popular and influential to many artists since the turn of the millennium, were instrumental in Ingram’s success. Stinson recruited Ingram in the early 2000s, seeing him as the ‘Drexciyan DJ Stingray’ and brought him on board for shows in London, and Dublin in the 2002 Warp Magic Bus tour. However, having been ill for some time, Stinson’s death in September 2002 brought Ingram’s ‘Drexciyan DJ Stingray’ act to a close. Despite the saddening setback, Ingram decided to press on with the DJ Stingray outfit, out of respect to Stinson and to fulfil contractual agreements, and has continued to do so since, to the benefit of all his fans.
Stingray’s hard-hitting electro resonates with an ever-growing fan base, and he cites the recent rise of artists like Helena Hauff and Objekt as instrumental in maintaining electro’s exciting and fresh-faced image.
Stingray’s ‘Disinformation’ has been used by artists like Helena Hauff in recent sets. This shows that not only has Stingray’s reputation stood the test of time, but his production too.