audio Kultur issue 00 dec 2013 free
02 Word for the Herd
I
f you’re reading this letter then somehow, someway we’ve actually taken this magazine from a pipe dream to reality. This journey began, as many great plans have, with a conversation at The Gärten between our head of entertainment Ziad el-Zein and myself. In a night I’m sure neither of us remember particularly well, we babbled on about transforming our monthly flyer into a fully-fledged zine. The next morning, while nursing my perpetual Sunday morning hangover, Ziad called me to make sure the plan was in place. We were going to start a magazine. To be clear, we had no idea (and still don’t really have a clue) what that would entail, but we knew we had to do it. Coincidently, my good friend and our wonderful art directorAlī El Sayed had also got his mind stuck on creating a new print format for the club. Meetings were called, drinks were drunk and we assembled the current team. It’s at this point we all realized we had bitten off way more than we could chew. Our newly hired editor, Emma Gatten, tried to make a run for the door, I began reconsidering my mental fortitude and Alī started to reconsider his going rate. It was a mess. Late nights and monumental bar tabs followed. There were tiffs, arguments and all-out brawls. But somehow, in the words of my mum’s favourite Shania Twain anthem, “it looks like we made it.” This is Issue 00 and hopefully the beginning of something much bigger than its current incarnation. The zine would not have been possible without an immense effort from everyone involved, many of whom have put in countless hours to create these pages. Thank you to my partners, our resident DJs and the entire staff of the club, from the bouncers to our cleaners. All of you make this possible. Until next month, Tres Colacion Editor-in-chief Got something to say? Write us at Junkmail@Uberhaus.me
Publisher:
überhaus SAL
Editor-In-Chief: Tres Colacion
Managing Editor: Emma Gatten
Art Director: Alī El Sayed
Writers:
Martin Armstrong, Nabih Esta, Ronald Hajjar, Rita Harbie, Ziad el-Zein
comic:
Panos Aprahamian Arin Aprahamian
Original Photography: Valentina Lola Vera Charbel Saadé
Table of Contents 03
04. Incoming:
Frank Haag
06. Incoming:
08. Flashbacks
John Dimas
& Revelations
12. Extra, Extra:
13. Club Daze:
HĂœTTE
14. Feature:
Katapult
16. Party Monster:
The Warehouse Project
18. Featured Artist:
Soundclash
20. Featured Artist:
Paul Loraine
Soul Button
22. Tuneage
24. Techno-logic
26. going Gonzo : Martin
29. eulogy:
Remembering Lou
30. das Komic
04 Incoming
The Dutch master Frank Haag opens up about his musical family, a Beirut-loving ex and the Amsterdam scene By: Ronald Hajjar & Nabih Esta
Incoming 05 AK: Can you tell us more about the conservatory and how it helped your career? It helped me a lot in my musical development, using modular and all kinds of techniques. We'd talk about pieces and strip it, to see why which sound was used. Almost overanalyze it, which can be dangerous too, 'cause you can lose some spontaneity. But we were also trained to make music on impulse. I guess it made me more conscious about using sound and silence, making your art. About using different techniques and, very importantly, it opened up my perspective, my perception.
AK: How did you start playing bass - does anyone from your family play music? Which bands influenced you growing up? My parents were pushing me to play an instrument from the beginning, and that resulted in me being stubborn and not wanting to play anything. When I was 8, I started playing the violin for a few weeks but I got bored really quickly. The synthesiser [belonging to] my teacher was far more interesting. Next step was playing something I did like, and that became the bass. My brother plays the violin, my sister used to play the piano, as well as my grandfather (who was very technical, but never went professional). My parents played a lot of music, mainly jazz, classical, and motown. I guess I was influenced by that and by the albums my siblings used to play (early Bjork, Massive Attack, Pink Floyd etc). But when I grew up, I listened to the regular grunge bands like Nirvana, etc. Stuff like Prince, Red Hot Chili Peppers, punk and funk. I also always had a thing for soundtracks and synthesiser music. Instrumental shit. I remember this CD with 'the best motion picture themes' from my brother and a record with 'Synthesiser greatest hits' containing Jean Michel Jarre and Kraftwerk, Vangelis, etc. I loved to slow the Jackson Five record down on my brother's pick up, as the vocals became funny as hell. “Blaaaaaaammeeeee Iiiiiiiit Ooooooon Theeeeee Boooooooggiiiiiiee.” Michael started to sound like this stoned gay giant.
AK: Our Groove Republic residents have been playing
c
ombining the organic with the sonically abstract, his music is highly regarded, having been released on imprints such as Serialism, Get The Curse and Indepth MusicRec. A former student of sonology at the Royal Conservatory in The Hague, Frank Haag has long been experimenting with analog and digital studio techniques with his multiple channel compositions. We caught up with him ahead of his A-Live gig at überhaus on Friday December 29.
your remix for ‘Usual Things Around - Does Not Matter’ quite a lot – it has done severe damage on the dance floor. We notice that it has a kind of horror feel to it; do you like horror movies in general?
No not in particular, but I do like suspense and a certain restrained tension in (my) music. Funny you mention this remix. For me the track was a sign I had to move away from horror style tech-house, as it became a bit boring to me. I felt a bit lost. Don't get me wrong, it's a good and fun track and is doing its damage. I stand by it. But now I feel I've entered a different zone. More timeless, warm, distinctive and personal. I've been developing my direction the last few months and tried to really feel what (house, techno) music really moved me. Asking myself: "What tracks really hit me?" Same thing for production: "What music do I make, what comes out when I don't think and just feel?"
I guess it's a natural artistic thing that happens every once in a while. Maybe, an artist's biggest enemy is their past, in the end it's all about the fun!
AK: What have you heard about Beirut in general, and about its scene? To be honest, the first thing I heard about Beirut were the political and terrorist things going on. And later I heard from my ex-girlfriend that it's a beautiful place with lots of special places and people. I heard it has quite an active IDM/dubstep/electronica scene, but I don't know about the house or techno scene in Beirut. I have to be honest, I did some research for my trip, [about whether it was] safe enough. I even contacted [Canadian DJ/producer] James Teej. He said it was amazing so I decided to come.
AK: You’re going to play a live set at überhaus as part of the new A-Live nights. Could you give us a quick idea about your live setup? I used to bring two midi controllers, sound interface (RME Fireface 400) and a laptop. But now I want to go a bit more special. I don't play live a lot; it's time consuming and delicate. To be honest, my live set 2.0 is still in an early stage, and in the coming few weeks it will be a lot of work for me. I definitely want to bring my MFB-522 drumcomputer and Jomox MBase for kick drums. Looking forward!
AK: How would you describe Amsterdam’s club scene compared to other European cities? Compared to other cities everything’s within reach by bike – Amsterdam is relatively small and flat. The scene is small, it seems like almost everybody working in the business is acquainted. About the music: it has a really good quality level. Of course it depends where you're going and what you like but you have Trouw, Doka, Breakfast Club, Imprint, Rush Hour, Delsin, etc all based there. All very credible quality clubs, promoters and labels. More and more quality is taking over the city!
city:
Amsterdam, Netherlands
label:
Serialism, Get The Curse, Thema
Website:
www.soundcloud.com/ frankhaag www.facebook.com/ frankhaagofficial
essential listening:
Frank Haag - The Verdict (Original Mix) [Get The Curse Music] Frank Haag - Battlefield Picknick [Serialism] Frank Haag - Afraid of Change [Get The Curse Music] Frank Haag - Lust (Original Mix) [Recovery Tech] Usual Things Around - Does Not Matter (Frank Haag Remix Mix) [Indepth MusicRec]
06 Incoming
Greek unorthodox John Dimas is the soundtrack to your avant-garde party By: Ronald Hajjar
Incoming 07
W
ith EPs on Bass Culture, Claap, La Vie en Rose and One Records, John Dimas has proved his place in an up-and-coming generation pushing a new avant-garde house sound. Over the last few years he has crept slowly into the limelight with a constant flow of high quality house music built for the dancefloor, which manages to never feel contrived or try-hard. Drawn to the sounds of Chicago, acid and French house, he started collecting records from the likes of Derrick Carter, Chez Damier and David Duriez, before honing his skills as a DJ in his native Thessaloniki, Greece. After quickly gaining a reputation for his unique sets using three turntables, as well as his ear for digging out a hot, rare track, international club invites naturally followed, including Le Nuit Sonore Lyon, The Rainbow Birmingham, Watergate, Katerholzig, Chalet and Tresor in his new home of Berlin. We caught up with him ahead of his gig at überhaus on Saturday December 14.
AK: Berlin, Berlin, Berlin. We can’t help but ask you; how is life over in the German capital? How does it compare to your hometown? I love this city. There is so much energy and it’s not only the music that keeps you there, it’s the city and people you meet too. Of course compared to my hometown Thessaloniki it’s a bit colder! But I’ve gotten used to it.
AK: Tell us more about your inspirations? Who are your influences, or the non-electronic music artists that you listen to? Good inspiration for me and my music is when I go to see my favorite DJs play. Afterwards, I go back to my home studio and finish a track or I start a new idea for a track… that’s happened a lot of times in Berlin lately. I could name a lot of influences. A few would be Chez Damier, David Duriez, Derrick L. Carter, Nail… and right now Audio Werner, Djebali, S.A.M, Acid Mondays, Apollonia etc! I also really like Boards of Canada and Fink, but mostly I listen to electronic music.
AK: Your solid ‘Living Lies’ LP was released last year and is
still grooving in the back of our heads. How do you describe your music and what has made this LP so unique?
Yes, I was really happy to release my debut LP on my friend Terence :Terry:’s label La Vie En Rose. I would call my music just club music, and I use elements that you need to listen to when you are in a party mood. I always imagine myself in the middle of the floor when I am making music.
AK: One special track that is doing serious damage on the dancefloor right now?
Idjut Boys – Reggae Suicide on Rue De Plaisance Re-Issue
AK: What are you most looking forward to at the moment? What can we expect for the months ahead from the John Dimas lab? Really looking forward to New Years Day, playing with my good friends Adam Shelton and Subb-an from One Records at Below Birmingham. It’s one of my favourite parties and a great way to start the year.
AK: Have you heard anything about Beirut? Are you excited to come and play at überhaus this December ? I’ve heard that there are some good parties going on and it’s a very beautiful city! So, yes, I’m really looking forward to playing at überhaus!
city:
Berlin, Germany
label:
One Records, La Vie En Rose, Dame Music
Website:
www.soundcloud.com/johndimas www.facebook.com/ johndimasmusik
essential listening:
John Dimas Essential listening: State Of Mind (Original Mix) [Dame Music] Mind Games [La Vie En Rose] Rhythm Trap [One Records] Cali (Original Mix) [One Records] Smoke & Mirrors (donRafael) [Overall Music]
08 Flashbacks & Revelations
Flashbacks & Revelations A barrage of photogoodness from 端berhaus. From the good to the bad, to the just plain bad ass, everything you don't remember from November all in one place
Flashbacks & Revelations 09
10 Flashbacks & Revelations
Flashbacks & Revelations 11
12 extra, extra
Hütte Some Proto-German dude used to have a house in Faqra, turns out it was pretty fucking awesome
A
Lebanese mountain village in the 19th century is not the first place you’d expect to find an Austrian gentleman. But the appearance of Otto Von Brummbär in Faqra in the middle of the century is one of the least bizarre parts of his legacy. Nobody really knows how Brummbär ended up in Mount Lebanon. Some locals say he merely appeared following a fierce blizzard, others that he rocked up on a wooden sled with the help of a dozen St. Bernards. What is clear, though, is that this eccentric Austrian changed the face of this quiet village, drawing characters from far and wide to exchange ideas, insults and alcohol in Brummbär’s huge home, ironically referred to as the Hütte.
The Hütte’s reputation spread as quickly as the legend of Brummbär. Foreign dignitaries exchanged favors for invitations to his brunches. His chef was the guy who taught the guy who founded Le Cordon Bleu. A young Charles Dickens dropped by. Champagne flowed freely, as did the debauchery. At some point though, the fun had to end. Brummbär’s vice eventually caught up to him, and he was stabbed through the heart while wrestling an Irish elk he had received as a gift from John Jameson. He died six months later, after the antler was dislodged during a curling brawl. Brummbär won the fight and the match. After his demise, the Hütte fell into disarray. Others tried to capitalize on Brummbär’s charismatic draw, but the place was never the same again. People moved on, and Brummbär’s name became all but forgotten. Now though, his legacy will be resurrected, after the discovery of the remains of the Hütte earlier this year. Although barely a skeleton, the Hütte’s energy lives on. The only known portrait of Brummbär himself now hangs on the wall of the newly birthed Hütte, a testament to everything he built. His coat hangs on
the rack, and a glass of the stiffest whisky sits at the bar in his honor, a reminder not to live life in the sedate lane. After a long winter, Hütte reopens its doors in late December 2013.
club daze 13
Discoslinging Katapult’s Romax Maurer gets the ladies onto the dancefloor
L
ast year Romax Maurer, the überhaus entertainment manager, set out to craft four different club night concepts to get Beirut dancing. Katapult, one of those concepts, has gone on to develop a cult following and this year has been given a bit of a revamp. We sat down with the resident selector to talk about what’s new, what’s staying the same and what the hell is up with the name...
AK: You’re from Holland right? How do you feel club nights in Beirut compare to those in Holland? Yes, I do wear wooden shoes. I’m very proud and pleased to see how the Beirut scene has grown in a year. I think it shows that real maturity is around the corner and that we have all done our part to help it grow. Although I do think that as the nightlife society we have to watch out that we’re not overkilling the product. At the end Beirut is a small city and we should all act accordingly … and dance dance dance!
AK: Katapult is more of a disco-leaning concept, right? What’s up with the name? Well a catapult is a fun tool for the nasty few and so is the sound. It’s disco-ish, but with that nasty electric touch.
AK: Ok, why a disco-tinged sound? It’s not exactly
the most trendy genre right now, why did you choose to go in that direction? I guess its roots and the love for the warmth, the soul and the originators of the dancefloor. I also think that it’s fun and healthy to have different sounds in our club. I never envisioned überhaus to be a club that only played one style of music.
AK: Can you tell us a bit about your own style and the other Katapult residents? Who can we expect to grace the night in terms of international talent? I play everything from disco to disco and everything in between. Expect the same from our other residents, but expect each of them to add their own special swing.
AK: Nice, How about the clubbers … What’s the
difference between your Friday night Katapult crowd and the Saturday crowd? Katapult is more for the ladies. They come in for free
and the more vocal tracks get them dancing. And we all know once the girls are dancing the boys will soon follow. That’s just human nature right? Only in a more disco sorta way. I think the crowd tends to be a bit older on Fridays as well.
AK: If Katapult was a girl what would she look like? Like the love child of Donna Summer and Miss Kitten.
AK: Would you date her? You’ll have to ask my wife that!
AK: Alright then, it’s all getting a bit awkward … We’re gonna go. Any last words? You have the right to remain disco, anything you say can and will be used to make you move on the dancefloor!
where:
überhaus
when:
Every Friday except for the last of the month
damage:
Free for girls, free before 12, $20 w/ 1 drink after 12
14 feature
The Warehouse Project British clubbing institution faces hard times after becoming embroiled in drugs scandal By: Tres Colacion
feature 15
T
he UK’s Warehouse Project is a club that might not immediately spring to mind when it comes to the big names. It doesn’t have the history of Berghain nor the legacy of Fabric. It lacks the architectural flare of B0 and is far from being the international brand that Space has become. Instead, it is a venue that allows itself to be transformed into something new every night, and that is where its intrinsic value lies.
Opening its doors in 2006, the Manchester-based Warehouse Project was first located in the old Boddingtons Brewery in the city’s Strangeways district, and took up home for a while in a World War II air raid shelter before moving to its current location at the Victoria Warehouse in Trafford. The club is only open from September to January each year and hosts some of electronic music’s biggest names. Each night is curated by an artist, label or festival and the genre of music differs accordingly. The massive three-room club can accommodate up to 5,000 clubbers and regularly sells out on big nights. As the rave scene of the mid-nineties began to enter the mainstream consciousness, the UK garage (and later grime) scene remained firmly hidden away in dimly lit nightclubs across the country. While to this day big, rave-level events cater to a broad audience with crowdpleasing anthems, small club gigs are the breeding ground for the next wave of dance music. Even some of the best DJs in the world have been known to play it safe when attempting to rock massive festival crowds. With its 5,000 capacity, the last thing the Warehouse Project can be described as is a small club. But this is what makes it such a beautiful anomaly, the very reason clubbers from all over the country and even the world descend on the city. WP oozes small club vibes while maintaining a rave-like ambiance. DJs play career defining sets, the punters go hard and, just for a moment, nothing outside of the massive four walls seems to matter.
But 2013 hasn’t been the best year for the Warehouse Project and its future now looks uncertain, after 17 people were hospitalised in September following a night out at the club. One of those 17 – 30 year-old Nick Bonnie of Gloucestershire – has since died. The hospitalisations are suspected to be in connection with the drug PMA, the use of which is on the rise. Clubbers are thought to be mistaking the drug for ecstasy, not realising it is both a stronger and a slowerburning drug, making it much easier to overdose. There have been 21 PMA-linked deaths in 2013, as opposed to 1 from 1993-2011, and following September’s hospitalisations the Warehouse Project has been swept into the center of the controversy surrounding the drug. Organizers have since implemented, in partnership with the British government, a drug testing initiative, but the Manchester promoters nonetheless recently announced that the Warehouse Project will not hold a full party series in 2014. It’s yet to be seen how these recent events will affect the future of the club, but if further events amount to additional cutbacks then the scene risks losing one of it’s greatest establishments.
Each month, Audio-Kultur sets out to introduce you to some of our favorite clubs in the world.
Location:
Strangeways Brewery, Manchester (2006) Store St., Manchester (2007-11) Victoria Warehouse, Trafford (2012-Present)
Opened: 2006
Capacity: 5000[1]
Website:
www.thewarehouseproject.com
16 Party Monster
A clash of cheer and disdain Rita J Harbie finds it hard to cling to her usual indifference as Mashrou’ Leila and Who Killed Bruce Lee go head-to-head at Red Bull’s Soundclash By: Rita J. Harbie
Party Monster 17 Coming from a somewhat lackluster event attendee as I am, this means quite a lot. So it seems fitting that LCD Soundsytem’s “I Can Change” plays as I enter the Forum de Beyrouth with my not-so-necessary vodkavodka in hand.
I
t’s Saturday night in Beirut and for the first time in quite a while, I’m finding my usually preoccupied brain filled with a pretty and dumbfounding white noise. A warm tingling creeps from my gut to my throat, pushing the edges of my mouth into a silly smile. My drunken excitement has me hopping up and down almost incessantly to the beats of songs I didn’t know I loved. The Red Bull Soundclash event seems to be a gathering of friends from my past, present and future. And for the first time I can remember, I’m not annoyed by this.
The atmosphere is buoyant. A handful of girls close their eyes, hands clasped to their chest while singing along to Mashrou’ Leila singer Hamed Sinno’s flawless and heartening voice. Everything is comfortable and, for once, it seems that no one has a thing to complain about. I don't think I’ve ever seen so many Lebanese smile in unison and forget their impending need to check their smartphones. A need for immediate gratification has been temporarily replaced with a more meaningful indulgence. But I notice that most “Friends of the Bull” equate elevation with stagnation. Or maybe some suffer from a fear of heights: the raised platform of the Forum’s VIP section isn’t moving with the same vigor as the crowd they look down on. Curious as to why, I cheat the system and make my way in to the elevated position. “People don’t dance no more, they just stand there like this, they cross their arms and stare you down and drink and moan and diss.” The Rapture’s lyrics play through my head as I join the so-called Friends. They’re not all that friendly it turns out, and I end up in a fight with a girl after she shoves me in order to take a picture of her duckfaced friends. I return the favor only to be faced with her boyfriend wanting to give me a dressing down. I send
a friend of mine to ask for her name so I can diss her in print; turns out I’m not so friendly up here either. Seeking to wash off the Bull-shit I head back down to earth. And I guess here’s where I should talk about the talent (oof, the talent). Live, Mashrou’ Leila and Who Killed Bruce Lee make me feel like I’m a long-time avid fan. The music is impeccable and I think I’m developing crushes on most of the band members on both stages. Their banter exchanged across the arena propagates the sense of belonging and affection already emanating around the stadium. Who Killed Bruce Lee are killing it (in the best sense of the term), guitarist Wassim Bou Malham’s vocals echoing with charisma. The night ends on a high as both bands sing the event’s iconic mash-up. We all leave happy, satisfied with a newfound appreciation of this culture we’ve grown used to complaining about. It’s extremely tempting to take on a bombastic journalistic outlook and claim that tonight’s event is indicative of our generation’s ability to cut ties with our corruption-ridden past. It’s tempting to say that the Red Bull Soundclash is like a big bang, ready to birth a new world of culture, an underground class gone beautifully mainstream. But why not just leave it at this: for one night, we all had fun.
18 Featured Artist
On the Button A chat with Germany's mysterious Soul Button By: Ronald Hajjar
S
oul Button is the alias of an anonymous Berlin-based DJ and producer. Already considered an exciting talent thanks to his previous endeavors in the field of hip hop, the forward-thinking DJ is now a key figure in German house label Steyoyoke, whose philosophy focuses on communication and the music itself. Although technically anonymous, Soul Button does not wear a mask nor hide his identity at live gigs, preferring to focus on his music, and how it makes his audience feel, rather than his own image. We caught up with him after his gig in Beirut at the Chromatic party in November.
Featured Artist 19
AK: Soul, funk, hip hop. Tell us more about your roots, inspirations and influences? Well I started producing electronic music when I was 19 years old, when there still were no computers, only old Akai samplers ... when I moved to London I fell in love with producing beats for R&B and soul singers. It was a good experience switching from hard techno to the soul music. I still love it and I often use these kind of vocals in my house productions. Influences? As I’ve already mentioned in lots of interviews I can only answer with one word: “Kraftwerk”. I still remember what I felt when I listened to their first album.
AK: What does life as a DJ/producer in Berlin look like ... or sound like? Berlin at the moment is the main city for electronic music, even though you can only listen to techno and house music. There are hundreds of good DJs and producers you can compare yourself with. This is a big motivation for everyone, but at the same time you can feel the worse side of it, which is the competition. [This is] something that I believe shouldn’t exist in the music scene because at the end of the day, we only make music, but unfortunately it is like this. I really enjoy the city and the whole club scene. It’s a city where you are free to say and to do whatever you like and I think this is the most important thing if you do a creative job like creating music. I love Berlin and I would move only because of the weather.
AK: Did you enjoy the vibe and the party of your gig in Beirut? Yes, totally. I had a really nice experience. I loved the crowd. People are so friendly and it looks like they really enjoyed my set. It was my first time in Beirut and I didn’t expect so much warmth. I really felt at home and all the people I met and I talked to were really nice. I loved it and I hope to come back one day with some other friends from Berlin.
AK: The Steyoyoke label. What is it for you and what
is the philosophy behind it?
Steyoyoke is everything for me. I love the project, I love the attitude, I love the philosophy and first of all I love all the people who are involved. We are just simple guys and we believe in music as a form of art. We are trying to build a brand more than a label, but not really with the intention to build up a business, only to build up something new that is the perfect mix between art and music. We do art exhibitions before the parties, we hold art contests and we involve lots of talented graphic artists from all over the world in our project. We have a small
office where we laugh, joke and work really hard at the same time. Everybody can come to visit us and we have long talks with our followers. I think this is the best way to interact with the world.
AK: Any interesting artists to watch in 2014 you'd like to tell us about? Definitely Sasch. It’s not because he’s my best friend but because he has two beautiful things about him: first, he’s an amazing, simple and friendly guy, and second he’s a great DJ and producer. He’s improving his production skills day by day and lots of people in the world have noticed. He’s a great producer and a great DJ at the same time. Definitely an artist to keep an eye on.
AK: What is on the Soul Button agenda in the months ahead? Ahhhh ... I love my life but I’m a bit tired at the moment. I’m travelling every week to different countries. Next step Italy ... then 10 days’ holiday and then two months’ tour in Brazil. I’ll be back in Europe in the middle of February. After that we will have our big Steyoyoke Anniversary in Berlin with Pete Oak, Patrick Podage, Soul Button, Sasch, MPathy, Florian Rietze, Dahu and many, many more. That will be on March 14th, 2014. Everyone is invited and I will put all the Lebanon people who want to join us on the guestlist ... this is the only present I can give you in exchange for your lovely welcome and treatment. I’ll wait for your name and surname for the guestlist.
city:
Berlin, Germany
label:
Steyoyoke
Website:
www.soundcloud.com/soulbutton www.facebook.com/SoulButton
essential listening:
Shadows (Original Mix) [Steyoyoke] Come To Me (Original Mix) [Steyoyoke] In My Stride feat. Stee Downes (Original Mix) [Underground Audio] Little People (with Sasch) (Original Mix) [Steyoyoke] Sweet Lies (Soul Button Remix) [Crossfrontier Audio]
20 Featured Artist
Sunshine Sounds House maestro Paul Loraine on his eclectic sound, upcoming projects and love of sunny weather By: Nabih Esta
Featured Artist 21
B
arcelona-based British DJ/producer Paul Loraine began producing his own music just five years ago, but coming from a musical family, DJing was in his blood. He has recently had a spectacular string of releases on some of house music's most renowned labels and has set up his own label, Rhythm Cult. Well on his way to becoming an established presence on the scene, his tunes have been picked up by Deetron, Steve Bug, Luke Solomon and Hernan Cattaeneo, among others. So when he was in town for Beirut in The Mix’s One Night in November recently, we took the chance to have a little chat before he took to the decks...
AK: You used to live in London and are now based
in sunny Barcelona. How was life at your Golden Monkey residency in the UK?
The residency I held was in Guernsey, Channel Islands. I still say to this day it´s one of the best clubs that I have ever had the pleasure in playing – 500 capacity and the atmosphere in there at times was electric.
AK: Tell us more about the scene in London
compared to the one in Barcelona?
Barcelona has so many fantastic outdoor day parties during the summer, which I love. It´s fortunate to have the sun shining 320 days of the year and they really take advantage of this. I think it´s a little hard to compare the two, as in London the clubbing is more about the escape from reality, you know, somewhere people can go and forget all about their troubles for a little while.
AK: How was your experience playing your first gig in Beirut and what were your first thoughts about the city?
having released on so many labels and collaborated with so many interesting artists. It´s really down to my love for music of all genres. I never sit in the studio with a certain template in mind. I think people listening to my tracks have realized this over the past four years or so that I have been making music. For me it´s a feeling, so whatever mood I take to the studio at the time has a huge impact on what I create. I collaborate with people I admire – the likes of Nadja Lind, Lee Webster, Jonny Cruz, Richard Seeley, Saytek and Robert Cashin. All of them are super talented artists.
AK: A sneak peek of your new Rythm Cult label project: tell us more about the direction and which artists are already lined-up to release on the label? So far on the label we have EPs from Stephen Beaupre, Aquarius Heaven, Greenville Massive and a few other artists that I admire. As for direction the label will be house music of all types just so long as it´s HOT!
WOW! What else can I say, the atmosphere was electric, the crowd made it so special. For me, this was my stand out gig of 2013. Beirut is a place with such charm I´ll be back to this city that´s for sure.
AK: We heard that your dad is an established psytrance producer? How do you explain the son-child legacy? Ufff, well, this is a long story, but in short, yes, my entire family are DJs. My Dad isn´t an established producer as such, but he loves making music and he´s very well known on the psy-trance scene. He still goes to clubs and festivals today (not bad for a 60-year -old).
AK: Tell us more about the versatility of your sound,
essential listening:
Never Enough [Tenth Circle] Minor Major (Original mix) [CityLife] Soul Creeper (with Jonny Cruz) [Indepth Music] The Fall (Original Mix) [Discolour] Smile (Original Mix) [Flumo Recordings]
22 Tuneage
Tuneage James Fox
Daniel Avery
December 16, 2013
October 2013
Holding On Needwant
4/5 Newcomer to the label, James Fox makes his stamp on Needwant with the sensational ‘Holding On’ featuring the smooth and soulful voice of Cardiff’s Vanity Jay. This is an uplifting piano house affair of the highest calibre with the ‘NYC Mix’ packing a punchy beat and effortless groove while the ‘Slow Jam Mix’ rides a more subtle flow. Wolf Music’s Medlar takes the reins for remix duty, using unmistakable old school elements on an impressively fresh tip. He also completes the package with his deep and flawless ‘Dub’ version making this release one not to miss.
Drone Logic Phantasy Sound 4/5 Avery’s Drone Logic is a mammoth effort to say the least. In an age where a 4 tune EP can include two or three tracks of filler, Avery delivers 12 that are strong enough to stand on their own. Drone Logic is not just an album of throbbing club anthems; just over the midway mark Avery really starts to show how well rounded a producer he has become over the last few years, expanding from the simple dance music formula. His signature acid touch is present throughout, but this is not a throwback to Chicago or the UK. Here, acid is more of a texture than a rule.
Soul Clap
Nice 'N' Ripe Allstars Nice ‘N’ Ripe November 2013
3/5 The new mixtape from the legendary UK garage label puts their back catalogue in the hands of American deep house masters Soul Clap. With UKG increasingly finding its way into house tracks, the pairing seems like a recipe for success. Unfortunately, the tape fails to live up to those expectations. Although expertly arranged and mixed, the compilation’s title is a bit of a misnomer. Instead of ripping through some of the label’s plethora of UKG anthems, Soul Clap has put together a collection of tracks that seem, at times, obscure. Though not necessarily a bad thing in itself, the tracks on All Stars on the whole fail to do justice to the iconic label.
Tuneage 23
Jamie Jones
Cookie Monster Phantasy Sound
Martin Buttrich Disclosure
Apollo White label
October 2013
3.5/5 Jamie Jones has always been a bit of a dance music enigma. Over the last few years he’s gone from party promoter to one of the most in-demand DJs around. His musical output, like him, has also evolved over the years. Cookie Monster is a track that’s rooted in Jones’ techno past as opposed to his present brand of sultry house. It’s a stripped down burner, heavy on bass and accented by a minimal vocal sample. Jones recently said the track was his most played of the summer and with it it looks like the Hot Creations boss could be making a move back to the sound that launched his career.
Earth Of Foxes EP Supplement Facts December 9, 2013
5/5 Apollo is a track that would feel significantly out of place on Disclosure's massive debut album Settle which was responsible for the rapid rise to fame of the fraternal duo from South London. Here, the brothers have abandoned their seemingly magical formula and instead crafted a huge 4/4 banger, complete with spacey synths and wonderfully executed vocal stabs. Better suited for the club than the home, Apollo is a reminder that these Surrey boys can do much more than pop-house top ten hits.
4/5 Master of afterdark electronic symphonies, Martin Buttrich is set to drop a pair of heavyweight tracks on Guy Gerber’s Supplement Facts imprint this winter. Aside ‘Earth Of Foxes’ is a moody masterpiece with a complex tapestry of wonky chimes, ethereal voices and a galloping groove. B-side ‘Monkey Troopers’ is another techy monster with brooding bassline and classic Buttrich drums. With that innate quality of Buttrich’s productions the ‘Earth Of Foxes EP’ is both hypnotic and loopy whilst encased within intricate textures and rhythms.
24 techno-logic
Technologic KMI
QuNexus $199
Korg
Volca Bass $182
5/5 Proving that there is still a market for new analogue equipment, Korg broke rank (Roland, we’re looking at you) when it released the MS20 mini. The Japanese manufacturer is at it again with the Korg Volca Bass and this time they’re clearly taking a shot at the famed Roland TB303. The Volca Bass packs a sound just as good as more expensive analogue synths at a fraction of the size. It’s well built, can be battery powered and its knobs feel quite a bit sturdier than expected from its $182 MSRP. All in all, the price tag seems incredibly small in relation to the Volca Bass’ wealth of features.
4/5 Measuring 12.8" long, only 3.3" deep and a mere 1/2" thick and weighing in at just 345 grams the KMI QuNexus is obviously meant to be used on the go. Nonetheless, this little keyboard has the potential to add some serious depth to your live show. The 25 key midi-controller features a pitch bend pad as well as CV, USB and full midi connectivity. But the QuNexus’ real selling point is its so called “smart-sensor” keys: each is velocity, tilt and pressure-sensitive to allow for unique interactions. The QuNexus loses a point for not having any knobs or sliders and for having a layout that could be seen by some as impractical.
techno-logic 25
Arturia
MicroBrute $349 4/5 The MicroBrute analog synthesiser is a much anticipated release from French software and hardware developer Arturia. This compact, 25-key unit is a powerful machine and a step up from the company’s successful MiniBrute keyboard, which hit the market earlier this year. The synth features a single oscillator, top-of-the-line Steiner-Parker filters, mixable waveforms and a comprehensive pack of sonic modifiers. The keyboard also features a 100% analog audio signal path and boasts CV inputs/outputs as well as stereo external audio inputs. The MicroBrute is a compact unit that can hold its own with some of the finest analog machines currently available on the market.
Pioneer
CDJ 900NXS $1,399 Traktor 4/5 Pioneer has just announced the newest incarnation of the CDJ-900 line, tacking on the NXS label and adding a brand new full-color LCD screen. The LCD screen sports a higher resolution than any other current Pioneer CDJ on offer, and displays track information in the same way as the CDJ-2000NXS, including waveforms, beat counts, and a phase meter. Similar to all recently released CDJs, the 900NXS is compatible with Rekordbox and has the ability to play tracks wirelessly from smartphones as well as Rekordbox installed tablets. Like the CDJ-2000NXS, the 900NXS also includes a beat sync button, slip mode, quantize and beat divide functionality.
Kontrol S4 MK2 $899
3/5 It’s been over four years since Native Instruments released its original Kontrol S4. Since then, the Berlinbased company has been busy adding to their wide array of DJ-friendly programs. Remix Decks, Flux Mode and the Traktor DJ app have all been added to the arsenal, and the Kontrol S4 MK2 has been developed to make full use of the company’s software catalogue. New multi-coloured backlit pads have been incorporated to be used for Remix Deck control and the controller now has dedicated Flux Mode buttons. However, there is a bit of noise on the audio output when USB bus power is used.
26 going Gonzo
"This is the sound of me pissing‌" Opening night at ßberhaus on 15 energy drinks By: Martin Armstrong
going Gonzo 27
After heading out into the Sunday night I’m confronted by multiple sets of stairs. I immediately regret my decision to leave the house. I decide a combination of triple-jump and crab walk is my best option down. Only when I reach the bottom do I notice the two valet parkers, a couple making their way to a restaurant, and a gang of neighborhood cats have been observing my haphazard descent. Embarrassed, I run into the warm embrace of a nearby dekkaneh. I grab three different orange drinks. On the other side of the dekkaneh various kinds of Haribo are on display. I zone in on some strawbs, fizzy cola bottles, and some limited edition Smurfs. The decision between the three is overwhelming, I want to cry. Grabbing them all I proceed to the counter struggling to grip my assembled goods in my shaking hands. The shop-owner meets my eyes, with a look of concern. “Is everything all right?” he asks. The whole process has taken me 15 minutes. Nothing was right.
I
’m sitting on the sofa attempting to focus on the TV screen, afraid to sleep lest my heart stop beating, and paranoid my face has walked across the room to the balcony and is leering at my twitching, decrepit body. I tell my face to fuck off and in a spasm of sobriety decide some fresh air is a good option.
The preceding Friday night I had been offered entrance and all drinks free at the opening of überhaus on one condition: All my beverages had to contain some form of energy drink. For most, this may not have been a real issue, but I’d had previous with energy drinks. Once I pop, I really can’t stop... The first time I drank alcohol mixed with energy drinks I knocked my best friend’s drink out of his hand into his face in a moment of rage because I decided he wasn’t dancing enthusiastically enough, then mineswept the bar, and broke into the swimming pool complex of a beach club along the corniche for a 5am lap or two. The second time, after drinking two cans of XXL at a friend’s house before a night out, I started rushing my tits off then proceeded to pickpocket a gas station attendant’s wallet and cigarettes (I gave them back after my friends intervened) before making my way to the Gärten... Upon arrival, I danced like a psychopath for half an hour, losing all my friends in the process before necking several vodka Red Bulls at the bar, regularly forgetting to pick up my change. I decided I wasn’t going to queue for the toilet, instead choosing a bush. A bouncer confronted me mid-stream and I accidentally pissed on his foot. He told me I had to leave. I ran away from him into the midst of the dancefloor , where I stayed until one of my friends found me and escorted me home, but only after I insisted on downing another vodka Red Bull at the bar, once again leaving behind my
change. I also cried... After the Gärten debacle I vowed not to drink energy drinks again...until überhaus. All in all, my experience this time was not quite as spectacular as my previous forays, (though the three day hangover was both spectacular and terrifying – I nearly took myself to the hospital) mainly because after drink three (there were over 12 – vodka Red Bulls, Jäger bombs, and a personal invention of mine, that shall henceforth be known as “Armbong” – a Vodka Red Bull with a shot of Jägermeister and fuck knows what else in the mix) I can’t really remember anything. Since the date I’ve found numerous photos of myself posing with friends I didn’t realize were there and strangers I have no recollection of meeting – these include one of me in a room full of candy beside a little person who I appear to somehow be smaller than. I’ve also been told that I was dancing with all but the top button of my shirt undone, that I scared the shit out of the barman who was tasked with providing me with my free drinks and unleashed a polemic via text message to a close friend (the motherfucker that challenged me to write this piece) accusing him of cockblocking me when I was trying to get down on the dancefloor – for all I remember I could have been dancing with a pillar. Thankfully I had my trusty voice-recorder with me to add some clarity to the night’s proceedings. Listening back to the recordings in preparation for writing this piece inspired a mixture of hysteria and burning shame. Fuck only knows what the boys from Hezbollah thought when they temporaily confiscated said recorder during a brief detainment on assignment a few days later. Really, after recording number 12 involving me interviewing/ verbally assaulting someone called Karim, asking him why he was wearing a purple shirt with a pink crab on it (his reply: “I’m not, this is a Fred Perry shirt”), I put the recorder down. I had clearly become a monster. Anyway, recording number 6 started like this: “This is the sound of me pissing…” It then descends into a largely incoherent freestyle about a cocker spaniel named Nathaniel. There were quite a few of those over the course of the night Yeah. I like to think I’m usually quite a gentle soul...
maybe, maybe not, maybe we don't give a shit. NYE 2013
eulogy 29
Except, not at all. I think Reed would listlessly roll in his grave if the above were true. Exuberance was not his style. I can list the songs of his I know as fast as you can utter the verses beginning with “Holly came from Miami, FLA.” So I’m employing my own apathy toward looking further into his past and art to dissect why I like Lou. I’ll use what I know.
We like you, Lou It takes apathy to know apathy By: Rita J. Harbie
I
own all four Velvet Underground vinyls and all 22 of his solo albums. I have the entirety of his discography and biography lodged in my brain ready to pounce at any relevant moment. I have a tattoo of the recently deceased artist on the inside of my lower lip and Andy Warhol’s banana album art is conveniently tattooed on the side of my right hand for those super slow drags of cigarettes I take. I travelled to New York for Reed’s memorial, where his tranquilizing voice flooded the streets of Manhattan.
I like his voice. Lou Reed’s apathetic vocals, with menacing traces of nihilism were pretty damn cool. He took his personal sedation and made it universal. Lou’s quasi-spoken word singing made singing along to his songs less of a traumatizing affair. His nonchalance constantly struck a chord with those who desire to appear like they don't desire a thing. And I really like the debut Velvet Underground album, that one that everyone knows. The one with the aforementioned iconic banana adorning its cover. It almost appears as though all the effort he placed into singing was used up at the very beginning of the album in the oh-so tranquilizing and melodic Sunday Morning. Venus in Furs managed to take viola syncopations and make them the base of awesomeness. And working with Nico was a cool choice (even though Reed was initially apathetic to her, obviously); I like her too. The German undercurrents in her English overenunciations are almost addictive. I don’t know if you can call The Black Angel’s Death Song cacophonous, but its imagery certainly is, what with “the stools of your eyes” and “cut mouth bleeding razors forgetting the pain”. And I’m addicted to “Heroin.” Its ability to build up from lull to energyintense crescendo and finish with destructive noise is as close to the drug as I’ll probably ever get. Maybe I should’ve gone through some of his solo work for this piece. Maybe it’s wrong to reduce Reed’s efforts to mere apathy. Maybe I should’ve handed this article in on time, and not hastily, two days late. To quote my kind-of main man, “Oh, and I guess that I just don’t know.” Thanks, Lou. You get it.
Not-So-Essential Listening:
Vicious - Lou Reed Venus in Furs - The Velvet Underground Waiting for My Man - The Velvet Underground Coney Island Baby - Lou Reed Smalltown - Lou Reed & John Cale
30 das komic
das komic 31
06.12.13
WITH: GUS, ROMAX, RAMI O
INVITES: JIMPSTER
07.12.13
(FREERANGE RECORDS - UK)
CAB
13.12.13
WITH: GUS, ROMAX, MARIO GHARIOS
WITH: JOHN DIMAS
14.12.13
(ONE RECORDS, LA VIE EN ROSE - DE)
RONIN & NESTA, PHIL
20.12.13
WITH: GUS, ROMAX, RAMI O
21.12.13
INVITES: TIA, DIAMOND SETTER
FEATURING: FRANK HAAG - LIVE
27.12.13
(SERIALISM, GET THE CURSE - NL)
ROMAX, TECHNOPHILE
28.12.13
WITH: RONIN & NESTA, PHIL, HOUSECOAT
30$ 1 DRINK 00$ 12:00AM 20$ 1 DRINK AFTER 12:00AM *GIRLS FREE
DOORS OPEN: 10:00PM Leon Street, Hamra. if you're obliged to reserve call 76 363 662 uberhaus.me