BEATSELECTOR Magazine November/December 2019

ALEX CHRISTENSEN & THE BERLIN ORCHESTRA CLASSICAL 90s DANCE VOLUME 3 ALBUM REVIEW PG 88!

★

★

R-WAN

AVISION Changing of the guard in New York City's techno scene!

Rubbing elbows with Hip-hop's elite and cranking out the hits!

SOLARSTONE  + THE FEATURE INTERVIEW

CHRIS YOHEI TOKUNAGA KASPER BJØRKE RODGE ARMIN VAN BUUREN NEWS & NEW MUSIC PREVIEWS

FAITH In The Product LOYALTY To The Client LOVE For The Consumer

TW BS teamweasal.com

B EATSELECTOR Moving Electronic Music Forward

November/December 2019

PUBLISHER

JOSEPH WENSELL CONTRIBUTORS Caitlin Cline Catherine Strickland Chloe Aiello Cody Miller Cory Royster Erik L. Richardson James Arena Joseph Arthur Karin Haslinger Leo Weaver Payton Gerencir Stephanie Hernandez Tim Stark Vladimir Jean-Philippe Zach Miller

EDITORIAL REQUESTS

editor@beatselectormagazine.com

ADVERTISING & MARKETING ads@beatselectormagazine.com

GENERAL INQUIRIES

info@beatselectormagazine.com

SUBSCRIPTIONS

issuu.com/beatselectormagazine facebook @beatselectormagazine | twitter @beatselector | instagram @beatselectormagazine | beatselectormagazine.com

inside NOVEMBER/DECEMBER 2019

COVER FEATURE SOLARSTONE

Solarstone reaches the culmination of his Morse coded album trilogy this winter. November sees the release not just of its third and final part . . . - -, but also "One" - its triple edition box set version. Richard Mowatt took time out (from what hopefully is a time out after its marathon four year/27 track production!) to talk to Tim Stark and Beatselector about the release, the project and what it means to him overall.

76

inside NOVEMBER/DECEMBER 2019

Features 62 R-WAN

THE UP-AND-COMER SPILLS THE BEANS ON SNOOP DOGG, PARIS NIGHTCLUBS, STAYING IN GOOD MENTAL AND PHYSICAL HEALTH AND MORE.

68 AVISION

"NEW YORK AS A TECHNO SCENE HAS ALWAYS BEEN POPULAR, AND I THINK BEING IN THE YOUNGER GENERATION OF THE SCENE IS SOMETHING I’M REALLY PROUD OF. I FEEL MY ROLE IS PRETTY IMPORTANT AS MY PEERS, AND MYSELF ARE HELD RESPONSIBLE FOR THE FUTURE OF THIS INDUSTRY. MUSICALLY I’VE ONLY TRIED TO STICK TO MY SOUND AND TRY TO PUSH IT TO THE FOREFRONT. I THINK I’VE HAD SUCCESS MUSICALLY BECAUSE A LOT OF MY MUSIC HAS GROOVE TO IT BUT IT’S STILL TECHNO. I PICKED THAT UP FROM LISTENING TO A LOT OF OLD SCHOOL TECHNO, IT WAS ALWAYS ABOUT A GOOD GROOVE AND WORKING GOOD ELEMENTS. I’VE ONLY TRIED TO SPREAD LIGHT ON THE ROOTS WHILE ADDING MY OWN FEEL."-AVISION

Departments 22 ICYMI

ROUND-UP OF RECENT NEWS FROM AROUND THE WEB.

36 NEW MUSIC PREVIEWS

NICK WARREN, AWIR LEON, KRAAK & SMAAK, NOCTURNAL SUNSHINE, ROBERT NICKSON, MARKUS SCHUKZ, JEROME ISMA-AE & ORKIDEA, D'JULZ.

52 ON TOUR: ARMIN VAN BUUREN

TRANCE GIANT ARMIN VAN BUUREN IS WILL BE TOURING THE UNITED STATES IN 2020. THE BALANCE TOUR (IN SUPPORT OF HIS NEW FULL LENGTH ALBUM OF THE SAME NAME) WILL BE STOPPING AT CITES ALL ACROSS THE UNITED STATES DURING THE MONTH OF OF JANUARY AND EARLY FEBRUARY.

54 BUZZ WORTHY/ARTIST PROFILES CHRIS YOHEI TOKUNAGA, KASPER BJØRKE, RODGE.

88 CD/EP/SINGLES MUSIC REVIEWS

JAMES ARENA WAXES POETIC ON ALEX CHRISTENSEN & THE BERLIN ORCHESTRA CLASSICAL DANCE VOLUME 3.

[OPENING NOTES] Written by Joseph Wensell

NOVEMBER/DECEMBER

2019 As 2019 comes to close, we present you with our November/December 2019 issue of BEATSELECTOR Magazine. For our year end issue, Richard Mowatt, more famously known as Trance giant Solarstone, serves as the Cover Artist feature in an informative interview with Tim Stark, by which Richard discusses the latest installment of his "dots and dashes" series. A must read for all Solarstone fans!

Leading the “Reviews” section, with lots of anticipation, is the latest release by Alex Christensen & The Berlin Orchestra Classical Dance 3. Christensen’s previous volumes, to this very day, gets played and replayed and remains as an alltime favorite of ours. James Arena, the man who has several books on dance music, and incidently has all volumes of his books in the United States Library of Congress, waxes poetic on this ambitious release.

Also inside, we have write-ups on a few new and recent music releases deserving attention that should be on your radar and must have lists.

Read on and happy holidays to all!

We also have Q&As with two fast rising producers, R-Wan and Avision, who both are redefining the musical genres in which they are a part of.

Chris Yohei Tokunaga, Kasper Bjørke and Rodge receive our "Buzz Worthy"/ Artist Profile treatment, plus we list dates for Armin Van Buuren’s “The Balance” 2020 tour.

20 | Beatselector Magazine | November/December 2019

[ICYMI] N E W S F R O M A R OUND T HE WE B

Martin Garrix Named Official Music Artist Of UEFA EURO 2020 Beatselector Staff | INDUSTRY NEWS

Martin Garrix will write and perform the official song for UEFA EURO 2020 after the Dutch superstar DJ and producer was announced as the tournament's Official Music Artist in spectacular fashion at the 2019 edition of ADE (Amsterdam Dance Event). The 23-year-old revealed the news while performing a headline show in his home town of Amsterdam, one of the 12 host cities for next summer's finals. As his blinding set and dazzling lighting show thrilled the sold-out gig at Amsterdam RAI, he provided an unexpected encore by walking out with the famous Henri Delaunay Cup – the trophy that the winner of UEFA EURO 2020 will receive – as the giant screens behind him confirmed he would be the Official Music Artist of next year's tournament. The song will be revealed in spring 2020 – and so too a collaboration with a singer. The song will be performed in full for the first time at the UEFA EURO 2020 opening ceremony at the Olimpico in Rome on 12 June 2020. Alongside the official song, Martin will also produce the official walkout music, as well as music for use in all official broadcasts. "It's an incredible honour to be asked to create the official song for UEFA EURO 2020 and I am so excited to let everyone hear it," said Garrix. "Next summer's tournament will take the fans closer to the action than ever before, and I really hope that my song will make everyone in Europe feel like they are part of it."

Guy-Laurent Epstein, director of marketing at UEFA, said: "UEFA EURO 2020 will be a month of celebration across Europe, and there's no better person to get the party started than Martin Garrix. Both music and football bring people together, and with the tournament being played in 12 different countries across the continent for the first time, there will be an overriding theme of unity throughout UEFA EURO 2020."

Martin Garrix added: "It's crazy to think that UEFA EURO 2020 will be held across 12 different cities but it's the perfect way to celebrate 60 years of this incredible competition. Music is my passion but I'm also a huge football fan, so it's extra special for me to be able to create the official song for what will be the biggest EURO in history."

Music and football fans can win a meeting with Martin Garrix at the UEFA EURO 2020 final draw in Bucharest on 30 November. Enter via www.euro2020.com/Martin-Garrix.

22 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 23

[ICYMI] NE W S F R O M A R OUND T HE WE B

Amsterdam Dance Event (ADE) Looks Back On A Successful 2019 Edition Beatselector Staff | INDUSTRY NEWS

The 24th edition of the Amsterdam Dance Event (ADE), has just come to end and the organisation already announces next year’s dates: In 2020 The Amsterdam Dance Event (ADE) will celebrate its 25th anniversary from 21-25 October. From 16 to 20 October 2019, the largest global platform for electronic music offered over 1,000 events spread across 200 locations, attracting over 400,000 visitors from a record number of nearly 150 countries.

The conference also achieved a record number of 9150 delegates, with 600 industry professionals taking part in keynotes, workshops and masterclasses on a variety of topics.

ADE LIVE took place at Paradiso and the Melkweg, offering a stage to upcoming live talent through a two-day program. The American tech company Audionamix won the ADE TECH start-up competition Companies 2 Watch, and the Green Deal Circular Festivals was signed at ADE Green by national and international events. ADE Hangover, the free city festival at the NDSM wharf, took place on Sunday. After Gary Smith and Gert van Veen, Marco de Goede received the Amsterdam Dance Event Lifetime Achievement Award for his contribution to the dance scene, the city and ADE. De Goede was the foundation of the Nachtburgemeester Foundation, of which he is currently chairman of the supervisory board.

Director Mariana Sanchotene looks back on the event with satisfaction: “We have had an enormously diverse offering over the past five days, with ample attention for artistic and technologic innovation, talent development, and inclusivity. We have looked after a good spread of the events throughout the city and have made outings to Het HEM in Zaandam and Kunstfort in Vijfhuizen.” She continues ”The aim was to grow in quality, not so much quantity.

We always strive to deepen and enrich the imagination of the program and I think we have succeeded. We’re looking forward to our anniversary edition in 2020 with fresh courage and inspiration.”

24 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 25

[ICYMI] Dimitri Vegas & Like Mike Become World's Best DJs In DJ Mag's Top 100 DJs Fan Poll N E W S F R O M A R OUND T HE WE B

Beatselector Staff | INDUSTRY NEWS

The results for the 2019 edition of the Top 100 DJs Poll are in and the winners have been announced. Under the Smash the House label, electronic music's most renowned duo, Belgian brothers, Dimitri Vegas & Like Mike, have become the new World's No.1 DJ, taking the place of three-time winner Martin Garrix.

Speaking about winning the award for a second time Dimitri & Mike said: "Winning this award back in 2015 was incredible, truly mesmerizing, but this time around it means so much more because as artists, as a family, as a scene, we've grown so much and the journey since the last time we were here has taken us onto bigger and bolder projects. Having the fans with us every step of the way is amazing, so to once again be voted by them as their World No.1 DJs means everything to us!" Over the last few years the award-winning brothers have left an historical mark on the electronic music scene at large. From their position as ambassadors of Tomorrowland, playing a part in the incredible rise of the Belgian event that saw 400,000 revellers celebrate Tomorrowland's 15th anniversary, to their omnipresent position in music charts and streaming platforms. With an all-Star line-up on one of the biggest songs of the summer, the platinum award winning 'Instagram', with David Guetta and Afro Bros, saw the brothers work with two of the biggest reggaeton names in the world, Daddy Yankee and Natti Natasha and crushing charts worldwide.

Throw in setting up their own eSports organization, doing the soundtrack and getting an own playable character in the latest instalment of the Mortal Kombat game franchise, a mammoth season at UshuaĂŻa Ibiza with their Garden of Madness night, as well as their run of end of year homecoming arena shows with "Garden of Madness" in Belgium (that sees 80,000 people join every year), New York and the UK, plus one-off shows at the Italian Formula 1, UEFA Champions League Final and a gargantuan run of continent hopping tour dates, it's not hard to see what may have encouraged their worldwide army of fans to back their favorite DJs this year.

26 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 27

[ICYMI] N E W S F R O M A R OUND T HE WE B

Rémy Martin Celebrates Collective Success Through Its New Global Campaign Beatselector Staff | FESTIVAL NEWS Rémy Martin has launched its new global communication campaign "TEAM UP FOR EXCELLENCE", a celebration of collaboration, shared values, and the success it generates.

This new creative approach was developed by the Fred & Farid Paris agency, with 2 films unveiled on the 22nd October 2019. The brand's new platform reflects Rémy Martin's values of authenticity, audacity and generosity. "TEAM UP FOR EXCELLENCE" draws from these to pay homage to personal success through the various people who made it possible.

Remy Martin's philosophy of expert cognac making is a result many talents working together under the aegis of Baptiste Loiseau, the House's Cellar Master; just like a conductor, he coordinates the various steps of cognac elaboration: winegrowing, vinification, distillation, blending and ageing. The House of Rémy Martin is a story of family, partners and collective success: André Hériard Dubreuil and André Renaud, Baptiste Loiseau and Pierrette Trichet, to name just a few. Over the years, teamwork has been at the heart of The House of Rémy Martin. It is a value close to the ethos of the brand, especially the younger generations: a need to be a part of a group and a desire to collaborate or co-create. Since 1724, the celebrated cognac House has been rooted in exception, producing cognac from both the Grande and Petite Champagne regions of France. Since 1966, Rémy Martin has had a contractual association, a multi-year partnership between the merchant and the wine grower, that formed the Alliance Fine Champagne.

Notable guests included former National Football League wide-receiver, Victor Cruz, Grammy-award winning producer, Jermaine Dupri, Emmy-nominated producer, Tamra Simmons, American Disc Jockey and co-host of "The Breakfast Club" radio show, DJ Envy, hit record producer, Murda Beatz, amongst others.

Visit http://www.RemyMartin.com.

28 | Beatselector Magazine |November/December 2019

Beatselector Magazine | November/December 2019 | 29

[ICYMI] Global Online Music Streaming Market Report 2019-25 Predicts Growth At $56.7 Billion N E W S F R O M A R OUND T HE WE B

Beatselector Staff | INDUSTRY NEWS Online Music Streaming market worldwide is projected to grow by US$56.7 Billion, driven by a compounded growth of 33.6%. Online Music Streaming, one of the segments analyzed and sized in this study, displays the potential to grow at over 33.6%.

The shifting dynamics supporting this growth makes it critical for businesses in this space to keep abreast of the changing pulse of the market. Poised to reach over US$65.4 Billion by the year 2025, Online Music Streaming will bring in healthy gains adding significant momentum to global growth.

Representing the developed world, the United States will maintain a 30.8% growth momentum. Within Europe, which continues to remain an important element in the world economy, Germany will add over US$2.3 Billion to the region's size and clout in the next 5 to 6 years. Over US$2 Billion worth of projected demand in the region will come from Rest of Europe markets. In Japan, Online Music Streaming will reach a market size of US$3.3 Billion by the close of the analysis period. As the world's second largest economy and the new game changer in global markets, China exhibits the potential to grow at 40.1% over the next couple of years and add approximately US$13.9 Billion in terms of addressable opportunity for the picking by aspiring businesses and their astute leaders.

Presented in visually rich graphics are these and many more need-to-know quantitative data important in ensuring quality of strategy decisions, be it entry into new markets or allocation of resources within a portfolio. Several macroeconomic factors and internal market forces will shape growth and development of demand patterns in emerging countries in AsiaPacific, Latin America and the Middle East. All research viewpoints presented are based on validated engagements from influencers in the market, whose opinions supersede all other research methodologies.

30 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 31

[ICYMI] Oasis Festival 2020 — Music, Arts & Culture in Marrakech, Africa's First Capital Of Culture N E W S F R O M A ROUND T HE WE B

Beatselector Staff | FESTIVAL NEWS

Oasis Festival sets the dates for 2020, returning to Marrakech from September 11th - 13th.

Morocco's pioneering destination festival continues to make its mark on the global music scene, bringing a truly unique cultural experience to the ancient city of Marrakech.

Launched in 2015, Oasis has ignited a now thriving festival scene in the region, setting the bar high with world class headliners and high quality production, tempting adventurous travellers to dance somewhere different.

As the landmark fifth edition played out earlier this year, more than 5500 festival revellers from all corners of the globe descended upon the city to dance and celebrate. World-class acts including Four Tet, Amelie Lens, Seth Troxler, Jayda G, Yasiin Bey and Sampha, joined stars of the North African scene including Moroccan rapper Issam and DJs Amine K, Driss Bennis and Yasmean to soundtrack the 3-day event.

The festival's newest space The Mbari House, co-curated by MACAAL (The Museum of African Contemporary Art Al Maaden), Art Comes First and MarchĂŠ Noir, also showcased an extensive arts and culture programme. Take a look at some of the many highlights in the new aftermovie.

Taking place from September 11th - 13th, Oasis 2020 promises once again to be an unmissable event on Morocco's rich cultural calendar. With Marrakech just being crowned the first-ever African Capital of Culture for 2020, there's no better moment to visit the Red City.

Book your place and keep up to date with all of the latest news at theoasisfest.com.

32 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019| 33

[NEW MUSIC: PREVIEWS] Diego's Observatory. The tour will continue on to Los Angeles, Seattle, Chicago, Boston, New York, and more through November 23rd.

"RE:Coil, Pt.II" follows a jam-packed few years for Gramatik. This past year, he celebrated the 10-year anniversary of his seminal Street Bangerz mixtape, a project that arguably put him on the map, with the release of "Street Bangerz Vol. 5."

Subsequent to this release, were two soldout New York City shows featuring rare Street Bangerz only cuts that proved to be some of the most memorable shows of his career.

Today marks the release of the brand new fulllength album, "RE:Coil, Pt.II," from producer / DJ Gramatik.

Real name Denis Jasarević, his first album release in three-years following 2016's EPIGRAM, the highly anticipated new album is comprised of eight brand new Gramatik tracks.

"RE:Coil, Pt. II " sees Gramatik on board some of his favorite past collaborators, as well as new ones, including Big Gigantic, Anomalie, Waka Flocka Flame, ProbCause, Kotek, Beat Fatigue, Defunk, Luxas, and Chrishira Perrier.

A traditional Gramatik composition that features a fusion of glitch-hop, soul, funk, hiphop instrumentals, and bass laden electronic music, "RE:Coil, Pt.II" is an ample successor to his critically acclaimed 2017 EP, "RE:Coil, Pt. I." In addition to the release of the new album, Gramatik hit the road with a full-scale North American tour kicked off October 30th at San

"RE:Coil, Pt.II" comes to us via Gramatik's own label Lowtemp. Established in 2013, Lowtemp was created in his vision of music being a free medium. A digtial-crusader of sorts, Gramatik has a long history of file sharing his music.

Between Lowtemp, and the sharing of his full discography - including 11 albums and four EPs via BitTorrent, Gramatik has successfully revolutionized the artist-fan relationship.

Gramatik kicked off his tour on October 25th, at the sold-out Street Bangerz and only show coming to Denver's Summit Music Hall, followed by HARD Red Rocks on Saturday, October 26th.

He'll then take off on the 'RE:Coil, Pt.II' tour running through November 23rd.

Stream/Buy it here.

CM

36 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 37

[NEW MUSIC: PREVIEWS] An enigmatic producer and a master in emotional expression, Nicolás Rada is making quite an impression on the global scene.

Constantly pushing the boundaries of genre restriction, he studiously avoids the tedious in favor of the vibrant options open to him across his broad creative palette.

Drawing inspiration from many miscellaneous sources, Nicolás finds the music of Radiohead, Chopin, Beethoven, Led Zeppelin, Pavarotti and the sounds of Syrian-Lebanese music all fitting into the sonics of his sound.

Giving a platform to exceptional emerging artists has long been a goal of Nick Warren. The legendary DJ and producer has been championing new music for decades, bringing up-andcoming artists into the fold of his label, "The Soundgarden."

One artist welcomed into a close affiliation with Nick is Argentinian DJ and Producer, Nicolás Rada. Having collaborated with Nick last year on their "Land Of Dreams" EP, Nicolás returns to "The Soundgarden" with his debut album, "Resilience," announced today with a 3-track "Resilience (Sampler)," providing an exciting taste of what is to come on the wider LP project that sees Nicolás merge his two passions, music and flying airplanes.

"Resilience is the ability to be happy or successful again after something difficult or bad has happened.

For me it was the concept of my album to transform bad things or difficult moments into music. As a Pilot, my passion for airplanes brought airport names, flight physics and technical vocabulary to the names of the album tracks. I love merging my two passions."—Nicolás Rada

As a trained pianist, Nicolás holds an innate and hugely diverse mixture of musical ideas and attitudes that also manifest in his music making; an exceptionally original and enlightened electronic artist.

Unveiling initial cuts from his Nicolás hints at the stylistically diverse realm presented within the forthcoming album release.

Drawing from his passion for flying airplanes, the dopamine releasing, melody rich "Narita" find its name from one of Tokyo's main airports.

Paying further homage with terms relative to aviation is the powerful, yet delicate, low-slung "Gravity" featuring the enticing vocals of Russian singer Eleonora, along with the percussively driven "Ionosphere."

As this sampler enters the atmosphere, the pending LP promises to bring more of Nicolás's unbridled talent, sure to resonate in the mind and soul long after the final notes have faded away.

Stream/Buy it here.

CM

38 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 39

[NEW MUSIC: PREVIEWS] deep and meaningful messaging.

Addressing struggles with his own sense of self, worry and panic about the world at present, dramatic key arrangements and percussion, teamed with AWIR's gripping vocals across "What's Good," "Choir" and "Tomorrow" bring a sense of freneticism and unrest at the beginning of AWIR's journey. As his evident narrative unfolds explorations of personal change and acceptance are found in "The Other Way" and "Feathers" ft.

Damien Rice; harmonious vocal chords symbolic of a somewhat spiritual awakening.

Franรงois Przybylski found a means for poetic expression in his alter-ego, AWIR LEON. Growing up in "a bubble in the middle of the neighbourhood," between the dance school his mother built, and the music school right above it, the French born and Amsterdam-based singersongwriter discovered his unique soulful flair producing music on the road whilst touring as a professional dancer. A multifaceted character, rooted in reality and informed by his own intimate discovery of personal freedom, AWIR LEON now presents his second long-play body of work, "Man Zoo" LP. First falling for the sounds of new-soul and hiphop, immersed in the sonic palettes of Erykah Badu, Mos Def, D'Angelo and J. Dilla to name a few, he later discovered a deep and elegant universe encompassing Mount Kimbie, Clark, Radiohead, Frank Ocean and Flying Lotus. Combined with his upbringing, surrounded by Motown and traditional African music, thanks to his mother, the tones of AWIR's own output are instilled with warm tones and enchanting rhythms, intertwined with topical lyricism that depicts emotions and experiences from his own life; an expression of

Dealing with adversity in "Linger" and "Sharks" AWIR comes to terms with negative elements of oneself and a troublesome break up, with contrasting effects of emotive and explosive composition.

Yet, as he emerges from this, AWIR finds release and clarity in the brighter pads present in 'Rain', "Lies Living," "A15" and "Endless," wholeness is felt with recognition of hope, self-acceptance and the acceptance of others.

Guided by the compass of spontaneity, this new body of work from singer-songwriter and producer AWIR acts as a markedly cathartic release, as he pours himself into representations of chaotic periods throughout his life; an exploration of the many animals he has come to be.

"Man Zoo" LP maps the journey through which AWIR finds his own way out of the dark, embodied in his unique writing style, creativity and vocal identity.

Awir Leon "Man Zoo" LP is out now on Alter-K

Stream/Buy it here.

CM

40 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 41

[NEW MUSIC: PREVIEWS] downtempo affairs. Alongside the production talents of Kraak & Smaak, this new album project is brought together by the friendships and collaborations they have kept over their career so far, many of whom bring their own natural West Coast feeling as LA residents.

Opening the album, title track "Pleasure Centre" unveils chilled out positive vibrations, similar to that heard later in "Guilty Discomforts" feat.

Wolfgang Valbrun and "Naked" feat. IVAR & Berenice van Leer, setting the scene for the rest of the album.

Since debuting in the early 2000's dutch trio Kraak & Smaak have established themselves as one of Europe's premier purveyors of eclectic, funk fueled dancefloor positivity.

Holding a long-time friendship and collaborative musical relationship with IVAR, they come together once again on new single "In Plain Site" alongside releasing their long-awaited album project "Pleasure Centre."

A culmination of two years of hard work since their critically acclaimed 'Juicy Fruit' LP, sixth studio album 'Pleasure Centre' is the first Kraak & Smaak LP to be released via their own label Boogie Angst.

Featuring on the album, "In Plain Site" is laced with the tripped out, West Coast vibrations synonymous with Kraak & Smaak, teamed with IVAR's soulful voice, they create a wholly euphoric vibe.

A record packed with breezy West Coast feeling, 'Pleasure Centre' fuses classic 70's and 80's yacht rock, dream pop and indie influences with their signature electronic funk sound, landing between funky dancefloor focused jams and more relaxed

Bringing sunny poolside vibes, previous singles "Don't Want This To Be Over" feat. Satchmode and "Same Blood" feat. The Palms add uplifting, psychedelic sounds with a hearty blend of musicianship and pop mentality.

Yet, it wouldn't be a Kraak & Smaak album if they didn't provide us with some dancefloor focused tracks.

Heavy on emotive vocals and strong funky disco elements "Say The Word" feat. Nic Hanson, "Sweet Time" feat. Izo FitzRoy and "24HR Fling" feat. Wolfgang Valbrun add the final flourish of sentiments deeply rooted within the Kraak & Smak sound.

With a string of influences in terms of era's and styles "Pleasure Centre" has a mix of ingredients with a number of vocalists and vibes, sure to leave the listener feeling both uplifted and peaceful.

Kraak & Smaak's "Pleasure Centre" LP is out now on Boogie Angst.

Stream/Buy it here.

CM

42 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 43

[NEW MUSIC: PREVIEWS] hip-hop and trap-esque realms. Opening with a cinematic and acutely pensive feel, "Wildfire" features Berlin via Buenos Aires rave punk, Catnapp. A downtempo affair, the nature of Catnapp impacts with attitude over Jungle-esque breaks. Calling upon similar rave influences Queer Alt Queen, Peaches on "Possessed," before the haunting and enigmatic vocals of singer-song writer Chelou takes hold on closing track "Something About Drama."

British-Japanese Producer/DJ Maya Jane Coles has amassed an astonishing level of international success and uncompromising studio credentials maintaining a uniquely focused approach; writing, producing, engineering, arranging and mixing every element of her output mastering genres from techno and house through to hip-hop, dubstep, folk, pop and beyond.

Following on from Maya's award winning 2015 eponymous debut LP as Nocturnal Sunshine and unlocking a true representation of her musical identity, today Maya announces the forthcoming album "Full Circle" out now on her own imprint I/AM/ME. Introduced here with debut single "Pull Up" Feat. Gangsta Boo & Young M.A., Maya Jane Coles' assured, and bold production teems with confidence; continuing her line of grungy breakbeats and uncovering new depths in

Elsewhere, the world of Nocturnal Sunshine unfolds in differing forms, introducing the wraithlike yet delicate vocals of RY X on the experimental "Gravity" and the soulful leaning chords of Thomas Knights on "Closed Eyes."

Unearthing hip-hop insights throughout, skitstyle interludes "I'm Ready" and "Lessons Of Life" provide intelligently crafted periods of relief from the gripping intensity and breadth of the project that her huge fanbase continue to crave.

Whilst the presence of legendary Three 6 Mafia's Gangsta Boo on "Ridin' Solo" and "Pull Up" ft Young M.A. anchors the urban roots of Maya as a producer married with the dark depths of CHA$EY JONES engulf on"'Dash;" a distinctively murky dubbed out grime cut.

As the story of Nocturnal Sunshine continues to unfold, her "Full Circle" LP showcases the form and talent of an incredible producer on limitless musical adventure of self-identity.

Stream/Buy it here.

CM

44 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 45

[NEW MUSIC: PREVIEWS] its tracklist give a distortion-free picture of what to should expect of "Tellurian," "Made Of Stars," "Blue Encounter," "Jupiter," "Oort Cloud," "Space Traffic Control," "Earth Rise" and his most recent single "Graviton" are just some of the tracks that have the epic nature of the cosmos – maybe no surprise as he worked for the European Space Agency - all but running through their veins.

Translating what the eyes see into what the ears hear when they scan the night sky has been an obsession of musicians as far back as Holst composing "The Planets." Since, many within the electronic music province have tried to articulate the grandeur and enormity of the cosmos, but few - if any - have done it with the same career-long dedication and effect as Robert Nickson.

Like a modern day Holst, Robert’s never gazed down or around when finding inspiration, only ever up. His fascination with reading, interpreting and soundscaping the night sky reaches its apex this October through the release of his first longplaying collection, ‘Tellurian’.

Across eighteen pieces of music, the album’s motivational centre is humanity’s relation to the vast expanse above. Working at the European Space Agency for two years may have supplied something of an extra perspective to that. The titles that pepper

Robert does however reserve a terrestrial quarter for "Tellurian" (its very definition being "of, or to inhabit the Earth"). Its most thematically chilled and coolest-of-tempo numbers (most notably among them "Arecibo," "California" and "St. Kilda") are the lookout points from which Robert ponders the great beyond.

The album is to the greater degree the work of Nickson himself, but on occasion over its duration, Robert works in conjunction with collaborators. "Feed My Soul" features the inimitable voice of Thea Riley and English singer/songwriter Ellie Lawson supplies her folk-flecked tones to "The Way That U R." "Blue Encounter" sees M.I.K.E. Push assuming a coproduction role, while "Maya" brings Re:Locate back into Nickson’s production equation.

An album with epic intent, delivered with a singular determination, "Tellurian" from Robert Nickson is available now.

Stream/Buy it here.

CM

46 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 47

[NEW MUSIC: PREVIEWS] Returning after last year triumphant showing, Markus Schulz again assumes responsibility for its opening mix.

Taking over the middle disc spot is Jerome Isma-Ae, while Finland’s Orkidea brings his ice-cool nous to the third. As ever, the release holds a spyglass to the mixers’ own release horizons.

Alongside is music from a galaxy of ISOSclued producers - Ferry Corsten, Bicep, Paul Oakenfold, Solarstone, BT, Giuseppe Ottaviani, Jam & Spoon, Yotto and Henry Saiz among them.

Outta-nowhere, last year’s surprise "Sunrise’"caught the scene at large with a classic "gotcha."

Cloaked throughout its production, “the greatest trance series of them all” (MIXMAG) sprang back from the release wilderness.

While it’d received a new triple DJ/mix reshape, what hadn’t changed was its greatest characteristic: ISOS’s inimitable musical identity.

Born more of instinct, sense & feel, as opposed to anything as palpable as style, tempo or arrangement, ISOS has always required a very specific type of handler.

A DJ either natively has "the right stuff," or never will. Even then its mixers still have to click themselves wholly & completely into that sunrise-searching state of mind.

In many ways ISOS’s musical ethos is paradox. Chilled yet with a unique energy, never too "up," never too "down," balance its absolute essential, its new format requires its DJs - each with their own identity - to work as one.

No small task, yet miraculously, this year as last, musical alchemy’s occurred. All that being said, ISOS has changed one aspect for 2019. Its fifteenth musical quest has broken with its well-established release tradition, picking up an autumn spot.

Notably along with its November 08 release, it’s also adopted a different aesthetic.

Cooler, yet more refined musically?

You decide. But in terms of ways to wrap up your 2019, you could hardly ask for more.

Stream/Buy it here.

48 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 49

[NEW MUSIC: PREVIEWS] of the sound I’d always pushed in my DJ career, but also to bring artists who I admired since day one, who were encapsulating the vision I had. Reflecting on Bass Culture today, I’m happy that I managed to accomplish just that. Staying relevant but true to the original concept while music trends were coming and going, continuing to find fresh talent that excites me, and invite those established artists I love. This compilation has been a long time in the making and I could not be prouder to release these tracks to mark 10 years.” – D’Julz Franco Cinelli gets things started with a cosmic bass odyssey aptly titled "BC." John Jastszebski then brings us "Wonder," a smooth deep house cut with mesmerising pads and crisp percussion.

In 2017, Julien Veniel aka D’Julz celebrated 20 years of his Bass Culture events in Paris at the famous Rex Club. Now he marks another great milestone as the eponymous label offshoot hits 10 years.

Much like the party, D’Julz has established his Bass Culture label as one of the most respected outlets for authentic house and techno, focused squarely on the underground, designed to work the floor and give your body, mind and soul a large dose of bass-driven groove. A go-to label for connoisseurs and a home for some of the scene’s most renowned artists Bass Culture has never wavered from its high standards. Across this compilation, the label is unleashing fresh new music from an all-star cast of core family members - artists who have been part of the label’s success from the very early days, up until now.

“When I started up the label, the idea was to bring through styles of House and Techno that I was missing. Those simple but effective, timeless dancefloor tracks that have character and style, away from the conventional. To seek out a new generation of producers that would give a fresh interpretation

Sebo K’s "The Scene" a techy track with a heady atmosphere and hypnotic b-line. This one will wrap you up in its mystical vibe. "Haze 1997" by Mark Ambrose uses a rugged, tribal-esque beat at its foundation, this cut is taking no prisoners.

Lady Blacktronika hits us with "Congrats Bitch."

Sending tremors through the dance floor, it’s a potent weapon to work the clubs with. Alex Picone adds a touch of class, as only he can, by delivering a contemplative yet punchy cut entitled "Melting Moon." Chicago bossman DJ Skull delivers a funky called "Mood" which blends jazz, funk and soul with the core foundations of real house music. As you might expect, the production and energy on this Mr G’s "Now Is The Time!" is utterly compelling.

A moody start is peppered with a classic reggae sample as the tension slowly builds. Leo Pol steps up next with "Established 1991." As the title suggests this cut has a retro-leaning outlook, conjuring up images of a warehouse rave on the outskirts of Paris in the early nineties. D’Julz closes "Synchronicity" a smooth groove that wraps you up in its smoky atmosphere. Magnifique!

Stream/Buy it here.

C

50 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 51

[ON TOUR] Trance giant Armin van Buuren is will be touring the United States in 2020. The Balance Tour (in support of his new full length album of the same name) will be stopping at cities all across the United States during the month of of January and early February, including major venues like The Hollywood Palladium, Washington D.C.’s Echostage, and San Francisco’s Bill Graham Civic Auditorium. After criss-crossing across America, he'll jet over to Europe (The Netherlands), back to Mexico in March for EDC and then to Ultra Miami, presenting his legendary ASOT. Armin's new album "Balance" was released in late October with all the fanfare you'd expect. As stated by van Buuren, the album is about thinking in possibilities rather than definition, thinking about what music could be instead of what it should be. “Every song I make teaches me something new, and the next song is always a result of all my previous records, the new things I learned and the people I met”, the world-renowned DJ and producer says in the foreword of his album. “Over the years, this process – and especially the fun of creating – became more and more important to me. It’s a journey that gives me meaning and helps me learn more about my personal interests rather than focus on the recognition I get for the outcome. That’s the big difference between who I am today and who I was a few years ago. ‘BALANCE’ is a new chapter in my book of life, the result of venturing into known and unknown territories while finding the balance in between. This creative journey gives me the energy to do what I do, to keep going. I don’t want to think about what music should be. I want to think about what music could be.”

Tickets are on sale now at http://www.arminvanbuuren.com

CM 52 | Beatselector Magazine | November/December 2019

12/01/2019 FESTIVAL X ASCOT VALE, AUSTRALIA 01/22/2020 HOUSE OF BLUES BOSTON, MA 01/23/2020 AVANT GARDNER GREAT HALL BROOKLYN BROOKLYN, NY 01/24/2020 AVANT GARDNER GREAT HALL BROOKLYN BROOKLYN, NY 01/25/2020 ECHOSTAGE WASHINGTON, DC 01/26/2020 RITZ RALEIGH, NC 01/28/2020 TABERNACLE ATLANTA, GA 01/29/2020 FILLMORE NEW ORLEANS, LA 01/23/2020 AVANT GARDNER GREAT HALL BROOKLYN BROOKLYN, NY 01/30/2020 REVENTION CENTER HOUSTON, TX 02/01/2020 THE ARMORY MINNEAPOLIS, MN

Beatselector Magazine | November/December 2019 | 53

[BUZZ WORTHY] CHRIS YOHEI TOKUNAGA

C

Written by JOSEPH ARTHUR hris Yohei Tokunaga is a Kyoto born and Berlin-based electronic composer, singer and songwriter with an investigative musical ideology. Releasing his debut EP “Nights For Days” in 2016 along with several singles, Tokunaga has been perfecting his sound for some time now. He creates his music in real time as

he meets periods of change and growth throughout his life, utilizing fluidly through synthetic beats, using versatility to his strength. "I meshed bassy Electronic music productions with melancholic melodies on this EP. When I listen to instrumental electronic music, I often "hear" vocal melodies on top of the beat and want to juxtapose bassy beats with melodies that bring emotion."

With music underpinning most of his life, it has played a crucial and near lifedefining role for him, used as a tool to overcome personal challenges. A vital skill and outlet that he can rely on for his well-being and a way for him to reminisce childhood memories, such as listening to classical music with his father or enjoying homemade mixtapes on family holidays. Chris pours this element of personal experience into his music on “Stars and Reveries” EP. With varying sounds and a wholly organic approach to production, Chris poses his sophomore EP that sees him expressing his emotions in the moment. As a selfassured tastemaker, Chris Yohei Tokunaga is not one to conform with any genre boundaries. His “Stars and Reverie” EP is a product of this as he transcends borders of electronica, techno, breaks and electro-pop. Across the EP Chris provides almost haunting vocals on “Energy,” “Piranha” and “+-15,” alongside collaborating with German folk singer Jele on title track “Stars and Reveries.”

Strong on the percussive elements and dreamy melodies, the EP thematically represents the many emotional paths that one can create through the use of lyrics. Chris' own lyrical contributions see him improvising freely through thoughts and emotions, guided by his own musical undertone. “Stars and Reveries” EP sees an acutely crafted body of work from a vivid producer and songwriter; Chris Tokunaga unlocks a new realm in his electronic world and is definitely deserving of being “Buzzworthy!”

CM 54 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 55

[BUZZ WORTHY] KASPER BJØRKE

K

Written by JOSEPH ARTHUR asper Bjørke’s press clips include the exclamations “the past decade has seen Bjørke steadily rising amongst the ranks of artful, eclectic electronic producers…”—XLR8R; “Kasper Bjørke definitely makes art. Each production feels assured with the Scandinavian impacting a genuine sense of the cerebral into his music.”—Clash Magazine.

In the last five years or so, (2014-2019), Kasper has released several LPs, EPs and music for film. The Copenhagen based musician broke out with 2018’s “The Fifty Eleven Project” (named 5th Best Contemporary Album 2018 in The Guardian), released through Kompakt Records. It’s an epic 2 hour journey into ambient space and widely recognized as a masterpiece. Kasper’s gig sheet includes all the big and famous clubs and festivals: From Panorama Bar and Watergate in Berlin to Rex Club in Paris, Robert Johnson in Frankfurt, D-Edge in Sao Paolo, Fabric in London, Output in New York, Electric Pickle in Miami and international festivals like Sonar Barcelona, Roskilde, Iceland Airwaves and Calvi on the Rocks. Back home in Copenhagen, he’s known for rocking out at Jolene with marathon 7- hour long B2B sessions alongside fellow Djs Marvin & Guy, Justin Strauss, Axel Boman and Tim Sweeney. Kasper is also has remixed a wide range of established artists like Weval, Sascha Funke, Danielle Baldelli, The Golden Filter, Sonns, Pillowtalk, Colder and Rebolledo for labels like Bella Union, Ghostly International, Kompakt, Permanent Vacation, Multi Culti, Wolf + Lamb, Throne of Blood, etc. Kasper has also released “one off” compilation tracks on labels like Eskimo, Correspondant and Hippie Dance (YAYHF). Every once in awhile, Kasper changes things up and releases music under his side project moniker The Mansisters with Icelandic friend Jon Atli Helgasson aka Sexy Lazer. Their latest EP “Queens of the Night” was released in April 2019.

After a three-year absence, Kasper Bjørke returns to hfn music with a sublime new double EP entitled “Nothing Gold Can Stay.” The new release explores both the analogue and organic side of his production work on Side A – while Side B reflects on sounds that he would play today, in one of his nightclub DJ sets. Check him out!

CM 56 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 57

[BUZZ WORTHY] RODGE

R

Written by JOSEPH ARTHUR odge represents the finest in Dj/Producer talent coming out of the Middle East. The Lebanon based superstar has been hosting the regions hottest and sold out weekly parties for years, captivating and enchanting a generation of vibrant and passionate people.

Launching his radio station Mix FM in 1996, Rodge used the outlet

as a springboard to jumpstart his own DJ career. For years, Mix FM has served as the nation’s premier electronic music station, as well as staging events all across his homeland. Over the years, Rodge has had a number of multimillion streams, downloads and video views that has rewarded his dedication.

Through his hard work, which seems to have paid off, sees Rodge side by side with today’s biggest stars including Martin Garrix, David Guetta, Kygo and The Chainsmokers. With success comes lots of travel and gigs which takes Rodge to all corners of the globe-from Ibiza to New York to Cairo to Miami to Las Vegas and Montreal and has gone on tour with cross-over superstars Ed Sheeran, Justin Bieber, Jennifer Lopez, Enrique Iglesias, Shakira, Chris Brown Sean Paul and Sia. Additionally, Rodge has performed at El Gouna Film Festival and at the opening ceremony of the FIBA Basketball World Cup. In recent months, Rodge has released some new music. In August, Rodge unveiled his brand and label Intimate Strangers with “Make Me Feel” featuring Sibbyl. The track is inline with Rodge’s previous anthems, gorgeous and heavy in the groove.

Aside from producing killer tracks, Rodge supports NGO’s, locally and globally and serves as an ambassador of the Brave Heart Association-a foundation that helps cure children with heart disease. He is also a board member of Animals Lebanon, a foundation that aids in saving and sheltering animals of all kinds.

His commitment to charity extends to several other foundations like SOS, CCCL and many more. Last year, Rodge added new roles to his social and charity activities. He was named Road Safety Advocate by Kunhadi.

C 58 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 59

R Aiming

Issue N° 12 2019 62 | Beatselector Magazine | November/December 68

R-Wan

To Suprise & Doing Just That The up-and-comer spills the beans on Snoop Dogg, Paris nightclubs, staying in good mental and physical health and more.

By Joseph Arthur Beatselector Magazine | November/December 2019 | 63

Your Discography/Production Credits include working with global super-stars Snoop Dogg, Busta Rhymes, DJ Chuckie, Shockman, Farah Ash, DJ Spyder, Big Ali and Lil Jon. Would you like to share any ‘behind the scenes’ memories and funny stories with our readers?

R-Wan: The best memory was with Snoop Dogg.

We never thought he’s be able to do something that fit into an electro club track, but he did it. We were really surprised and happy about what he did, and it only took him 30 minutes!

And speaking of Big Ali and Lil Jon, your recent single ‘Oxy’ featuring the both of them, how has the industry, radio and fan response been since its release?

R-Wan: Everybody was surprised about this collaboration, especially my DJ friends and other artists. They really love the track and have been playing it out in the clubs and also in podcasts and their feedback has been amazing.

In recent months R&B vocalist Mike Kay has featured on two singles of yours- ‘Elevate’ and ‘My Heart.’ How did you get the hook up with Mike?

R-Wan: My friends GLOWINTHEDARK introduced me to Mike Jay, so I met him while I was in Los Angeles and we worked on many projects in the same week and ‘My Heart’ was one of them.

64 | Beatselector Magazine | November/December 2019

From your perspective, what’s happening in the French Electronic music scene that excites you most?

R-Wan: The festival’s still have a great energy and that’s where we can actually still play electronic music in France. Few clubs still play electronic because most of them are playing predominantly Urban Music.

Travel and touring is a big part of your career, therefore, how do you manage to take care of yourself emotionally and physically?

R-Wan: Exactly, that’s really hard to handle but I’m really excited and happy to see new crowds in the club so that keeps me really motivated. Another key point that keeps me in good condition both physically and mentally is keeping healthy, I go to the gym a lot which helps to relieve a lot of stress and reduce any negative energy. I don’t drink and I don’t smoke either which I think really helps keep me balanced and focused. It’s been the cause of so many artists’ downfalls over recent years.

In your opinion what is the hottest nightclub/ discotheque in Paris?

R-Wan: We have different kinds of clubs in Paris, some are more classy and some are more crowded, Vip Room is dope but if you want a full club full of energy its Le Grisy which is 30 minutes from Paris.

Beatselector Magazine | November/December 2019 | 65

Who would you most like to collaborate with next and why?

What future projects are you working on and do you have future plans to tour the United States?

R-Wan: I would love to collaborate with Usher or Chris Brown - I really love their voices and talent.

I’m a real fan of both of theirs.

R-Wan: A lot of projects are happening at the minute. I have new music coming up with some new talent, a "Live" video set in a wonderful location in Bali that people will be able to see soon, and a tour in the USA in December with Miami, Chicago and Philadelphia being some of the stopoffs.

What is the one memory/experience that ranks as your greatest?

R-Wan: My collaboration with Snoop Dogg is the best experience I have had yet.

fM

66 | Beatselector Magazine | November/December 2019

"Everybody was surprised about this collaboration, especially my DJ friends and other artists.

QUOTE They really love the track and have been playing it out in the clubs and also in podcasts and their feedback has been amazing."

—R-Wan

Beatselector Magazine | November/December 2019 | 67

AVIS 68 | Beatselector Magazine | November/December 2019

Representing New York's (Techno)

Next Generation

SION Q&A by Leo Weaver

Beatselector Magazine | November/December 2019 | 69

"

OVER

HEA

New York as a techno scene has always been popular, and I think being in the younger generation of the scene is something I’m really proud of.

I feel my role as my peers, a responsible fo industry.

70 | Beatselector Magazine | November/December 2019

Tell us about your beginnings, what music were you listening to, and early influencers that drove you to pursue a career in making Techno music.

ARD

e is pretty important and myself are held or the future of this —Anthony Cardinale aka AVISION

AC: "In the beginning stages I was listening to a little bit of everything. I’m a musician at heart, and my Dad is also a singer/musician so I was always learning from, and listening to what he was listening to. Anything from funk, soul, disco, R&B, rock, and house. I started djing, and getting into producing around 12- 13 years old. I remember listening to NYC underground CD’s and started to be infatuated with the music. Since my Dad was in a wedding band he was always learning the top NYC dance/house tracks that were popular so having that knowledge stemmed into digging deeper. I started getting into techno once I heard my cousin Victor Calderone. I was 16 years old at Electric Zoo in New York, that was the first time I heard techno live, which really started everything for me."

Define the “new wave” of Techno coming out New York City and how has your role as a producer and music maker helped to re-invent the genre?

AC: "New York as a techno scene has always been popular, and I think being in the younger generation of the scene is something I’m really proud of. I feel my role is pretty important as my peers, and myself are held responsible for the future of this industry. Musically I’ve only tried to stick to my sound and try to push it to the forefront. I think I’ve had success musically because a lot of my music has groove to it but it’s still techno.

I picked that up from listening to a lot of old school techno, it was always about a good groove and working good elements. I’ve only tried to spread light on the roots while adding my own feel."

What is your one “go to record/track” that you pull out on the fly to fill the dance floor and to energize the crowd?

AC: "That’s always a hard question, I try my best to pick tracks that will always keep the listener on the dance floor. Honestly I don’t have one specific track, but I do have a specific artist who always kills it. That artist is Mark Broom, anything by the UK legend will make the floor move."

Beatselector Magazine | November/December 2019 | 71

What were your highs and lows of the Summer?

AC: "The high points for me this summer we’re getting to tour in Europe for the first time. I went to Ibiza for the first time and had an amazing time as well. I also went on a vacation to Sicily, and this was a major highlight to my summer as my grandfather took my whole family back to his hometown. It was a summer I will never forget."

"I don’t think I had many lows this summer, 2019 was really good to me. If I had to pick it would probably be leaving Europe, but I always enjoy going home, and I knew I would be back to Europe soon."

Hype your recent EPs “Liquid Gold” (Teksupport Records), “Simple Things” (Suara), “This Way” (We Are The Brave)…..

AC: "‘Liquid Gold’ is my next EP coming out later this month, it’s my second vinyl EP and I’m really excited for it. I play a lot of Teksupport parties here in New York and to be apart of both the label and play the parties is apart of the big dream.

Blessed to have them in my corner. The EP includes 2 Mike Dehnert remixes, which in my opinion are nasty remixes ;). Overall I’m really proud of my work on this EP as it has a little bit of everything: groove, melody, and balls lol." https://soundcloud.com/magnetic-magazine/premiere-avision-liquid-gold-teksupport "‘Simple Things’ was my EP of the summer for sure. Everyone was playing it, and for me that makes it all worth it. I actually had a fan in Spain who was holding up the artwork to make me play Simple Things, sure enough I played it and the place went wild. It was cool to see my music transcend far from home." https://soundcloud.com/suara/sets/suara364-avision-simple-things-ep "My ‘This Way’ EP was one of those EP’s that kind of went under the radar when it was released. It was released at the end of the summer in August so that’s always a hard month to release, but it received major support and I was extremely happy with the final product. I think This Way is a different EP that spreads light on my roots in New York. I always have love for the We Are The Brave family." https://soundcloud.com/wearethebraveofficial/sets/avision-this-way How was ADE for you? Highlights?

AC: "ADE is always a week I look forward to. This year was a different level for me, as I played Dockyard Festival with Paco Osuna and the Mindshake guys. The lineup included Paco, Radioslave, Nic Fancuilli, Eats Everything, Dubfire, Fer Br, and myself. The festival was massive! Another highlight was playing on The Boom Room (on Slam Radio) one of the biggest radio stations in the Netherlands, the studio was super proper and everyone there was amazing to talk to. Other than that I had some great meetings, interviews, and I got to hang with all of my DJ friends." https://soundcloud.com/theboomroomofficial/280-the-boom-room-avision-ade

72 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 73

74| Beatselector Magazine | November/December 2019

I imagine you are excited to being included on Time Warp’s 25th legendary line up. How will you prepare yourself and your set list (without giving away trade secrets-haha), to impress the epic techno gathering?

AC: "This is probably one of the biggest gigs I’ve played so far in my career, saying I’m excited is an understatement. I think the preparation is to stay true to what I do, and at the end of the day this is a proper techno event. For me it’s important to come in proper and have some special things prepared for the night. Whether it’s making edits, or having some new originals ready to go I will be sure to dig and do my best to stand out with my sound."

Who are your Top 5 All Time DJs? AC: "I hate this question as much as I love it lol. The order is not a ranking by the way! Larry Levan, Junior Vazquez , Victor Calderone, Carl Cox, and Benny Rodrigues (This one is a new addition for me, Last few times I heard Benny he really impressed me and was super inspiring)."

Do you have any news to share for what is upcoming in 2020?

AC: "Yes! My first EP for 2020 will be on Ellum, I’m extremely excited as Maceo Plex has been a huge influence for me. It’s an honor to be apart of his label."

And lastly, assuming you are a New York Yankee fan, any advice to give?

AC: One thing I’ve learned from being a Yankee fan is to know your worth but have class while doing it. Derek Jeter was one of my biggest inspirations as a kid. I learned from watching him to always be humble, and work hard. I took a lot of lessons from playing baseball and implemented them in my career. Some advice I can give is never wear a Red Sox hat near the Stadium and don’t ever question who the best franchise in sports is when it comes to a Yankee fan.

fM

Beatselector Magazine | November/December 2019 | 75

SOLARSTONE TWO THRE 76 | Beatselector Magazine | November/December 2019

EE

Solarstone reaches the culmination of his Morse coded album trilogy this winter. November sees the release not just of its third and final part . . . - -, but also "One" - its triple edition box set version. Richard Mowatt took time out (from what hopefully is a time out after its marathon four year/27 track production!) to talk to Beatselector about the release, the project and what it means to him overall.

WRITTEN & INTERVIEWED BY TIM STARK

Beatselector Magazine | November/December 2019 | 77

78 | Beatselector Magazine | November/December 2019

idea inspired them enough to take it further. All great producers for different reasons."

Thanks for joining us Richard and naturally big congratulations on reaching this point How does it feel to have . . . - - out?

Solarstone: "Thanks for the invite, I am indeed taking ‘time out’ at the moment, a few days on a small Balinese island - between gigs in Singapore and Bangkok. I’m sitting down to answer your questions in what you would describe as ‘paradise’… trying to relax and unwind. But to answer your question – it feels like an achievement. I’ve completed quite a few projects over the years, but this was definitely the most ‘long term’ and it’s honestly very satisfying."

Have there been any notes or observations from your audience that have particularly stood out to you thus far?

Solarstone: "Well… there have been comments like ‘love the concept’ and ‘trance album of the decade’ which of course are lovely to read! But what means most to me is that my fans have enjoyed the whole ‘unveiling’ over the past 4 years, the Morse messages, the designs – 4 years is a long, long time in music. I’m sure plenty of people have nodded off and got bored halfway through, but my fans are a sophisticated bunch on the whole and I think (hope) that enough of them have embraced the whole thing to justify it."

The first two albums both had their own themes musically (respectively deeper and more uplifting music). Where did you go with the third album?

Solarstone: "Yes that’s right, there was a ‘plan’ in that respect, the 3rd album was intended to be an album of collaborations, although it didn’t quite turn out that way, with ‘Sky’ being a solo effort. There were a few collaborations that didn’t materialize in the end - which was a shame, but I was happy with the end result of album 3."

What criteria did you use for picking the artists you wanted to collaborate with?

Solarstone: "Pretty straightforward really, all of them are artists I’ve admired & whose music I’ve loved and supported over the years, some I’ve played with at my Pure Trance events, people who I have some sort of affinity with, who I was comfortable with sending a rough demo to – to get their feedback and see if the

Which fellow artists did you ultimately choose to work with?

Solarstone: So ‘Voyager II’ was conceived back in 2011, when I wrote the original ‘Voyager’ for the Pure album, Robert Nickson liked the vibe of that one.

‘Slowmotion V’ is the 6th collaboration with Orkidea and the 5th in the Slowmotion series – I love working with Tapio, it’s a very easy process. ‘Rainbow King’ was originally a leftfield electronic-folk song by Julie Scott, who I worked with previously on both the ‘Rain Stars Eternal’ and ‘Touchstone’ albums, I took her acapella (and some cello / guitar parts) and re-produced the song for the yellow album. ‘Landmark’ was produced with Lostly (aka Andre Frauenstein) – another one based upon a demo written years ago. ‘Endeavour’ is with Gabriel & Dresden (although for management reasons which didn’t and don’t make sense to me their name had to be omitted from the album credit) – it was demoed in 2015 and I finished it earlier this year. ‘Monkey Mia’ is with Future Disciple, a musical genius called Daniel James who lives in Australia – he wrote the melodic content and I asked if I could remix & produce it as a collaboration. ‘Spirit’ is with Activa who co-mixed the forthcoming ‘Pure Trance Vol. 8’ compilation with me – I’ve been playing Rob’s music for years and – again – he liked the vibe of a demo I sent him. ‘Indestructible’ is my third track with Betsie Larkin and was the most challenging song on the album, production and engineering-wise. The final one is ‘Father’ with Gai Barone – which to be honest is way more Gai than me, but there’s an interesting back-story there which led to it being a collaboration."

How do you personally approach the process of collaboration? Is it done entirely remotely in a back-and-forth type manner, or working over a streaming studio link or actually physically side-byside?

Solarstone: "All three of those! Robert flew over from the Netherlands place in Wales for 'Voyager II,' which is actually rare these days as so much collaboration happens over t’interweb now. As for Orkidea – we have something of a tradition whereby I play a show in Helsinki with Tapio every year or two, and when I do – we go into his studio and produce

Beatselector Magazine | November/December 2019 | 79

a track – or at the very least we put the skeleton of one together. I usually produce a demo first consisting of several melodic phrases in layers, then we bang a groove together – he continues the production alone then fires over a rough arrangement to me in stems (he uses Logic whereas I use Cubase) and I finish the track off. We’ve done it this way 6 times so far. The latest collaboration with Julie was done remotely, but her song was already complete – although saying that I do now remember her flying over to my place a few years ago to re-record some vocal sections; ‘Rainbow King’ was pieced together over a 4 year period actually! I was on-and-off with the track, I wasn’t sure if it was too ‘out there’ for my album – her vocal style is very distinctive and unusual – but I fell in love with the song and couldn’t stop singing it. Ultimately it just needed simplifying – then it fitted. ‘Landmark was done entirely remotely, I sent Lostly a demo, he sent me a developed idea and arrangement, I ‘finished’ it off – then he sent me another 7 or 8 layers that I worked in. A very reliable guy is Lostly – very efficient. As I mentioned earlier, I demoed ‘Endeavour; with G&D back in 2015 – I was on a road trip in California and popped in to see Dave Dresden as I’d come up with an idea, and he, I and Josh spent a day working on it – in between hiking and ‘breaking for lunch’. The idea was set aside on my iMac until the 3rd album came around, and then I went back and completed it. I think G&D thought it had been shelved forever, but it was always in the schedule. I’ve always had a long-term vision when it comes to my music and what I want to achieve in my career, there’s no rush – it’s not a race! The Future Disciple one was of course done remotely what with Dan being in Australia, just a matter of his sending me stems and my producing the final version of the track. ‘Indestructible’ was another ‘send me the stems and I’ll do it’ kind of thing – Betsie sent me the vocal, some pianos and guitars – but later on she produced a version of the song for submitting to a Film soundtrack (which didn’t make it unfortunately) so there was lots of extra sounds that her producer Jon Ingoldsby kindly let me use. For ‘Spirit’, Rob Activa could have come to my studio – but he had recently started a new job with Novation so couldn’t commit – we did it online ultimately. ‘Father’ was something Gai wrote based upon a small Instagram video of mine recorded on Nusa Lembongan (Bali) in early 2019 – I was playing a wooden xylophone of sorts - on the street with the guidance of a local

musician – Paula filmed it – Gai loved the video so much that he sampled my playing, and then built that gorgeous piano around the samples. That’s why it is a ‘collaboration’ – although not in the traditional ‘trance producers make a record’ way."

What are the benefits and challenges of working with others?

Solarstone: "Benefits wise, it’s great to not be working alone for a change – things happen quickly and you ‘bounce’ off each other, especially when you’re in the room together. Remotely it’s also interesting, as each of you has time to absorb the other’s ideas and process them internally. You look forward to receiving updates and it’s quite exciting.

As far as ‘challenges’ go – imagine travelling miles to someone’s studio and then nothing – I mean nothing – happening. Very frustrating. Imagine spending weeks working on a collaboration – only for management to put a spanner in the works for political reasons. Or even worse – imagine another artist deciding that it’s not ‘cool’ to work with you any longer - despite a track being near completion…

All 3 have happened to me over the years. However, the benefits vastly outweigh the challenges – or ‘problems’ as we call them in the UK." As a whole, "One" will rank as the most timeconsuming "album" project you’ve undertaken. A not insignificant portion of your career as a whole it could be said. Is its completion and release the single most satisfying stage, or was there another high over the course that you’d point to?

Solarstone: "Holding the box-set in my hands was the best feeling, I’ve never felt such a sense of achievement actually. The release of ‘Pure’ back in 2012 comes close – but that was for different reasons entirely. I do have to say a big thanks to Arny at Black Hole in the Netherlands, he has been releasing my music since 2012 and has been so supportive and accommodating in terms of my(sometimes expensive) packaging ideas desires – top bloke."

It would have been impossible to see this project 20/20 as it is now, at its inception, four (or more) years ago. Are there any aspects or challenges to its production that – back then - you didn’t foresee?

80 | Beatselector Magazine | November/December 2019

Solarstone: "Yes – many, there was a point (when finishing the ‘Blue’ 2nd album) where I wondered if I was being overambitious – if anyone else actually cared less about the ‘concept’ album project any more at all – there was so much stuff in the music media about albums being ‘dead’ and people ‘only being interested in single tracks these days’ etc. etc. But my manager straightened me out there. She said I would regret it if I changed my mind. I did kind of foresee the doubt creeping in though – which is why, hidden away in the packaging of the first ‘Pink’ album, we had the morse code for ‘One of Three’ printed. I knew that a few eagle-eyed fans would spot that – and that they would hold me to account if I didn’t deliver. The death of my Dad had a big impact too – the 3 albums were supposed to come out on the same date over a 3-year period, but my Dad’s protracted illness made that impossible. On the flipside I produced some very emotionally intense tracks during that time too – notably ‘Thank You’ which was a tribute to my Dad, and ‘Cafuné’ which was a dedication to Paula – my manager - who supported me massively during that time."

Music aside, the project was an opportunity to

scratch another artistic itch. Tell us about that aspect?

Solarstone: "Yes – my love of Pop Art. I’ve worked with the same designer since the late 90s – a guy named Andrew Debens aka GraphikArtDepartment and he totally gets where I’m coming from, what I like, the imagery I’m into."

Where did your interest in Pop art first stem from in the first instance?

Solarstone: "As a teenager I was into the Pet Shop Boys, Frankie Goes To Hollywood, New Order, Art of Noise – anything on ZTT and anything which recruited Peter Saville for the design. My Mum’s record collection was full of ELO, Yes, Mike Oldfield, Genesis – all artists with great attention to detail in the packaging, and I realized early on what an important part the aesthetics played in the whole picture."

Would you say that having the cover art of your first music purchases to look at, read (and sometimes decode even) gave you’re a greater depth of appreciation for the music itself?

Beatselector Magazine | November/December 2019 | 81

82 | Beatselector Magazine | November/December 2019

"WHEN PEOPLE WHO GREW UP IN THE INSTANT AND DIGITAL AGE START DISCOVERING THINGS LIKE VINYL RECORDS, COOKING RECIPES THEMSELVES AT HOME, PLANNING FOR THEIR FUTURE, HAVING FAMILIES – INSTANT GRATIFICATION BECOMES LESS ATTRACTIVE AND MORE NOTICEABLY POINTLESS." —SOLARSTONE

Solarstone: "It gave the music another ‘dimension’ – remember this was initially before the ‘music video’ and MTV were all-important. We all know that music evokes images in the minds-eye, so it makes sense to present the music with thought provoking imagery.

My ideas about packaging, covers etc. are probably out-of-place in the trance scene which is, to be honest, lamentable - in general in terms of design and typography – but then again, maybe that’s partly why they get noticed."

The albums titles (written exclusively on their artwork in code) could be seen as being deliberately enigmatic or thought provoking. Is that something you’d agree with?

Solarstone: "Certainly. And ultimately it becomes a visual ‘hook’ – there was probably some confusion with the first couple of singles, but then the appearance of the next cover image instantly said ‘new Solarstone music’ without any mention of my name being needed – the teenager still somewhere in me finds that idea thrilling & exciting!"

What does "One" (the box set’s title) mean to you?

Solarstone: "When I noticed that the last three letter of Solarstone spelled ‘One’ – that was the moment the whole concept started to come together. The idea was a series of albums identified by a colour & numerically (the morse for ‘1, 2 & 3’ were cutouts) and my artist name would be nowhere in sight (unless you were prepared to work out the ‘Solarstone’ morse code on the covers). The release of the final collection would be the only time ‘Solarstone’ would appear in print, with the last 3 letters of Solarstone forming the title.

The release date for the final collection happening on 1.11 was actually a very happy accident - but If you’re into numerology the concept would give you a real frisson of excitement, if not a mental erection."

How important do you think it is that albums are given their time to mature to the eyes and ears of listeners in this ‘instant-grat’ age?

Solarstone: "When people who grew up in the instant and digital age start discovering things like Vinyl records, cooking recipes themselves at home, planning for their future, having families – instant gratification becomes less attractive and more noticeably pointless. The ‘Album’ is the artist expressing themselves – embracing you for an hour – offering you a chance to escape to somewhere that is other than yourself – an opportunity to stop worrying and become calm, joyous, whatever – anything other than obsessed now and me and what they think. The 'Album' isn’t a ‘trend’ that has passed, it’s integral to music and musicians and the appreciation of both.

There was a trend for offering ‘extra’ tracks when people pre-order an album, so that they get that ‘instant gratification’ – I avoided doing that. I’m not a fan of offering free downloads or free tracks in ‘return’ for begin ‘liked’ or ‘followed’ – I avoided doing that too."

Perhaps inevitably we have to ask, that after a project of this scope, where do you go afterwards?

Would you attempt something similar again or would you click back into the one-album/onename/one-theme do you think?

Solarstone: "I really have no idea what happens next. However I do have ‘Electronic Architecture Vol. 4’ to think about though – that’s another on-going project that began in 2009. There’s the Slowmotion series with Orkidea… Then there’s the on-going ‘Pure Trance’ compilation series that happens every year..

Maybe the next thing will be a self-contained one-off album… people like ‘new things’. I might change my artist name or cut off my beard for that one."

Beatselector Magazine | November/December 2019 | 83

84 | Beatselector Magazine | November/December 2019

newmusic

SIDEBAR SOLARSTONE 1,2,3

So here we are… and here it is. The culmination of a project that now comprises 27 pieces of music, delivered over a 3-album/4-year arc – all heralded by many a meaningful dot and dash.

In the instant-hit world of today, its cyphered titles have been a premeditated move to provide an album bomb with a longer fuse. A project assured enough in time & scope to draw the listener in, rather than hustle for short-lived attention in a consume/forget manner. The reason: well, several. Chief among them though is if you cross paths with but one Solarstone longplayer in your life, better it’s his most considered, expansive & honed "One." It’s also though provided its creator Richard Mowatt with both the opportunity and – crucially – time to fully flex a second artistic muscle. That specifically was Pop Art in nature – a form that captivated him as a child, motivated him as a teenager and one he’s immersed himself in as a man.

It was only with a project that had the magnitude of "1," "2" & "3" though that he felt he could make his own worthy addition to it. On the subject Solarstone says: “my love of Pop Art began in the 80’s with Frankie Goes To Hollywood & ZTT’s work and Peter Saville’s Pet Shop Boys partnership. Imagery is an integral part of my branding and marketing and the ‘One’ project is, I guess, my own little contribution to an art form that fascinates me.”

Out now, Solarstone has released not just the third and concluding longplayer in the series . . . – – but also the album works as they were always intended, united together as "One." Purchase here.

5fM Beatselector Magazine | November/December 2019 | 85

[MUSIC REVIEWS] Masterpiece  Excellent  Good  Fair  Poor 

ALEX CHRISTENSEN & THE BERLIN ORCHESTRA

CLASSICAL 90s DANCE 3 STARWATCH ENTERTAINMENT

 Germany’s Alex Christensen got his start in electronic dance music in the early 90s as the former frontman of U96 (the techno dance outfit that crashed the charts with “Das Boot” and “I Want To Be A Kennedy”). He also enjoyed a successful production partnership with former Enigma (“Sadeness, Pt. I”) co-founder Frank Peterson, overseeing the European pop chart hits of Prince Ital Joe featuring Marky Mark (yep, Mr. Wahlberg himself ) and Rollergirl (singer Nicole Safft, “Dear Jessie”), who later became his wife. So if anyone knows 90s Euro-dance, it’s Mr. Christensen. He made a big splash with

88 | Beatselector Magazine | November/December 2019

Beatselector Magazine | November/December 2019 | 89

[REVIEWS: ALBUMS] his 2017 and ’18 albums featuring The Berlin Orchestra, Classical 90s Dance and Classical 90s Dance 2, fusing classical orchestrations with dance-pop hits of the era. The concept isn’t new—James Last and Louis Clark Conducting The Royal Philharmonic, for example, had been tackling classical compositions and pop and dance songs in this manner, at least instrumentally, since the 70s and early 80s.

However, in the realm of production values, Christensen’s first two collections stand technically unsurpassed, punctuated by highly recognizable radio and dance floor gems from the 90s (Snap!’s “Rhythm Is A Dancer”—one of the producer’s strongest tracks to date, Rozalla’s “Everybody’s Free,” “What Is Love” by Haddaway, among others). His reinventions can best be described as faithful to the originals but possessing a healthy extra dose of élan supplied by their finely tuned classical settings.

With Christensen’s third installment in the series, we are given more of the same formula with increased emphasis on the vocalists supporting the tracks. The set starts off a bit shaky with the familiar ear candy of “Gypsy Woman (La-DaDee),” and though the arrangement is bubbly, the grittiness and indelible urban club shuffle of the original sung by Crystal Waters doesn’t translate all that well to this format. However, the song’s vocalist, Linda Teodosiu, nails the uplifting feel of Ultra Naté’s #1 US dance chart hit “Free,” from 1997, which neatly translates to a classical retouch.

Ace of Base’s “The Sign” is well performed

by Natasha Bedingfield, and the production is on point in the same way in which Abba’s songs often sound exciting when performed with classical arrangements. Bedingfield also handles the unsinkable track “Missing” with just the right tone, and the lush instrumentation accentuates the subtle nuances of the piece.

Christensen isn’t above pushing the envelope, as demonstrated by the emotional interpretation of vocalist Giovanni Zarella on Cher’s once seemingly untouchable smash, “Believe.” Here, the carefully executed

arrangement (and unique approach) achieves the mandatory inspirational feel for which the song is so famous. In the same vein, Thomas Anders, former lead vocalist of the quintessential 80s German dance-pop group Modern Talking, unexpectedly wraps up the album with a smooth retake of the late Melanie (La Bouche) Thornton’s nugget, “Wonderful Dream.”

Throughout the Classical 90s Dance trilogy, there are spot-on moments and, yes, other times (though decidedly few) where the tracks come dangerously close to having a kitschy Broadway feel. But all three editions are collectively surprising, inventive and remarkably entertaining. Back in the day, when Louis Clark and The Royal Philharmonic were at the top of the pop chart with their monster hit “Hooked On Classics” (you’d have to have been around in 1981 for that event), the gimmick was adding a dance beat to a medley of famous classical compositions.

With Classical 90s Dance 1, 2 and 3, we have dance compositions adding a classical flavor.

It’s hard to say which works better (though it’s important to say Christensen’s work doesn’t generally feel “gimmicky”), but in both cases, the beauty of classical music and the corethrilling joy of dance music often come together magnificently, bridging tastes and generations for a remarkably positive experience.

Both music genres have the same positive effect on people, and when combined, the results can be exhilarating. So who, then, is listening to Alex Christensen’s albums? Who knows? It may be the now 40+-year-olds who grew up with 90s dance energy, or perhaps it’s classical audiophiles (who’s recording genre has been virtually decimated with the demise of classical record labels over the past several years). Regardless, Christensen’s work is being supported with high international chart positions on Spotify and enormously popular live performances throughout Germany—and that means he’s definitely hitting the right note.

90 | Beatselector Magazine | November/December 2019

—JAMES ARENA

[REVIEWS: ALBUMS] eleven tracks of varying degrees of ambience.

Opening the album is “Oh Seeker” a prelude of sorts that is gorgeous in sound and peaceful in feel leads to the acoustic guitar and piano featured melody, dreamy layers of synths and drums is a stunner and one of the album’s highlights. “And Yet They Float” reverts back to a minimalist feel featuring synth layers and piano. “Lift Me (Somehow)” is another piece gorgeous piano melody writing.

Melancholic indeed, simply to leave you hanging for the next track, “Another Song To Stop The Spinning,” takes on a darker soundscape with lots of space and a hint of Sci-fi .

Halfway through to track six, “Still (featuring

ALASKAN TAPES VIEWS FROM SIXTEEN STORIES AT RECORDINGS

 Brady Kendall, under the moniker Alaskan Tapes, composes music based on his surroundings.

Whether the format is a single, an EP, an LP or a soundtrack for film, one thing is certain, his music will intrigue and spellbound the listener. Kendall describes his latest long player “Views From Sixteen Stories”… originally thought of from a place of very little inspiration. After finishing two other projects pretty much back to back I was left with minimal ideas, so I simply started listening to music again. I was listening to post-rock very heavily, which made me want to make something in the same vein, but still have all the benefits of an ambient album (long tracks, minimal composition, etc.) This is the product of that

Yoga)” brings back the piano along with a brass line in a minute and half of perfect harmony." And, "We Disappear” features dark and bright layers that alternate in prominence. If you listen closely, you’ll hear the brilliant placement of the upper octave piano strokes below the layers of the blissful melody.

“Views From Tower Two,” “Pretend,” “Views From Sixteen Stories” and “Before Sinking” wrap up the album in similar fashion.

“Views From Sixteen Stories” displays very fine ambient music composed by Kendall. Blissful, melancholic, minimal and moody paint the overall canvas of sounds represented throughout the eleven-track album.

Following his homeland recognition (Canada’s 2018 Juno Awards for “Best Video of the Year”“Place”) along with numerous film placements, adds to reputable and popular Spotify playlists bring instant creditability placing a bright spotlight on the prolific young ambient music composer.

mindset, a collection of minimal compositions, drawnout patterns, and drones wherever they will fit."

“Views From Sixteen Stories” is comprised of

92 | Beatselector Magazine | November/December 2019

—JOSEPH ARTHUR

[REVIEWS: ALBUMS] and creativity. For his latest release on Hidden Vibes, “Encoding/Master,” is the result of the selfconfessed global nomad continuing his mission of creating spontaneous music derived through experimentation,

development

and

message

conveyance.

The new album gets its title from the final message on Ableton software before a completed track is ready to be exported - an indication that the track is finally finished. And according to Ka Fu “That’s the highest point of satisfaction for any musician, I guess, when the song is done and you’ve finished your marathon.”

Want first hand and further insight to the new album? In Ka Fu’s words “Creating this album was hard work, but what made the process different,

KA FU ENCODING: MASTER HIDDEN VIBES

was that I enjoyed the journey to the result, through every step. And that's how I came to the final point when the album was ready and I saw the "Encoding:



Master" message on track number 11 - the final one.

True emotions over fake ones, your own choice over

Ka Fu makes experimental electronic music that

the given reality. This is what I feel now releasing this

is deeply moody and dark, and heavily influenced by

album and it seems like that's the main point of my

the music Depeche Mode. He also frequently draws

music."

inspiration from the ambient mastery of Brian Eno,

From open to close, Ka Fu mixes up the

Orbital, and Autechre, among others in his original

tempos, feels, and textures, fusing dark pop sounds

compositions.

with intricate melodies, bouncy synth bass lines,

According to the album’s press release, Ka

cool voice samples all that play important parts as

Fu is not a classical musician and, moreover, does

Ka Fu effortlessly weaves his web of dark intrigue

not want to be perceived as a musician at all. He

through the music.

treats music as a language, using it as a tool to

Personal

favorites

include

the

tracks

communicate with the world and to construct a

“Opposites,” “Empty Days” (which harks back to

"home" wherever he might be.

the heydays of the synth era- the 90s and features

Ka Fu has chosen to abandon the constraints

some dark and deep vocals, add in some hip-hop

of genre in an attempt to rediscover the unique

elements and you get an enchanting great track),

feeling of creating meaningful sound waves.

“Where Everything’s Ours” and “After All."

Ka Fu originally comes from Severodvinsk, Russia and currently resides in Milan, the place

—LEO WEAVER

where he finds inspiration, connectivity, freedom Beatselector Magazine | November/December 2019 | 93

[REVIEWS: ALBUMS]

LONDON ELEKTRICITY BUILDING BETTER WORLDS HOSPITAL RECORDS

 “Building Better Worlds” marks what is being called the boldest musical adventure of London Elektricity’s 30-year career with his recently released seventh full length album. The new collection of songs chiefly draws inspiration from experiencing the photography of derelict and downtrodden towns throughout Japan, Taiwan, and China as captured by Benjamin Beech. According to the producer, each track is married to a photo and jointly expresses what has been, what could have been and what will be. What a perfect formula, presenting the feels of a photograph through the music it conveys.

It’s a pretty brilliant concept when you think about it. Fellow Hospital label mates Emer Dineen, Inja, Urbandawn, Whiney and London ELektricity’s 9 year old son under the moniker of The Secretary General make appearances.

Kicking it all off is the spectacular “Final View From The Rooftops.” The track finally gets its due after 13 years of development and it’s most likely one the most insane drum and bass cuts under his penmanship. The track features powerful and operatic vocals by Cydnei B. Speaking to the track LE comments “The beauty of this song lies in its simplicity, but also its duality. I’ll leave you to work out what the lyrics are really about…They are some of the darkest lyrics I’ve come across in years.”

Pitched as another highlight is the track “Time To Think” featuring Inja and LE’s 9 year old kid, The Secretary General. The vocal back and forth between showcases the two in an effortless flow of dope vocal smoothness.

Bottom-lining it, “Building Better Worlds” and its 14 tracks present a complex and visionary musical concept. Nuggets of Far Eastern sounds, live instruments, bottomed out by traditional dnb rhythms and a patterns, high caliber guest appearances and cleverly titled songsfor instance “Never Trust A Hippy,” “Funkopolis” and “Kubrick’s View” take you his bold journey triumphantly and emphatically.

Like many have said before, London Elektricity is a true master bridging electronic drum and bass with live instrumentation. Every time he delivers a new collection of songs, we are privileged to experience new things, ideas and sounds that are setting new heights and expectations as to what electronic drum and bass music can be. “Building Better Worlds” is just that and is available as a special limited edition 36 page lyric book, complete with an indepth narrative for each track and 3x clear vinyl.

94 | Beatselector Magazine | November/December 2019

—LEO WEAVER

[REVIEWS: ALBUMS] of electronic music production techniques, with producers Sam Shure, Township Rebellion, Hidden Empire, Niko Schwind and Cioz taking listeners on an extraordinary aural peregrination of genres and styles. Lyrical and vocal collaborations with Monolink, Aparde, Temple Haze and Lisa Who are layered with Koletzki's signature sound, adding their unique influence to this distinctive 16-track album.

Running the gamut from full-power, bass heavy dance floor anthems to slower, more sultry tracks, the dramaturgy of this album is matched only by the eclectic exotica and psychedelia of the jungle.

As the Amazonian jungle burns, this versatile

OLIVER KOLETZKI FIRE IN THE JUNGLE STIL VOR TALENT

and thought-provoking album raises important questions about what sustains us, and asks us to reconsider the egoism and laziness of the human species. One thing is certain: "Fire In The Jungle"



will set your feet, heart and mind ablaze. Personal

Part homage, part prophecy: Fire in the Jungle is the 8th studio album from Berlin based DJ, producer and label owner Oliver Koletzki,

favorites include “We Are All Lost,” “Lenny In The Sea With Dolphins” and “Boxhagener Platz.

—JOSEPH ARTHUR

released on November 15th, 2019 by Stil vor Talent.

With sounds as diverse as the stamps collected in Koletzki's passport over the past 18 months, Fire in the Jungle is a statement in itself: complex, verdant, the product of years of growth.

From the arid desert tundra of Australia, to the lush turquoise beaches and sacred sites of Mexico, to the dusty Playa of Burning Man: these rich and varied landscapes, people, experiences have

Want more reviews?

Jump over to beatselectormagazine.com

strongly influenced Koletzki in the production of this multifaceted masterpiece.

Musical maestro and storyteller Koletzki expertly weaves live instruments with a range Beatselector Magazine | November/December 2019 | 95

[REVIEWS: EPs & SINGLES]

SANREIZAN OUTTALLECTUALS

JUNIOR JACK ORGANIC PIAS





Haquin is a multi-instrumentalist and composer from Edinburgh, UK known for taking his listeners on meditative journeys and inducing hypnotic states of mind using live recorded instruments, field recordings, and unique audio techniques. Mettakin is DJ/producer making gabber, breakcore, goa, reggae dub, ambient dowtempo and glitch-hop.“Sanreizan” is the end result of these two talents coming together and giving us/you four distinct tracks inspired by nature, cinematic flavors, trip-hop, electronica and downtempo music. The new EP opens with “Prelude,” with inspiration by way of the visual awesomeness of Mount Fuji.

Haquin’s “A Glimpse Over The Mountain” paints a colorful image of the Far-East with gigantic builds and a truly bottomed-out drop. The two paired up for the joint composition “Tonkori,” which is full of beautiful oriental samples and live piano riffs.

Closing “Sanreizan” is Mettakin’s psychodelic mind bender, “Halcyon.” “Sanreizan” is an exotic collection of songs for those inclined to far-east influence and sounds and of course beauty.

“Organic” is the first of three new EPs coming from the prolific DJ/producer known as Junior Jack.

Over the course of his career, he’s produced some the best House music records of the 2000’s such as “My Feeling,” “E Samba,” “Dare Me (Stupidisco),” “Da Hype,” and the iconic Ibiza classic “Thrill Me.” “Organic” features a collection dancefloor cuts demonstrating his highly polished production skills and a keen ear for what works. The title track “Organic” sets the pace with a dope House groove, high hat cymbal work, and high-tension building drops. “Rich Man” is another glorious House gem, featuring very fine percussion playing, in particular the congas and other percussion, presenting a hypnotic effect and building the track moment by moment with piano lines to a final crescendo.

“Tweety” is quicker in pace and tempo and a little tougher with mind bending synth stabs, reverb, and hard-hitting kicks. With “Organic,” the next chapter of Junior Jack’s story has begun.

—LEO WEAVER

—JOSEPH ARTHUR

HAQUIN X METTAKIN

96 | Beatselector Magazine | November/December 2019

[REVIEWS: EPs & SINGLES]

NORA EN PURE HOMEBOUND ENORMOUS TUNES

OCTAVE ONE LOCUS OF CONTROL VOL.2 430 WEST





Dubbed the “Queen of Deep House” Nora En Pure has delivered three new tracks packaged inside the EP “Homebound.” Embarking on a sonic journey across cinematic soundscapes, the EP’s title track “Homebound” begins with synth swells and catchy piano chords. Adding cello and analog synths, the opening track radiates a flare of nostalgia, and her home country South Africa. “Dry Sobbing” features a pumping bassline and funky synthsizers, complimented by lush strings and piano chords.

This groovy track should be a favorite for fans her upcoming live sets. The closing track, “Epiphany,” begins with a lovely birdsong and piano melody, brass stabs and euphoric bass and synths. The song takes the EP to its natural conclusion, a synth and brass laden ensemble creating the perfect finale. It’s been written that Nora En Pure evokes wanderlust with “Homebound” which is out now via Enormous Tunes.

—CATHERINE STRICKLAND

Octave One follows up their "Locus Of Control Vol. 1" with the 2nd volume and comes after a busy series of shows playing everywhere from Piknic Électronik Montréal to Movement to Dimensions Festival and many more. "Locus of Control Vol.2" follows a remix of Giorgia Angiuli and lands on their own 430 West label once more. This EP series refers to how strongly people believe they have control over the situations and experiences that affect their lives. Volime 1 showcased euphoric piano stabs and uplifting drum lines, and Volume 2 explores more propulsive techno. Up first, "Afrotech" is a seven minute techno adventure. It’s built on sleek, crisp drums with twisted synths writhing about up top.

The 2nd track "Detune" is a futuristic track with layers of shiny metallic drums and taught synth riffs that make for a tense and thrilling ride. Big drums power things along and the whole thing is the sort of sensory overload.

—LEO WEAVER

Beatselector Magazine | November/December 2019 | 97

[REVIEWS: EPs & SINGLES]

REAUBEAU FULL CIRCLE CIRCUS RECORDS

ARTY FEAT. CIMO FRÄNKEL DAYDREAMS ARMADA MUSIC





Dutch producer ReauBeau has a new EP titled “Full Circle3 out now on Circus Records. Chances are, this year you’ve heard a bunch of ear candy from ReauBeau. For instance, this year alone, he’s He’s landed originals, remixes, and bespoke pieces on international advertisements for Need For Speed, FIFA20, Mastercard, Jabra x Red Bull Racing, Minnesota Lynx Basketball, and countless more.

As a seasoned sound designer with a proven track record for producing epic tunes, opportunities to collaborate with other visionaries, including working with Feddes on the ground-breaking “Earthquake,” and teaming up with Australian duo Ekko & Sidetrack for a drum and bass banger “Higher.” All of three cuts are found on the new EP, along with new tunes “Full Circle” feat. Mark Oomen, a full on jaw dropper; the fist-in-the-air anthem “Forward” and “The Illest” which brings this package to a close with attitude and swagger.

ARTY is well known for producing Big Room productions and mixes, down-tempo grooves and progressive trance gems. Cimo Fränkel is a multiplatinum singer, songwriter, and Producer best known for his massive hit “Sex” with Cheat Codes and Kriss Kross. At the beginning of October 2019, these two talented people joined forces and released “Daydreams,” an empowering track designed to give the impression of “…a ray of sunlight driving the darkness away. Daydreams is uplifting, both in composition and lyrically speaking, emphasizing the appreciation of life’s simpler things that make us human beings happy. The track was conceived about a year ago when Cimo supplied ARTY with the demo, it was instant love (according to ARTY).

"The process of making this song was unlike other sessions,", Cimo Fränkel states. "ARTY and I are both perfectionists and wanted the initial acoustic and heartfelt emotion of the song to stand out in the final mix." Bravo!

—JOSEPH ARTHUR

—CATHERINE STRICKLAND

98 | Beatselector Magazine | November/December 2019

[REVIEWS: EPs & SINGLES]

CHET PORTER THE LONGEST DAY EVER ULTRA MUSIC

KRISTIAN NAIRN EVOLVE ENHANCED RECORDINGS





“The Longest Day Ever” marks the triumphant return of Chet Porter. Out now via Ultra Music, the new song features “swirling” and bright melodies and the very first appearance of Chet’s voice. Speaking about the new single, Porter says “The Longest Day Ever” feels like a good launching point for the new music. I made it in a day just randomly in my bedroom when I was supposed to be finishing other music, and I knew right away it was gonna be the first song I put out. The vocals are the rough idea I recorded into my phone, I hadn’t even written anything down yet. I tried re-tracking them for real but they just didn’t have the same vibe.

The song is about not caring about anything, so sonically it’s actually kind of suiting. It’s not a “fun care-free” type of not caring, though. it’s more melancholy.” Indeed, yes it is.

Some will know that Kristian Nairn was a wellestablished house music producer and DJ, long before his Game of Thrones gig. Others will have just discovered this bit of trivia. This year alone has seen him release four singles (two of which hit the Beatport charts) and his discography includes work with the likes of Ferry Corsten, Alex Graham, Freemasons and Madison Avenue. Enhanced Progressive is the latest outlet for Nairn’s latest music creation, “Evolve.” The track, clocking in at three and half minutes, is built with stabbing chords, staccato synthesizer work, and a touch of euphoria giving you, the listener, a banging killer track with fantastic vibes and grooves.

The intro sets the pace and the melody sets the mood. Multi listens is certainly required and upon doing so, there is so much to discover. Nairn’s skills are on full display with polished sounds that are as magically seductive as they are catchy..

—JOSEPH ARTHUR

—LEO WEAVER

Beatselector Magazine | November/December 2019 | 99

[REVIEWS: EPs & SINGLES]

LOUIS LA ROCHE BETTER EVER AFTER RECORDS

NOTAKER FROM DUST & ASHES MONSTERCAT





Brett Ewels aka Louis La Roche blends house and funk and takes inspiration from Prince, Micheal Jackson, James Murphy, Daft Punk among others creating his kind of French House and Funk that is drawing comparisons to likes of Dimirti From Paris, Crazy P and Aeroplane. For his latest release “Better” Brett puts a positive spin on the "breakup song."

Be advised; this isn't the song to listen to during a breakup, it's a song to listen to when you're ready to go out, dance and release all tensions, as you forget about past loves. The funky synths permeating throughout maintain the high level of energy required to counteract the somber lyrics. With a Rhodes piano solo featured, meeting heavy R&B flavors, the producer has created the perfect take on the modern pop sound-a nu-disco meets French house with a little bit of funk thrown into the mix creating a sound that is both unique and will appeal to the masses.

Notaker is the alias of St. Louis-based dance music producer David Nothaker. Notaker's distinct style of dance music, characterized both by his strong sound design and his devotion to imbuing his compositions with heavy narrative elements, helps him create songs that wholly immerse fans into his unique universe. In his early days, David virtually had no musical background and would search the Internet for tutorials, reading material, message boards, and any information that would help him further his knowledge in dance music production. The latest proof is put forth via a new progressive house cut “From Dust & Ashes. Known for crisp and pristine productions, Notaker’s latest delivers driving rhythms, escalating and cinematic underpinnings and a firm “kick in the head” dramatic bass drop. With fans and supporters like deadmau5, Above & Beyond, Seven Lions, Gareth Emery, and many more, Notaker has positioned himself as a true and original music maker among his peers.

—CATHERINE STRICKLAND

—LEO WEAVER

100 | Beatselector Magazine | November/December 2019

Beatselector Magazine | May/June 2019 | 101