BEATSELECTOR Magazine Issue N°11

ALEX CHRISTENSEN & THE BERLIN ORCHESTRA Classical 90s Dance Extended Edition LEADS 30 REVIEWS

KÖLSCH +

OUT OF THE DARK AND INTO THE LIGHT

DUBFIRE NICOLE MOUDABER RYAN FARISH THE BLOODY BEETROOTS KEENO EPH'D UP RECORDS

DARUDE NULL + VOID

DADA NADA STEFANIE BLACK GOLDFISH BART & BAKER RODRIGUEZ JR OFENBACH

DJS FROM MARS CHARLOTTE DE WITTE JAY PRYOR LAYTON GIORDANI MANIK SOLARDO

#WEAREODD

R E C O R D I N G S

ARJUN VAGALE & RAMIRO LOPEZ

B EATSELECTOR Moving Electronic Music Forward

2017 / Issue N° 11

PUBLISHER

JOSEPH WENSELL CONTRIBUTORS Caitlin Cline Catherine Strickland Chloe Aiello Cory Royster Erik L. Richardson Fred Lee James Arena Joseph Arthur Karin Haslinger Leo Weaver Payton Gerencir Stephanie Hernandez Tyler Quick

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inside ISSUE NUMBER 11 NOVEMBER 2017

COVER FEATURE INTERVIEW

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Rune Reilly Kรถlsch has released music under many different aliases including Rune RK, ENUR, Artificial Funk, Ink and Needle and has worked with a diverse range of internationally known artists including Nicki Minaj, Pitbull, Coldplay, NERVO, Steve Aoki and deadmau5. He is best known for his 2003 global smash hit "Calabria," which busted out of the local club scene in Ibiza. We catch up with Rune as he criss-crosses the U.S., taking his new and brilliant album to big clubs on both coasts and, we get to quiz our Cover Artist on his evolution as a musician and producer, the significance of album titles, life on the road and his recent Eiffel Tower gig.

Cover Photography by Jos Kottman Table of Contents Photography by A.Combes

inside ISSUE NUMBER 11 NOVEMBER 2017

Features 56 STEFANIE BLACK Q&A

Described as "The Girl with the Golden Voice," Stefanie Black has captivated audiences with her mature singing voice and is rapidly making a huge name for herself after appearances on European X Factor series and Germany’s Got Talent.

60 NULL + VOID Q&A

We quiz Kurt Uenala aka Null + Void on his terrific new LP Cryosleep, working with Depeche Mode's Dave Gahan, Shannon Funchess, Black Rebel Motorcycle Club, The Big Pink, Sci-fi, living in NYC, and more.

70 DADA NADA EXCLUSIVE Q&A

Music producer, social activist, film producer and screenwriter are just a few things Robert Ozn aka Dada Nada is known for. This interview is epic and educational.

90 DARUDE Q&A

'Sandstorm" shot this prolific star in to the stratospher. What's he been up to?

James Arena delivers the interview discussing his latest project a remix of Max Millian's "You Are The One," creative freedoms, dance music's breakthough in the American mainstream and more.

98 THE ARTISANS...OF THE FRENCH SOUND

BART & BAKER, RODRIGUEZ JR, OFENBACH Three diverse acts delivering some of the most exciting music coming out of France's dance music community.

106 GOLDFISH

Dominating in South Africa and ready to take on the US and North America, GoldFish and their new album are something new to embrace and behold.

Departments 14 ICYMI: ROUND-UP OF RECENT NEWS FROM AROUND THE WEB 26 NEW MUSIC RELEASES: RYAN FARISH, FERNANDO LAGRECA, KEENO, THE BLOODY BEETROOTS, NICOLE MOUDABER, BONNIE & KLEIN, SOLARSTONE, FACTOR B & ROBERT NICKSON CURATE PURE TRANCE VI

40 ON TOUR: MASHUP WIZARDS DJS FROM MARS HITS THE ROAD 42 BUZZ WORTHY/ARTIST PROFILES: CHARLOTTE DE WITTE, JAY PRYOR, LAYTON GIORDANI, MANIK, SOLARDO

52 LABEL WATCH: DATSIK & BAIS HAUS LAUNCH EPH'D UP RECORDS 110 BOOKS/CD/EP/SINGLES MUSIC REVIEWS: JAMES

ARENA'S 90S STARS OF DANCE POP ; ALEX CHRISTENSEN & THE BERLIN ORCHESTRA CLASSICAL 90S DANCE EXTENDED EDITION Table of Contents Photography courtesy of Darude

[OPENING NOTES] Written by Joseph Wensell

ISSUE 11 Inside our 11th and year-end issue, we feature five "big league" Q&A interviews with Kölsch, Darude, Null + Void, Robert Ozn, also known as the artist & activist DaDa NaDa—whose creative history in entertainment includes working on Broadway shows, screenwriting and film production, in addition to being a pioneer in early electronic music.

Music Conference; Creamfield's Steel Yard 2018 Bank Holiday event; Vienna Calling: A History of Pop Music; a cool new clothing collection from SKTVT and Cora Novoa and details on iZOTOPE's new Suite of programs including Ozone 8 and Neutron 2 for all you gear heads. Are you looking for some new music to check out? We have you covered and preview some of of the most hyped upcoming new releases from Ryan Farish, Fernando Lagreca, The Bloody Beetroots, Nicole Moudaber, Bonnie & Klein and Solarstone, Factor B. and Robert Nickson's curated Pure Trance Volume VI. Also inside, we review a terrific book titled "Stars of 90s Dance Pop" by James Arena and 30 Music reviews kicked off with Alex Christensen & The Berlin Orchestra's "Classical 90s Dance Extended Edition," an epic endeavor, undertaking and production. And to end it all, we highlight must attend New Year's Eve events across the USA.Read on and enjoy!

Then there's Stefanie Black, an emerging vocalist gaining lots of attention throughout Europe.

Other featured articles include words on Goldfish, Bart & Baker, Rodriguez Jr, and Ofenbach.

Receiving "Buzz Worthy" Artist Profiles are exciting artists who happen to be on the forefront of the cutting edge: Charlotte de Witte, Jay Pryor, Layton Giordani, MANIK, and Solardo.

Rounding up some recent news, we put the spotlight on: Dubfire's brand new documentary "Above Ground Level;" the 2018 Brighton

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

Creamfields Presents Steel Yard London: Above & Beyond,Tiësto Bank Holiday May 27 & 28,2018 Saturday May 26th & Sunday 27th May Bank Holiday weekend will see the return of the Steel Yard to the capital. Following this year’s sell out success, the colossal 15,000 capacity superstructure is back to dominate the London skyline once again, this time taking over Finsbury Park and headlined by two of the world’s biggest electronic acts Tiësto and Above & Beyond.

After a sold out triumphant homecoming show at The O2 on Saturday night Above & Beyond kick off the dance music weekender on Saturday 26th May for what will be their biggest London show to date. No strangers to packing out big venues, they became the first British DJ’s to sell out New York’s Madison Square Garden and after a packed house global run of shows in 2015 became the second highest grossing electronic act in the US, and in 2018 they take it to the next level at the helm of the Steel Yard.

Sunday 27th May will be headlined by one of the most prolific and enduring artists on the planet Grammy award winning DJ/Producer Tiësto. Undoubtedly one of Holland’s biggest music exports, he is one of the few artists who has conquered the house and trance worlds and led the charge in helping electronic music crossover into the mainstream.

Creamfields presents Steel Yard delivers once again bringing together two powerhouses from the dance world for their Steel Yard debut on May Bank Holiday weekend for what will be their only London dates of 2018.

The award winning Steel Yard superstructure which was designed and created exclusively for Creamfields is the largest of its kind in Europe and has gone on to revolutionise the event experience for electronic music fans. Featuring ground breaking technology and production combined with a world class line up is what makes Steel Yard unique and has become a refreshing and exciting addition to the festival calendar.

Tickets are available at www.creamfields.com/steelyardlondon

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

Dubfire Releases New Life and Career Spanning Documentary Above Ground Level Dubfire has been a key figure in the global dance music scene since the mid'90s, tirelessly working and evolving his sound from his early deep house sounds through to his contemporary techno strains. New documentary Above Ground Level celebrates his illustrious career while putting DJ culture under the microscope, with a stellar cast of friends and colleagues joining along the way.

The 77-minute film was directed by Berlin designers, Michael Koczynski and Mino Kodama, and was released via video-on-demand on November 21. It follows the man otherwise known as Ali Shirazinia from his happy childhood in Iran to the tumultuous emigration of his family to the United States following the events of the Iranian Revolution in 1979, and then onwards to his musical career. The twists and turns of his life story are put into further context by way of extensive interviews with some of the world's biggest DJs, including Armin Van Buuren, David Guetta, Richie Hawtin, Carl Cox, Paul Oakenfold, Pete Tong, Loco Dice, Seth Troxler, Nervo, Hot Since 82 and Chris Liebing.

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

Seeking The Velvet Launches A New Capsule Clothing Collection By The Hand Of Director Cora Novoa Seeking the Velvet introduces its third clothing collection, escaping established seasons and timings. A proposal that consolidates a style with an unique way of understanding fashion by its creative director Cora Novoa. Its name is an authentic declaration of intent, To The Sacred Majesty of Truth, the Spanish brand pays tribute to honesty and objects of worship. A capsule collection with a concept and message in which blacks, whites and yellows unite to reinforce this idea on appealing and noticeable garments.

The collection features two boxy t-shirts with a relaxed fit, one yellow, one black with the chest printing: To The Sacred Of Truth; a sporty UMBRO t-shirt with a matching scarf, and the iconic SKTVT socks, now higher to stand out as they deserve. In short, a dose of purity and honesty intertwined with the mystic symbolism of roses and candles to carry out a message full of concept, all of it under the visual language of Seeking The Velvet.

Jump over to see the entire To The Sacred Majesty of Truth collection here.

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

Brighton Music Conference 2018 (BMC18) Dates AnnouncedMarks 5th Year As U.K.'s Leading Electronic Music Gathering UK’s only electronic music conference returns for fifth year. Brighton Music Conference 2018 will take place over 4 days of programming beginning Wednesday, April 25th and running through Saturday, April 28th. BMC reported significant growth again in its fourth year. Both Professional and Academy attendees increased significantly at BMC17.

Speakers from brands and organisations at BMC17 included AFEM, Beatport, PRS for Music, PPL, Ministry of Sound, Sony, Label Worx, Live Nation, Mixcloud, Mixmag, Defected, NTIA, Toolroom, Hospital Records, MMF, DJ Mag, AEI Group, DJ Monitor, UKF, Drum & Bass Arena, Loopmasters, Napster, Brapp TV, PIAS, Loopmasters, Sub Club, Clintons, Crown Management, Roland, Anjunabeats, Audiolock, Serato, BIMM, Wunderground, UK Diversity Task Force. Artists included Paul Hartnoll (Orbital), Mark Knight, Friction, Danny Howard (Radio 1), Patrick Topping, Barry Ashworth, Foreign Beggars, LEVELZ, Prok & Fitch, Sam Divine, Josh Butler, My Nu Leng, Just Her, Coldcut and more. Buy tickets here.

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

Vienna Calling: A History Of Pop MusicAn Exhibition Showcasing Prized Objects And Unknown Materials Vienna Calling: A History of Pop Music portrays six decades of pop history through the lens and soundscape of Vienna’s hottest and hippest bars, night clubs, squat houses, radio stations, and studios. Start off at the Strohkoffer, an artists’ hangout in the 1950s, then stop in at the Atlantis folk music club and the 1980s cult disco U4. Sample the lounge ambience of Kruder & Dorfmeister’s (pictured) studio where 1990s Vienna downbeat was invented, and for more hard-edged electronica, rhiz is still the place to go. The exhibition, running now to March 25, 2018, gives center stage to Vienna’s most influential musicians. Wolfgang Ambros recounts the tragic fate of "Da Hofa," and Falco’s "Kommissar" is walking his beat. Anarchic proto-punk bands such as Novak’s Kapelle and Drahdiwaberl let it rip, and political performance art gets its due with Schmetterlinge’s protest oratorio, The Passion of the Proletariat. Acts like Gustav, Wanda, and Bilderbuch bring the exhibition into the present. Vienna as music capital of the world—this hackneyed label usually refers to different styles of classical music, from the Viennese school of Haydn, Mozart and Beethoven, to Schubert and Strauss, to twelve-tone music. This terrain, including a specific "Viennese" aesthetic, has been the subject of extensive research.

The exhibition "Vienna Calling" showcases prized objects and unknown materials taken from a range of predominantly private collections and archives and

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features videos, concert photos, record covers, flyers and posters, stage outfits, musical instruments, curios, and much more. A total of over 300 objects are on display. These are accompanied by over 40 audiovisual exhibits that recreate the sounds of almost 70 years of pop history, including Wolfgang Ambros, Die Bambis, Bilderbuch, Blümchen Blau, Chuzpe, Al Cook, Georg Danzer, Drahdiwaberl, Falco, Jack Grunsky, Gustav, the Hallucination Company, André Heller, Kruder & Dorfmeister, Hansi Lang, Marianne Mendt, Minisex, Misthaufen, Der Nino aus Wien, Novak’s Kapelle, Pulsinger & Tunakan, Schmetterlinge, Schönheitsfehler, Soap & Skin, The Dead Nittels, The Vienna Beatles, Tom Pettings Herzattacken, and Wanda.

The exhibition also presents a selection from the Lexikon der österreichischen Popmusik (Encyclopedia of Austrian Pop Music) compiled by the radio station Ö1. This radio series documents the life and work of individual musicians and bands, exploring their impact on Austria’s musical landscape and their role in the emergence of subcultural milieus (oe1.orf. at/lexikonderpopmusik).

A richly illustrated, 200-page catalogue published by Metroverlag accompanies the exhibition.

For more information click here.

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

iZotope Ushers In The Next Evolution Of Mixing And Mastering With Ozone 8 And Neutron 2, And Music Production Suite iZotope, Inc., the experts in intelligent audio technology, announced the release of Ozone 8, Neutron 2, and Music Production Suite. The Advanced versions of Ozone 8 and Neutron 2 feature ground-breaking technology, including the ability to communicate with each other through the new Tonal Balance Control plug-in. This new level of inter-plugin communication puts more power in users' hands, allowing them to achieve tonally balanced, professional mixes and masters that sound great in any listening environment.

Ozone 8 now features machine learning technology with the introduction of Master Assistant, allowing you to reach an optimal starting point for your master in seconds. Version 8 also includes Track Referencing, a Spectral Shaper to tame problematic frequencies, improved signal processing, and refinements to the user interface and workflow. Neutron 2 includes new signal processing, including a Gate with Hysteresis for a smoother gating response, and improvements to Track Assistant and Neutrino modes to help you get to a better starting point. Neutron 2 also features an intuitive Visual Mixer that allows you to mix on a soundstage by controlling pan, gain, and width of audio busses.

This visual analysis tool measures the distribution of energy across frequencies, comparing your audio to targets created from analysis of tens of thousands of commercially available tracks spanning a variety of musical styles to help you achieve better tonal balance. Tonal Balance Control can also compare your audio to a custom upload to inform how you shape its sonic profile and across listening environments.

Also new within Tonal Balance Control is interplugin communication, a technology that allows communication and interaction with any Equalizer instance of Neutron 2 or Ozone 8 in your project.

Inter-plugin communication allows you to fix issues from one location in the mixing stage that could hinder mastering, and provides a visual guide for more tonally balanced mixes and masters throughout your production workflow.

The new Mix Tap plug-in now allows you to route any track to the Tonal Balance Control plug-in, Visual Mixer, and Masking Meter, even if you are not using any iZotope plug-ins.

"We see Tonal Balance Control as the missing piece between mixing and mastering," says Dan Gonzalez, Product Manager at iZotope. "Mixing, and mastering especially, can often be difficult to understand, and getting your songs to sound like commercial releases can often be a struggle. With Tonal Balance Control, we created a new analysis tool that helps educate users on why their mixes and masters may be lacking in certain areas. And more importantly, we offered them the tools to help fix those issues, with communication and control between the mixing and mastering plug-ins."

Bringing these two powerful products together is a new plug-in called Tonal Balance Control.

Pricing and more information can be found at izotope.com.

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[NEW MUSIC] If its advance guard singles have reached your ears, well you should at least have some idea of what ‘Primary’s 13 ‘Colors’ entail. Ryan is a man admittedly influenced less by others music and more by their approach. He cites the methodology adopted by artists such as Bonobo, collectives like Tycho and even the grandmaster of liberated electronic music-making Ulrich Schnauss - as his inspiration. Very much the aftereffect of Ryan’s formative years, this album is unfettered by subgenre confines. When describing its audio, Ryan is loath to stretch any further than simply "electronic music."

For the first time in his now 16-album history, Virginia-born/LA-based producer Ryan Farish has placed one of his long-players in the hands of a world-renowned label. To that, Black Hole Recordings are delighted to put centerstage Ryan Farish’s astonishing "Primary Colors."

Dream for a dozen years and you couldn’t come up with a career route the likes of which Ryan Farish has taken. First coming to prominence when his compositions found their way onto the then nascent mp3.co, through it they took on lives of their own. Downloaded upwards of 2 million times, with snowball-like-effect, his first track-drop garnered vast exposure. It’s a career beginning he describes as "almost pure chance." As an artist though, it’s a type of "overground-underground" success that’s hidden him somewhat in plain sight.

Hugely successful - albeit on an independent platform, ground-up his fanbase has built itself through online word-of-mouth. Despite racking up a run of Billboard top 10s, becoming a co-writer of a GRAMMY Award-Nominated Recording and notching up a cumulative platform stream count of 270 million, to the mainstream he remains something of an indefinite article.

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Farish sees the tracks contained on "Primary Colors" as falling into just three broad sectors.

On songs like "We Are the Colors," "Time Lapse," "Golden Sky"and "Release" he expands “there's a heavy use of analogue synths. That gives those tracks a shared tone and feel, which are distinct to"Primary Colors. There are also the collaborations with Christian Burns, whose incredible voice and talent really created a new dimension for it. That adds a whole lot of vibe to the album. The last areas "Primary Colors" extends into are the chilled/ breakbeat, tropical house and downtempo.” Shorn of the trappings of brackets and divisions, your most foremost takeaway from this album is that it’s music produced intuitively straight from the soul.

Heartfelt, sometimes esoteric, but always valuing the musical path less travelled, it is electronic expressionism in its purest form. Says Ryan: “I worked on this for nearly 2 years, and for me what's most exciting about this release is that I feel it's something that isn't following any trends. Its a body of work focused purely on the music that moves me personally, from a technical, artistic & emotional place.”

"Primary Colors" is out now and available on all download and streaming portals and as a physical CD on Fine Night. Buy it here.

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[NEW MUSIC] Australian fast-ascender Factor B join its illustrious roll call. Naturally Solarstone is spear-tipping this new puritan assembly, all now ready to ‘preach’ its gospel!

The album draws its track weapons from the current and future arsenals of Pure Trance Recordings, as well as a judicious handful of like-thinking labels (Black Hole, FSOE, Flashover and Subculture among them).

The Earth’s year ends December 31st.

This, we know. Pure Trance’s calendar however resolves itself a couple of months earlier. The end of October was its spiritual nigh, for it was that month six years ago, that Richard Mowatt first drew up the blueprint for Pure Trance. With Volume 1, he cast the dye and placed its foundation stone; purity-absolute has been its unswerving pursuit ever since.

So here we are, approaching the end of another P.T. year, ready to witness a new gathering of the Pure. With five titles now under its belt, its honour roll of former mixers is already rich.

Trance crusaders Giuseppe Ottaviani, Bryan Kearney, Orkidea, Gai Barone, Sneijder, and Forerunners’ mixes’ have already passed Pure’s litmus.

2017’s draft sees Netherlands based trance-master Robert Nickson and

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From their annals music & mixes from irreproachable names like BT, System F, Armin van Buuren, Andain and Three Drives abound. For every legend though, equally there is a rising star. Lostly, Peter Steele, Basil O’Glue, Future Disciple, The Noble Six, Neptune Project and couple of dozen others all bring their latest wares to Pure’s laser.

It goes without saying (but we’ll do it anyway) that Robert, Factor B and Solarstone himself have stepped up to the plate with enough exclusives to make a tabloid weep. So hang on tight, its Volume VI time - Vive La Trance!

Buy it here.

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[NEW MUSIC] performances in unbeatable form and the label in increasing artistic progression.

The A-side of the vinyl presents a forceful intro, with layers of arpeggios and a particular rhythmic vision in which he combines polychrome and classical 4 x 4 together with more sounds close to R & B, "World," a piece that every listen finds us, like our own world, new things.

As announced just a few months ago, the journey started with the EP "Imperfections Side" in which Fernando Legreca delves into his alibi of imperfections and proposes a closure at the level of the first delivery.

Again in EP format, and in 10 inch vinyl, the second release of his brand new label, Beautiful Accident, presents a tour of analogue sonorities, hedonistic rhythms and arpeggios intricate and timid acid bass lines that round out a cosmic piece of work, marking the line that the label will follow in its next releases, conformed exclusively for electronic artists that are characterized by performing their tracks live. It is precisely in his live performances, where Lagreca has taken to it like a fish in water, with his set-up in the mid-way between analogue and digital, and a large dose of improvisation and track management, which undoubtedly have consolidated him in the first part of this 2017 as one of the most interesting live acts on the national scene. He closes the year with "A Thousand Years," with his live

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Following the path we find "Someone," a song sung with clear allusion to encounters and disagreements, in a pop and deep house key where the pads and arpeggios aren’t missing, they carry the track and the vocals make you think of an optimistic vision, although with a background that is perceived as a game of fate.

Moving on to the B-side implies a return to submerge into a world plagued with sequences that slide around labyrinth structures, the concentric circles we notice when we throw a stone into the lake "A Thousand Years" gives a glimpse of all that and more, it’s a track with weight, with the soul of a dance floor, of a remix, of being danced to.

Closing the EP Lagreca delivers "Asking You," a question mark in the form of acid bass and crossed arpeggios that alert us to the unknown, to the past that shapes the future, and to the fragile and imperfect we usually are.

Buy it here.

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[NEW MUSIC] bass and beyond. Synonymous for his ability to add orchestral and cinematic elements to his work whist retaining a strong dancefloor impact, the UK artist has since enjoyed a meteoric rise within the industry.

A remixer of high talent, Keeno launched the "60 minutes of Med School" series on BBC Radio 1 and 1Xtra, and kicked off 2015 with another highly successful release on Hospital Records imprint Med School, releasing the 4-track "Preludes EP." Having released his brand-new "All The Shimmering Things" LP on November 3, Winchester-born producer Keeno showcases his highly polished production skills with a sumptuous body of work that offers maturity and depth far beyond his years.

From the majestic flutterings of "Light Cascading" to the breathtaking euphoria of "Cosmic Creeper," the album demonstrates a series of brilliantly constructed sonics, arrangements and melodies, seamlessly crafted with care and precision. The journey is made complete by guest vocalists Becca Grey, Abbie Rosie and Kailaa, whose exquisite lyrics perfectly fuse the album's themes with notable sophistication.

A producer who was first tipped for stardom in 2013’s "Top 20 producers" feature in Knowledge Magazine, Keeno’s debut album "Life Cycle" received critical acclaim across drum &

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His second album "Futurist" was also the recipient of high praise, before releasing his 6-track EP "Nocturne" featuring vocals from Louisa Bass and co-producer Whiney. With BBC Radio 1 support from the likes of Friction, B Traits and Mistajam, the EP grabbed the attention of the scene and propelled Keeno to new heights.

Having enjoyed a stellar 2017 with shows at London’s Hospitality in the Park, the Ritzy in Manchester, and Bristol’s famed venue, Motion, "All The Shimmering Things" offers a unique and dynamic physical embodiment of Keeno’s diverse and unique talents as a producer, and is sure to be one of the finest drum & bass albums of the year.

Buy it here.

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[NEW MUSIC] recording in seven years with the double single "My Name Is Thunder."

There are also appearances from Greta Svabo Bech (known for collaborating with Deadmau5 on "Raise Your Weapon"), pop’s Eric Nally (Foxy Shazam) and Mr. Talkbox, plus Rival Sons’ Jay Buchanan — who takes a twist with the ballad "Nothing But Love."

THE BLOODY BEETROOTS (Sir Bob Cornelius Rifo) latest LP "THE GREAT ELECTRONIC SWINDLE" was released October 20 on Last Gang Records.

Leading upto the official release date, on September 12th, THE BLOODY BEETROOTS revealed a new album single "Pirates, Punks & Politics" featuring Perry Farrell.

For the song — which premiered via the U.K.’s BBC Radio 1 Dan Carter show — Rifo chose the modern rock innovator and legendary Jane’s Addiction vocalist, and reunited him with superstar drummer Tommy Lee to write and record this timely, politically charged musical manifesto.

Other collaborations on the album also came from deep within the rock world such as Gallows, Anders Friden of In Flames, Deap Vally and JET who banded together for their first

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Also included on the 17-song collection are three THE BLOODY BEETROOTS instrumentals "The Day Of The Locust," "10,000 Prophets" and "Saint Bass City Rockers."

In support of "THE GREAT ELECTRONIC SWINDLE," THE BLOODY BEETROOTS took to the road with his "My Name Is Thunder" live tour. It kicked off October 27 in San Diego, CA, spanning 10-dates tour to Canada, San Francisco, Los Angeles, Salt Lake City, Denver, Minneapolis, Chicago, Detroit, Toronto and New York, THE BLOODY BEETROOTS first live shows in North America in over three years.

Look for Sir Bob and company to hit the European circuit beginning in December.

Buy it here.

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[NEW MUSIC] Marino Canal results in a steady stream of quality music. She’s able to test the unreleased music while on the road on dancefloors around the world and on her weekly global radio show, In The MOOD broadcasted globally to 20 million fans in over 50 countries.

Nicole Moudaber, the award-winning DJ and producer celebrates the milestone 50th release on her label MOOD Records this December with a very special re-release and remix package of "See You Next Tuesday," her 2014 collaboration with longtime friend and legendary DJ, Carl Cox. Remixers for the EP out on December 1 include (in alphabetical order) Black Asteroid, Danny Tenaglia, Raxon, Solardo, Truncate and Trunkline who each give their own spin on one of MOOD Records’ most popular releases.

Later that month, Nicole also releases a commemorative compilation album, "Mood50: The Best of Mood, Mixed and Compiled by Nicole Moudaber" on December 15.

The 17 track compilation mixed and compiled by Nicole herself is the culmination of countless hours overseeing MOOD Records for the past five years showcasing both established and up and coming talent on the label since its inception in 2013. Nicole’s well trained ears and knack for A&R, launching and nurturing the careers of hotly tipped producers such as

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Mood50 features tracks from Nicole Moudaber as well as her peers Pan-Pot, Scuba, Victor Calderone, and Skin from popular UK rock band Skunk Anansie who Nicole collaborated with on the critically acclaimed experimental "BREED" EP. Fans will be taken on a journey as the compilation twists and turns through the label’s exploration in sound, taking in influences from house and techno, and the many amalgamations between the two ends of this wide spectrum.

“I can't believe it's been nearly five years since we first launched MOOD Records,” Nicole shares. “It’s been a labor of love and looking back at our 50 releases I feel an immense amount of pride and joy that all the releases can stand the test of time. It’s a great platform and creative outlet for me -- if the music is good, then it needs to be heard. If I’m playing it during my sets or on my radio show, then I would release it. I'm excited to share what we have in store from both industry veterans and undiscovered new talent making an impact on the dancefloor where it counts.”

Nicole Moudaber & Carl Cox’s "See You Next Tuesday" remix package is out December 1 and "Mood50: The Best of Mood, Mixed and Compiled by Nicole Moudaber" is out December 15 via MOOD Records.

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[NEW MUSIC] "Total Blue’"on Music For Dreams, both well on the way to becoming new Balearic classics. Embracing and flaunting Mediterranean influences, the duo have created their own distinctive sound—soft electronic rhythms blend with horizontal textures to create a fragile balance of space for the listener's mind while delivering beats for the beaches.

Music For Dreams is releasing the debut album by Bonnie & Klein entitled "Ithaca" on Friday, December 8, 2017.

The Copenhagen-based Music For Dreams label continues to be at the vanguard of the ambient revival as well as being at the forefront of the Balearic, chill, and space disco movement. MFD has generated an excellent string of releases in 2017 from some of the most eclectic and inspired artists.

Artists making waves for the label include Jan Schulte, Ruf Dug, Be Svendsen, Copenema, Nordsø and Theill Apiento, Jose Manuel, The Swan & The Lake, Ambala, Oscar Bandersen, DJ Pippi, Leo Mas, Visti & Meyland, Mackrory & Collier, and label boss Kenneth Bager.

Greek producers Bonnie & Klein established themselves in 2015 with tracks such as "Beautiful City" and

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Tracks like "Ithaca" and "Magnolia" and others reveal a 90s influence of Cafe Del Mar, featuring slow percussion with cinematic strings on a relaxed beat receiving maximum support from the likes of Leo Mas, Moonboots, Jon Sa Trinxa, Kenneth Bager, and of course Balearic originator Jose Padilla.

Percussively lilting "Coral" and tangoinspired, xylophone & flute embellishd "Aguavivas" fully explore the Balearic beach and poolside soundtrack.

Born and raised in Greece, Bonnie & Klein are the aliases of George Fountzoulas and Thanasis Skouzis, two Balearica devotees who stick their musically beloved heads together to create soul moving music. They have also enjoyed releases on Seamless, Timewarp, Uber and Leng labels.

In the time-honored tradition of Balearic producers, Bonnie & Klein confirm their authentic sound has been inspired by the sea, forest, sunset, joy and pleasure.

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[ON TOUR] Djs From Mars bring the mash-up attitude into Electronic Dance Music. Their style is a 360° blend of every kind of musical genre, with the add of their “Alien” basslines and beats.

They start remixing pop and rock hits for their own gigs, just for fun, and soon they are recognized as one of the biggest names in the bootleg scene. Djs From Mars are recognized as one of the most popular acts worldwide touring nonstop in the 5 continents: USA, Canada, Brazil, China, India, Australia, Japan, Mexico, Indonesia. With a tour schedule of at least 120 shows yearly in the last 5 years, they’re one of the most booked acts in the whole dj scene. In 2017 they released 'Harlem' on Polydor Uk / Ego Italy: this new single marks a new era for the duo. They’re now ready to conquer the radio frequencies. More original releases are already planned for the next months, so, a new era has just begun.

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SATURDAY DECEMBER 02 PARADISO BRESCIA, ITALY THURSDAY DECEMBER 07 EVITA CUNEO, ITALY SUNDAY DECEMBER 31 SYLVESTER PARTY BAZENHEID, SWITZERLAND SATURDAY JANUARY 13 HALO HAMBURG, GERMANY FRIDAY JANUARY 26 BARSTREET FESTIVAL BERNE, SWITZERLAND SATURDAY MARCH 03 NERUM MUNICH, GERMANY FRIDAY MARCH 23 CLUB COSPLAY @ HOUSE OF BLUES ANAHEIM, CA., USA Visit djsfrommars.com for future dates

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[BUZZ WORTHY] CHARLOTTE DE WITTE

Written by CATHERINE STRICKLAND

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n an industry dominated by male Djs and producers, Charlotte de Witte realized right from her beginnings, that in order to be appreciated as new DJ, producer and songwriter, the name would be essential and critical to her gaining recognition as an artist. So she came up with an alias, Raving George. Displaying that imagination, savviness, and knowledge of the inner workings of how the industry is predominately biased, some would say, based on looks, marketability, and if I dare to say, sex, were all obstacles that she would avoid up to the point when her popularity garnered respect of industry power players. Charlotte is one artist that is known not to shy away from challenges, having a clear vision of where she wants to take her music and career, and championing the music coming out of her homeland of Belgium. Europe has long embraced her with open arms as is proven with her steady work schedule to showcase her aggressive techno sets on the big stage to underground events and having toured Asia, The U.S. and Canada and will soon be hitting the road bringing her music to fans in Australia, New Zealand, South and Central America. Citing The Bloody Beetroots, Brodinski and Crookers as early influences, pointing her in a direction of producing high-grade electro and electrohouse music, which in turn led to broadening her genre scope to include Techno, and Underground compositions, which just happens to be her Charlotte released her first EP in 2013 with "Obverse"—a 5 track EP with two original compositions and 3 remixes followed by 2 more EPs —"Slaves/Alternate" and "Weltschmerz" in 2015.

The latter of which proved to be a breakout moment with wide spread international support. This period in her career and identity development is when she put aside the moniker of Raving George and started releasing her music under her proper name. Since then, her discography has grown to 9 EPs. Acknowledging her talents, "My Feeling," a track from her 2016 debut Turbo Records release, "Sehnsucht" went on to be named as Mixmag’s Track of 2016, recipient of Red Bull Elektopedia’s Award for Best Producer (Belgium), Trax Magazine’s "New Hope for Belguim Techno" and high praise from Tsugi calling her "a revelation for 2017." Repeat high profile gigs include main stage performances at Tomorrowland, I Love Techno, and Pukkelpop further demonstrates that her talents are being widely embraced as she enters the next phases of her budding musical career. Now, one can argue that Charlotte’s break-though came via 2016’s activity by delivering strong releases as well as performances, which makes her one the most in-demand talents on the scene today.

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[BUZZ WORTHY] JAY PRYOR

Written by JOSEPH ARTHUR

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oming out of Dublin, Ireland, Jay Pryor is a talent deserving of wider recognition and here’s why. Hundreds of millions have heard the worldwide smash hit "Just Hold On," the tasty cut featuring Louis Tomlinson and Steve Aoki. Jay Pryor was a coproducer on that recording. He’s also worked with Snakehips, and Digital Farm Animals and is responsible for giving us remixes of Niall Horan’s "Slow Hands"—a #1 chart topper across the U.S. Radio landscape.

Perseverance and keeping his head in the game, even after demo after demo went unnoticed, the young producer kept moving forward and figured out a way to get his music heard by influencers that could help him in his career pursuits. That came in the form of a bootleg (DFA Recording) that once it was put out there, it created the buzz he was looking for. Going from an essentially unknown artist to having his music featured in the sets of dance music giants including Tiësto, Martin Garrix, The Chainsmokers, Don Diablo, and Pete Tong is remarkable and a testament to Pryor’s strengths as a producer of catchy and infectious house music. As a solo artist, Pryor has accumulated millions of streams with his bright, breezy and eurphoric singles such as "Teenage Crime" and "All This" and especially his latest single, "Fall For U," which is out now. Jay is also now on call lists for remix projects, most recently, a project for Diplo and DJ Fresh. Now, it appears that his popularity is on the upswing and it is a proven fact that he has come a long way in a short couple of years. Imagine playing shows for “peanuts” to presenting your music in front of crowds ranging in the thousands. How would you feel? Happy? Probably. It shows that hard work, creative ways to present your music and demos, and pure love of the music is the template to be used, and Jay has used it to perfection to further his career aspirations.

With these qualities Jay is blossoming into a globally recognized producer and is poised for even more success in the years to come, so whether you’re in Europe or in the United States, Jay Pryor is a name that you’ll be hearing a lot about. Count on it.

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[BUZZ WORTHY] LAYTON GIORDANI

Written by LEO WEAVER

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ayton Giordani grew up in New York and as a youngster was in to surfing and skating. It was during his teenage years when he first heard house music and the course of his life took a turn and developed in to a full time occupation as a rising and prolific music producer. By the

time he reached the age of 23, his list of club dates would include all the famous NYC hotspots: Cielo, Pacha, Space and a residency at Output. Musically, Layton’s breakthrough came through the Phobiq Records 2014 release "Careless Suggestions" and some of the biggest dance music personalities would help push the song out to the masses— those being deadmau5, Carl Cox through his Global Radio show, and BBC Radio 1. With the support of these giants, among others, helped the track to remain on Beatport’s Techno Top 100 charts for over 18 months. An upward trajectory would follow with "Unspoken," an EP on Adam Beyer’s Truesoul, peaking at #3 on Beatport’s Techno chart in 2016. Additionally, Layton released "Rivington" on Beyer’s Drumcode and a massive remix for Gabriel Anada’s classic "Doppelwhipper" on Truesoul.

Continuing to work with Beyer and Drumcode, a full length LP, "Where It Begins," was released in February 2017. In October of this year, Layton realized a "dream come true" with a fantastic 3-track collaboration with New York legendary producer Danny Tenaglia, also on Drumcode. 2017 has set Layton Giordani on the fast track to wider and greater recognition as a rising Techno talent not only with his two Drumcode releases, but also through invitations to play at some the greatest Techno festivals and playing shows throughout Europe and North America. So, all you Techno-heads, be sure to watch the progression of this artist, buy his records and check out a show in a city near you.

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[BUZZ WORTHY] MANIK

Written by CATHERINE STRICKLAND

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n 2011, New York City native Christopher Manik, simply known as MANIK, burst on to the EDM scene with a series of solid releases on OVUM, Poker Flat and Culprit setting a production output pace that has resulted in upwards of 20 plus releases across multiple formats, LPs, EPs and singles. Described as the quintessential NYC DJ, a connoisseur of dance music with a flair for jumping across multiple genres, it is these qualities that have led to multiple opportunities to record projects for labels that include B-Pitch, NIO, Fresh Meat Chicago and most recently Kim Ann Foxman’s imprint Firehouse. We’ll dig in to that release further on. In 2015, XLR8R announced its exclusive "Summer Edit Series" involving Janet Jackson edits and reworks. MANIK’s contribution garnered so much attention that it reached the #1 spot for the campaign and placed #10 overall on the XLR8R Top 100 Downloads of that year. Jumping forward to the present, on November 11, MANIK released a 4-track EP titled "Mortal Frequencies" on a cutting edge label led by Kim Ann Foxman. Inspiration for the project reflects a deep appreciation for early 90s production techniques and the deep acid vibes that features throughout the EP. "Mortal Frequencies" brings back the era’s nostalgia, break beat loops, recurring melodies, big and heavy percussive sounds, all of which encompass a dance oriented formula designed to linger in your memory long after it concludes.

On the session, MANIK expertly demonstrates his creativity and diversity with a "stone cold" dance floor classic in "Gimme Something To Dance To." A must hear!

Speaking of the project MANIK goes on to state "Everything was rolling in the studio when I hit the record button. Kim Ann Foxman is an inspirational artist and someone whom I respect tremendously. To be able to work with her and her label, Firehouse, is nothing short of an honour. Her vision is forward thinking and it is exactly where I'm at artistically too." With a growing catalogue of well received and impressive releases, MANIK will continue to raise eyebrows of the worlds leading underground DJs and tastemakers such as Ellen Allien, Steve Bug, DJ Heidi, Steve Lawler, and Josh Wink all being regular supporters. Currently residing in Los Angeles, MANIK spends his spare time hanging out in record shops, rummaging through crates to find those rarities and hidden gems that influence his own musical creations. MANIK in 2017, a very good year. MANIK in 2018? If 2017 is an indication, it should prove to be specatular.

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[BUZZ WORTHY] SOLARDO

Written by JOSEPH ARTHUR

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anchester, U.K.’s historic house music scene has been and continues to be an incubator of producing talented individuals who set musical trends, innovate and influence across multiple genres of music. Enter Mark Richards and James Eliot known as Solardo. DJ Magazine’s Best Breakthrough Act of 2016, a placement ranking on Resident Advisor’s Top 100 DJs list, regular coverage from Mixmag and other reputable media outlets, including yours truly, support from Annie Mac and spinsters like Green Velvet, Jackmaster, have all contributed to the duo’s success by jumping onboard the Solardo train. Known for energetic live performances and releases on Elrow, MTA, Toolroom, Relief Records, Viva and Hot Creations brightly shine a bright spotlight on the talents of these two, both as performers and songwriters. Coming off a sold out tour of the U.K., and dates across the U.S.A., Australia, Argentina, plus appearances at EDC, Glastonbury, Lovebox and HÏ Ibiza, Mark and James show no signs of slowing down as they prepare for the "Solardo Sessions" takeover at The Warehouse Project this coming Boxing Day. Big time projects with Pete Tong (a contribution to the iconic Essential Mix on BBC Radio 1), a monster remix of Duke Dumont & Gorgon City’s anthem "Real Life," a Cover spot on Spotify’s premier dance palylist, electroNOW and their massive "On the Corner" EP on their own imprint Sola, are just a few of their recent accomplishments worth mentioning. Following the Beatport #1 hit, "Tribesmen" on Jamie Jone’s imprint Hot Creations, comes a brand new release in "Fall Down" featuring remixes from Carlo Lio and MK. The track is described as "Bursting with dance-floor vitality, showcasing the talented duo at their best, as a pacey ride is enhanced through melodic stabs and tight vocal cuts." Solardo reveal how things just really flowed and came together for "Fall Down" and we can't wait to see it finally released. Following suit, Carlo Lio's remix is in full throttle with bold builds and trippy FX. On the flipside, MK changes gear with a seductive, swinging bassline.”

With all this activity and success, there should be no doubt among dance music fans, enthusiasts and critics why it is these two a "Buzz Worthy." All you have to do is catch a show or listen to their music, and once you do, you too will jump onboard the Solardo groovy train.

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[LABEL WATCH] After a insane summer and festival season, aces of bass Ephwurd are blazing full steam ahead into fall with the launch of their own record label and its first track release. Eph'd Up Records is Datsik and Bais Haus's latest venture in expanding their popular Ephwurd brand, which they created from a desire to bring original music to their fans faster while staying true to their own sound. Their first release on Eph'd Up Records is "Phunky Beats" in collaboration with JVST SAY YES, featuring groovy, electro synths juxtaposed by mechanical basslines.

The track is a modern, dance-floor friendly take on the notorious vocals "if you really like to rock those funky beats" and will certainly be a staple during the coming months. In a message to fans, Ephwurd expressed their excitement over their new imprint and release on Eph'd Up Records.

"As artists who enjoy a broad range of music going from the most hype tunes to the most chill, we wanted to be able to freely give music to our fans without the time constraints of a label. Sometimes we finish a song and it won't be months until you, the fans, get to hear what we have been working on and its such a huge bummer. Eph'd Up Records gives us the freedom to give you folks music when we

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want and when you deserve it, because life is happening now and it's not set on some schedule. With that said, we are launching the label with a tune of ours that we've been dropping for well over a year now and it always goes off! Ladies and gentlemen, we give you Phunky Beats."

This past summer, Ephwurd was busy touring the US and Canada, including performing headlining slots at the EDC Las Vegas main stage, Lollapalooza, Shambhala, and the Global Dance Festival. Even with such a packed schedule, they still managed to find time to remix GRiZ and Big Gigantic's "Good Times Roll" and team up with iHeart/Evolution to launch their Eph'd Up Radio. Now that the duo is back in the studio, expect them to heat up the fall and winter months with new releases every few weeks! As for live performances, this winter they are embarking on an Australian tour from the Sunshine Coast to Sydney and then capping it all off back in the States with a headlining gig at LA's the Belasco Theater. Catch them on tour to experience their combination of insane production dexterity and explosive performance expertise.

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Photography by Piper Ferguson

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Introducing

Stefan Black "The Girl With The Golden Voice" EXCLUSI VE Q &A I N PA RT N E R S H I P W I T H MAT T C A L DWEL L PR

Described as "The Girl with the Golden Voice," Stefanie Black has captivated audiences with her mature singing voice, specializing in musicals, power ballads and soft Pop in her own concerts. Stefanie is rapidly making a huge name for herself after various appearances on European X Factor series and Germany’s Got Talent.

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Hey Stefanie, thanks for taking time out to have a chat with us. What have you been up to in the past year?

Stefanie Black: Hello! Been a pretty busy year actually. I am currently in college studying music, which takes up a lot of time. I have also been flying back and forth to London and Cologne, where I am writing and recording my own songs as I hope to bring out an album soon. I’ve also had a few concerts in Germany and in Spain.

Tell us a bit about yourself.

SB: I’m 19 years old. I love to read and write and have a huge passion for travelling. I was bullied most of my life, which made me start to do home schooling and I finished High School at the age of 16. My whole life I have always done something involving music, whether it is theatre, singing, or dancing, I always knew that I had to do something involving the Performing Arts.

What made you take a decision to get into the music scene?

SB: It all started when I was 2 years old and ran up onstage while we were on holiday on a cruise ship. I told the cruise director that I wanted to sing too. I went up there every night and sang nursery rhymes. Since that day I always found ways to be involved with stages. At age 13 I started singing more seriously. I entered a local talent competition and started to get more confidence and everything blossomed from there.

Who were your influences which have inspired you, and is there certain genre route you’d like to go down?

SB: The one thing that inspired me most to sing and keep singing was watching the musical “Les Misérables”. I got such a wonderful feeling watching it, and it would always make me want to push towards something that would one day let me sing on that stage. A singer who really influenced me a lot was a German singer called Helene Fischer. She is so amazing and her songs are just wonderful. My favourite genre is musicals, but I also have a huge love for Ballads, Classical music, German Pop and Slow Pop.

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How would you describe your sound?

SB: I’ve always found it very hard to describe my voice myself, but other people describe my voice as unique, fragile, special, controlled, and powerful.

What has been your top career highlight so far?

SB: Getting to sing on the German version of Got Talent and also now being nominated as Top 3 for Germany’s Best Singer Prize!

What’s next for you over the rest of the year and next year?

SB: By the end of this year I am hoping to bring out my own solo album. I’ve also been invited to the Alpen Grand Prix final in Merano, Italy and have been nominated in the German Rock and Pop Prize as Top 3 in Germany’s Best Singer. What happens next year depends on a lot of factors, but I will be finishing my studies next year September, which is exciting.

Are there any up and coming artists that have caught your eye and that you would recommend giving a listen to?

SB: I’m not really a huge follower of what’s new at the moment as I’m quite a big fan of older music like ABBA, Queen, and Celine Dion.

Finally, any shout outs or anything else you would like to add?

SB: A shout out to my parents who have constantly supported me and helped me throughout everything.

Just, thank you!

C

"It all started when I was 2 years old and ran up onstage while we were on holiday on a cruise ship. I told the cruise director that I wanted to sing too. I went up there every night and sang nursery rhymes."

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Q&A

NULL + INTERVIEW: NEW ALBUM, SCI FI,

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PHOTOGRAPHY BY RAINER HOSCH

+ VOID DAVE GAHAN AND LIVING IN NYC

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NULL + VOID Q&A Classic Sci-Fi appears to loom large as an inspiration of the music presented on your new album, “Cryosleep.” How did you come to the conclusion of wanting to write an album of this kind?

It just happened naturally. I never thought of a concept. But with the instruments I collected over the years, it just sounds a bit SciFi... ha-ha. Also, at the time, my life completely fell apart and all I had left was music and those instruments. So, for months I slept on a pull out couch at the studio and made a lot of the music that became Cryosleep.

And speaking of classic Sci-Fi…do you prefer TV/Movies or books? Why? What’s your all-time favorite?

I seem to favor movies over TV. The production level of TV was not as great as it is now but Hollywood films were always pretty convincing. My all-time favorite is the newer Solaris film with George Clooney. The music by Cliff Martinez is so great and I love the subject matter, the longing for something lost forever. The SciFi book i like a lot is called “Ubik” by Philipp K. Dick who also wrote “Do Androids Dream of Electric Sheep” which is his most famous novel.

Tell us about your creative process and how the songs came together.

I always write songs and make up ideas. I often don’t know where they will end up but I always hope I get to keep them and release them as my own.

After I had about 5 songs that seemed to have a common thread, I knew it could amount in an album so I kept going. Once I found the right label and manager, they of course also gave input as to what songs to choose for the album. We had to let a few songs go, sadly because it had to fit onto a vinyl record and still sound good. The more you cram on there, the worst the sound quality gets. We were aware of that factor and even where you place a song in the tracklisting can have impact on sound quality. The outside sounds best, I am told ;).

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NULL + VOID Q&A Tell us about what each of your guest artists—Dave Gahan, Shannon Funchess, Black Rebel Motorcycle Club, The Big Pink—brought to the sessions?

The song featuring Dave Gahan was written with his voice in mind. He then wrote the lyrics and melody. The arrangement went through a few changes but by last November, we had it where we both were happy. We felt a breathy female voice would take it into a more somber territory so we asked Sharin Foo from the Raveonettes to sing the the backing vocals and she recorded the vocals in her studio in Los Angeles. I dreamt of asking the Black Rebel Motorcycle Club gang for a collaboration for a long time! They are the last rock band that you will find in my music library. I love the vulnerability in Peter’s voice and what he came up with lyrically. He also added a lot of effects to his vocal that made a huge difference. Another singer I always liked was Robbie from The Big Pink. We were just throwing ideas around and playing each other song ideas and snippets. This one little beat resonated with him so we started experimenting by sampling his voice and making little melodies with it. I think the song came out great and really rounds out the album. Shannon Funchess is such a strong force, you hear her vocal and you know that there is just nobody like her. Her band Light Asylum blew my mind and I had her on my radar ever since. We met briefly in Iceland after her performance with “The Knife” and somehow kept in touch. I was so happy when she agreed to collaborate.

Are there plans to Tour the new album?

Yes, I am hoping to be able to go play soon. I did one test gig in Brooklyn and it went quite good. I brought out quite some gear but that enabled me to keep things a bit more risky and improvised, without losing the essence of the song. I can get close to the recordings with my current live setup but there are so many variables when performing with hardware. I have the main sequences as midi data pre programmed but the arrangement and the sounds are quite free. So, depending on the mood of myself or the gear, it can go in a many directions. It’s very different to writing as you can’t hit stop and adjust something. If it sounds a bit different than the album that’s fine by me as I love going to see acts that took risks and created something new to listen to rather than just performing the album, but louder than in your living room.

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NULL + VOID Q&A How does living in New York City influence your songwriting, lifestyle, and desire to be a musician/producer?

I think it’s quite a strong influence. The actual rhythm of the city, the fact that most places stay open very late and you can actually get anything 24 hours a day is pretty perfect for someone that works most hours of the day. The amazing diversity here, is of course, also a big plus. Jamaican, Latin American, German, Russian influences are all around you and that will slowly shape you and subsequently your creations.

When you are not in music making mode, how do you enjoy your free time?

The boring fact is, that I don’t really do much else. I have no family or other obligations so I just spend my waking hours in the studio. The only time I do go home is to sleep. I do enjoy reading about new technologies or when I feel really indulgent, I go see a movie or run a bath and listen to music while soaking. Some nights of course, I meet friends for a drink or go see someone perform.

What are you listening to these days?

I love stuff that has chord changes so I enjoy hearing tracks by Ulfur Eldjarn, Delia Gonzalez, Ulrich Schnauss, Roedelius, The Hacker, Franck Kartell, Commuter, Privacy, Legowelt and DMX Crew is another fav for decades. My newest fav is Natalie Beridze/TBA. So beautiful. And always Gazelle Twin, big fan! The master in programming beats and original sound design to me is still Alva Noto. He continues to amaze me.

Are there any new and exciting NYC based producers, djs, etc…that have caught your attention?

Yes, the most exciting one to me is called Sound Of Ceres and is actually a band. They created beautiful atmospheres on their new album and have a great live show. Really alien and unusual to me.

Do you have any upcoming new projects that you’d like to share?

I am just focusing on getting my Live and DJ sets tighter and measuring and weighing road cases and seeing how i can bring my synths on tour in this world of air travel restrictions and TSA rules and regulations.

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ABOUT CRYOSLEEP

Cryosleep is the debut album from Null + Void, the alias of prolific New York producer Kurt Uenala. It’s an album of contrasts and tension, where darkness is pierced by blinding light, and where moody new wave bleeds into stark electronics. In one moment, joyful memories give way to isolation and regret, and in the next, Cryosleep explores the catharsis of crowded dance oors. Throughout the record, Uenala matches his dynamic production with incredible vocalists—from Depeche Mode’s Dave Gahan and the inimitable Shannon Funchess, to Black Rebel Motorcycle Club and The Big Pink. Null + Void’s take on dark pop meshes with his love for Detroit electro, poignant synth melo- dies, and cold atmospheres.

With the cinematic opener “Falling Down” and brood- ing instrumentals like “Come To Me”, Cryosleep can feel like the soundtrack to a lost space epic. No doubt, the album evokes Blade Runner, dystopian landscapes, and the splendor of far-off galaxies. As Uenala puts it, Cryosleep is inspired by “classic sci-fi stuff,” images of futuristic machines sustaining humans frozen in a dreamstate. The melancholy “Foreverness” explores what they might be thinking: “A collection of fragments, memories of a life lived—preserved, but incomplete and jumbled.” Meanwhile, “Into The Void” paints a peaceful, otherworldly picture, “like soaring to- wards a white light.” Lead single “Asphalt Kiss” sounds like a frenzied chase scene through rain-slick streets, while the upbeat “Paragon” zips like a bullet train over lush, alien scenery.

But for all of its widescreen beauty and world-building, Null + Void’s debut album also thrives on emotional songwriting and stylish versatility. Uenala dips his beloved old-school genres in chrome, giving them a contemporary, high-gloss sheen. Dave Gahan’s singular voice brings a classic edge to “Where I Wait,” a stunning song about hope and uncertainty. “I wrote it with Dave in mind,” Uenala says of his frequent collaborator. “He wrote the melody and lyrics soon after he was sick, which I think in uenced the re ective tone.” The song, which also features Sharin Foo of The Raveonettes, shines among Cryosleep ‘s unforgettable pop excursions, alongside the quietly catchy “Take It Easy” and the harrowing “Hands Bound”. Uenala envisioned the “larger than life” voice of Shannon Funchess amidst frantic beats and gothic bells, and she brings undeni- able power

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to “Hands Bound”. In awe of her presence, the producer says, “Shannon sings her lyrics about dominance and control with scary conviction.”

The title Cryosleep perfectly accentuates what Null + Void expresses throughout his rst record. “It’s about the desire to keep loved ones alive beyond their lifespan,” he explains, alluding to the personal life experiences that color this music. “And if you tapped into that frozen person and scanned their last thoughts, their nal farewell, this is what might come out.”

To experience Cryosleep is to enter the many worlds of the subconscious, vibrant realms of hidden shadows, lost memories, and the mesmerizing unknown.

Null + Void: Cryosleep hfn66, Limited edition colored vinyl, CD, digital hfn music, 03.11.2017 Tracklisting : 01. Falling Down (feat. Black Rebel Motorcycle Club) 02. Into The Void 03. Asphalt Kiss 04. Where I Wait (feat. Dave Gahan) 05. Come To Me 06. Take It Easy (feat. The Big Pink) 07. Foreverness 08. Paragon 09. Hands Bound (feat. Shannon Funchess) 10. Lost And Blind

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Yada Yada wit AN EXCLUSIV

Discussing Production Tips, No Holds Bar A

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th Dada Nada E INTERVIEW

Advice, Madonna, Lady Gaga, Zedd & More

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Hi Robert, thanks for taking time to talk about the production aspect of your career. Can you tell us about how you got involved in writing and performing music and are you a self-taught musician?

Robert Ozn: No. I had formal music training starting very early on. I studied violin when I was six and SUCKED AT IT does not describe it fully, but I did learn how to read music and follow a conductor. Clarinet at 11.

SUCKED AT IT. Seriously. But by then I was singing. I successfully auditioned for the New York City Metropolitan Opera and was a soloist with the Children’s Chorus for two seasons. Went to music conservatory after high school studied classical voice at Indiana University School of Music - one

of the Top conservatories for voice in the world. Amazing training.

How do you develop your music production skills and talents?

RO: That, I learned on the job. My first exposure was making the album of a Broadway musical that I was in. Huge studio - could hold a symphony orchestra. First class gear, engineers. Super experience.

That was the beginning of my training in the process - seeing how the room was managed.

After that, I sang as a background vocalist on music publishing demos for Don Kirschner Music in NYC back in the day. This was the era of large, for-rent “retail” recording studios. Highly professional. A hierarchy of staff engineers and admin people.

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Learned a lot immediately being out in the vocal booth with others behind the console.

My first time actually producing was when I cut my own singing demos in a four-track, analogue studio. Learned the very basics about how to manage an engineer, musicians, and run the room - Of course I didn’t actually RUN jack sh*t - the engineer did - but I got the idea behind the console. By the time I made my first album for a major label I actually knew a thing or two and had the good fortune to work with EBN (Ned Liben), who was a wizard. Built his first studio at 14 years old. By 19 he had live mixed for Jimi Hendrix and built Sundragon Studios that recorded the Ramones, Talking Heads, New York Dolls. When we met, he was

Where do you get your inspiration from when producing new music?

RO: Listening to music - old and new - is a huge source of inspiration, especially great singers and great songwriters, as are great paintings, films, great sex, being out in nature - the ocean, the Southern California mountains, stimulating conversations with people who think deep thoughts.

And then. . . strangely . . . places where I’m unconsciously distracted - the subway, a city bus, walking down a city street.

Something about having a tiny part of my mind preoccupied frees me up.

one of the only truly accomplished music computer musicians in the world. Fairlight used him as their exclusive demo guy east of the Mississippi.

He was that good. Working with him (in our duo EBN/OZN) and our amazing engineer Ken Fink was the finishing touch on my producer education.

We recorded on two-inch analogue tape on an old Neve board hooked up to a Fairlight C.M.I. with a zillion different pieces of hardware. There were hardware racks EVERYWHERE. I have vague memories of trying to go the bathroom and fighting for space with an equalizer and a lexicon next to the toilet.

What’s the typical process you go through when working on a new tune?

RO: I usually hear a melody out of nowhere - you should spell that NOWHERE. Cause there actually is a plane called that. That’s what creative people do. We manifest into SOMEWHERE from a plane where there are no things. You may need to think about that one - in fact, I invite you to.

I think it’s important for your readers to understand, that I came to this job as a singer. It informed my whole learning process as well as the way I handle things now.

I sing the melody into a voice memo on my phone. Sometimes words come at the same time, other times not.

The other way music comes to me is via bass lines. I grew up

around a lot of R & B and it’s part of my musical neurological programming. I can make up a bass line like some rappers free style. They’re in my brain, in my DNA. Do you have a favorite production technique?

RO: Yes. I always lead with the song. That’s super important to me. Even if an awesome track is involved, I’ll still make the song the primary focus.

I prefer to block out a very, very basic drum pattern, then play either the bass line or the chords in a verse, chorus, bridge pattern - create an outline - a skeleton - then go back and do a crude scratch vocal. Then stop. Take it home. Listen. Give my ears a break. Listen again the next day.

Without trying, ideas usually just come for melodic instrumental lines or concepts for interesting sounds.

All that being said, I’ll also work with someone who is much more of a track head than I am. He/She may like to show me a basic track and have me write a top line over it. I enjoy doing that too. I’ll sing ideas on hikes, in the shower - no lie, my good chap - in the freakin’ shower - and on the subway.

I love singing to myself on the subway. In New York, it usually clears the seats around me too, as people think I’m one’a the crazies.

Do you have any favorite producer and recording engineer that you like to use?

RO: I’ve worked with two

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phenomenal engineers of late: Gabe Lopez, who is also a highly accomplished artist in his own right. He produces and writes with Belinda Carlisle. I’ve never seen anyone move so fast on ProTools in my life. You’d think he was playing a freakin’ video game! Gabe has great all ‘round studio skills because he’s a terrific musician and he’s particularly patient when I’m doing vocals as I am a big perfectionist in that department. I’ll do the same phrase 20 times until I’m happy.

Then of course one takes a break, drinks some tea, then sings the entire song down in one shot and that’s the keeper. AHHH!!!

Makes me crazy but Gabe always remains chill.

The other outstanding engineer I’ve worked with lately is Adam Catania at Paramount Recording Studios in Hollywood. Yeah, THAT Paramount. The history of the place whispers to you right through the walls. Adam has excellent mixing chops. He gets the nuances, knows how to create a big pocket of space for the vocal while giving you a fat bottom, discernible mid range and a crisp top. That’s super tricky to do at a very high level of production quality and Adam is the man.

What are your go-to pieces of equipment in the studio?

RO: A tea mug - biggest I can find.

Spring water. Electric kettle. Lots and lots of tea. I don’t do drugs, drink, smoke weed or tobacco.

Sex in a studio is pretty freakin’ uncomfortable, no matter what your fantasies are - so . . . the only thing left to keep my high, New

York-bred intensity at bay is the ritual of drinking tea. Once I have that dialed in, then I can focus.

I always want to use a tube mic. I’d rather eat peanut butter and jelly for a week than skimp on money spent on a microphone.

Some of the software / plug-ins used on WE CAN FEEL IT goes like this: For the Classic Acid Flava Mix: ProTools, SSL Channel Strip, Renaissance Compressor, H-Comp, Sony Oxford Compressor, Sony Lexicon Reverb, Vocal Rider For the House of Virus Remix - Justinas Chachlauskas of House of Virus used: Cubase 9 Pro. Hardware/Intruments: Dave Smith OB-6, Nord Lead 4, Roland Integra-7, Roland TR-8 and Akai MPC. Also VST's: Kontakt with REV of Output and UAD plugins.

How long does it usually take you to complete a new track?

RO: Basics: 10-12 hours. That’s for drums, percussion, bass, pads, scratch vocals, guitar, if used; real keyboards, if used; plus one or two special sounds or instrumental melodies.

I don’t think in terms of “working fast” or “slow.” I think in terms of working efficiently, methodically while keeping it loose so if inspiration strikes we can shift a gear.

Lead vocals: Four - Eight hours.

And then a punch-in session on a different day - two hours.

My own b.g. vocals Four hours.

Other b.g. vocals: Four - Eight -

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as you can see I record a lot of vocals. It’s part of my style and I love, absolutely love working with great singers.

Which traits do you think make an excellent recording artist?

That’s a super question. Innate natural talent has got to be there.

The second thing is the will todiscipline yourself to perfect your craft and develop your talent.

There’s 1000s of really talented people but the business is so ridiculously hard and unimaginably competitive, especially now that technology has made it easy to make at least a C level record by yourself with not a whole lotta talent or knowledge, that you have to be willing to work like a mofo. And then work some more.

Kevin Hart the comedian has on his Twitter profile “My name is Kevin Hart and I WORK HARD!!!

That pretty much sums me up!!!

Everybody Wants To Be Famous But Nobody Wants To Do The Work.” The man knows what he’s talking about.

Think of yourself as an Olympic athlete. That’s the mindset you need. Amateurs practice an hour a day. Excellent college peeps practice three. Pros practice and work four to five to eight. And the cream of the crop, six to twelve.

Seriously. And when they make it, they still practice, write, and work their strengths A LOT. If you look at a career like Madonna’s or Lady Gaga’s or Zedd's, you'll see what I mean.

Put your ego in a drawer and lock it away. It’s easy to get a big ego when you’re the hottest band in high school or the coolest DJ in college.—R.O. These people don’t stop.

Madonna and Gaga are very different kinds of talent who made it in dynamically different eras, but the bottom line, incommon attribute is discipline and hard work.

Madonna works out three hours a day - her looks and body and dancing ability are a big part of her talent. It’s one of her strengths. She’s in her 50s and she’s rockin’ it. But that’s not an accident. She kicks her own ass.

She vocalizes to keep her voice in shape. You cannot go on tour that rigorously for decades and maintain your vocal integrity without practicing - clearly she’s on top of it.

Gaga writes and writes and writes.

Writing is one of her greatest gifts.

She’ll cut 70 songs of her own material and then pick the best 10. That doesn’t include all the song ideas she’s writing down either.

Zedd was a trained musician from the time he was a very young child, an accomplished pianist.

He’s not a DJ who’s sharp on a program - not that that’s a bad thing - but he’s better rounded than that. He’s an amazing analogue musician who is also an

amazing digital musician. That only comes from dedication and lots and lots of practice.

So ask yourself. What’s your passion? Is it playing the cello?

Is it being a tech head? Song writing? DJ-ing? Producing?

Singing? Do you want to be in front of the mic or behind the control board?

If you’re a programmer, learn the program inside and out. Be efficient, accurate and eventually, fast. Accurate is better than fast so slow down if you’re making mistakes. But ultimately you need to do both if you work with others in the room. If you work by yourself it doesn’t matter.

If you’re an engineer, you must know everything about the gear.

Everything it takes from the moment the power goes on to the moment all the recording is done and the machine turns off.

That means software, hardware, plugins, all of it. And you need to be efficient and move quickly with very few mistakes. This takes years to achieve and the only way to do it is to do it. If you’re still in high school or even college, it’s more important to gain experience with professional gear than to get paid. Engineer

anything and everything and for anyone who will have you until you’re so good that people start saying to you, “Man, you’re good! You should be getting paid!” That’s when you know you’re ready. And then you say, “You’re right bitch. Next session pay me.” HAHA! Then go get a job sweeping floors in the best professional room you can find.

Engineering is a journey man process like the old guilds - it’s a traditional ladder up, very clear.

You move up according to your skill set.

Another thing you must have is the ability to look at yourself realistically. What are my strengths? Flaws? What kind of collaborators do I need to balance me out? I can tell you right now I don’t have a gift as a player. So I work with wonderful players and they’re happy to work with me because they like my singing and song writing skills.

I don’t have an ego attached to “I must cut the piano part.” That’d be just stupid. Put your ego in a drawer and lock it away. It’s easy to get a big ego when you’re the hottest band in high school or the coolest DJ in college. But that’s not the globally competitive marketplace. So, stay very very

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humble. Because even when you get that first record deal on a solid label, you’re gonna come to realize that there are over 1,000 records released a week. 1,000! And you’re gonna see that you’re just one of the zillions of sperm headed for the ovum.

So just because you’re backed by some giant oligarchic, international corporation now or the hottest hipster vinyl company doesn’t mean your Tiesto. No. It just means you’ve secured a place at the starting blocks for the race. Now the whole anarchic, ass-fucking marathon actually just begins and it’s a killer. Stay humble because it’s a long way to the finish line.

An aside about humility: I worked as a session singer in New York for a few years and was most seriously schooled. Trust me you had to be super good just to get to the place where anyone would even let you in front of a mic. You walk around believing your own reviews about what an amazing vocalist you are - too embarrassing to quote here - until you strut into a studio date with A-list New York, L.A. or Nashville session singers. That’s when you realize you’re in the center of Madison Square Garden with a full house and you’re playing one on one basketball against Lebron James. You suddenly understand you’re just a little punk.

I had the honor, privilege and suffice it to say, the humiliation, of working with singers who just KILL IT on a brand new piece of music in two to four takes that they’ve never heard before,. They nail it so well so quickly that before you know what’s going on, the producers have said “thank you,” and they just waltz out the door and go home, leaving you scratching your head in front of the mic going, shit I’m still figuring out the harmony on the chorus. What the fuck just happened?!

So you must be willing to ask for feedback about your work and don’t get defensive when you get it. Say “thank you,” and ask why they feel that way. You’re gonna learn a lot about yourself and your work. If you’re gracious they’ll be OK with giving it to you another time - and you WANT that. If you’re a baby or an asshole, they’ll never be honest with you again.

A dance music professional may judge a rock singer very differently (and incorrectly) than a rock professional. A hip-hop producer has a completely different Ear for a kick drum than a country producer. Know who you are talking to.

Then you’re gonna have to incorporate what to listen to and what not to listen to and that’s tricky as fuck. One guy says your chorus is uninteresting another says it’s totally fantastic. Try to listen to professionals, not just your boyfriend and your mama, and remember what genre they work in.

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If the producers are using time plug-ins all over your percussion track to get you in the pocket, you’ve got a lot a work to do as a percussionist, as in take music lessons and practice six - eight hours a day. And don’t be stoned, or drunk or practice watching TV or some lame ass high school foolery. Yes, those idiots get the girls or the boys when they’re 17. Trust me, by the time they’re 27, they’re not getting the people you’d want to hang around with.

Who do you want to be? You want to be the guy/gal when she’s 30 that ALL the women/men want to be around because you’re following a path with passion, discipline and accomplishment.

Be that person.

Last but not least - think about what you have to say as an artist.

That’s become a forgotten element of late, especially in DJcentric music. Dance music lyrics are notoriously lightweight.

When you hear a track with thematic, lyrical depth it grabs you.

One of the great exceptions - remember Swedish House Mafia’s “Don’t You Worry Child” - a song beautifully sung by John Martin.

The lyrics were about a father’s advice to a young boy suffering his first heartbreak. It had something to say about father-son relationships. It had substance. Go dig inside yourself and find what you want to say to the world. And if you don’t know, then you need to do some serious self-growth.

Finally, what can we expect in terms of new music from DaDa NaDa? "We Can Feel It" was only released in the U.K. I’m about to release it in the U.S. end of October and that’s very exciting for me. It’s been a while since I’ve been on the U.S. club scene where I started and I can’t wait to get back.

I’m working on an album right now and I’m loving the experience. I’m working primarily in dance based music as well as indie pop and it’s a lot of fun being creative when suddenly there’s people interested in your work. But to be honest, I’d make the album anyway - even if nobody gave a shit. I’m not saying anyone else should do that, mind you. That’s just me.

I’ve come to the conclusion that I have to be creative, like dolphins need to swim. When I’m not being creative, I feel half dead. Sometimes all dead. And I promised myself I will never, ever feel like that again. It’s my intention to be creative until my spirit leaves my body.

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A N I N T E RV I E W W I T H

KÖ L S C H BIG EVENTS NEW RECORD INSPIRATIONS Written by Joseph Wensell Photography by Jos Kottman & A. Combes

Rune Reilly Kölsch has released music under many different aliases including Rune RK, ENUR, Artificial Funk, Ink and Needle and has worked with a diverse range of internationally known artists including Nicki Minaj, Pitbull, Coldplay, NERVO, Steve Aoki and deadmau5. He is best known for his 2003 global smash hit "Calabria," which busted out of the local club scene in Ibiza. The vocal edit, featuring Natasja, exploded onto worldwide day-time radio lifting it to 50 million plus views on YouTube to date. A "seemingly indestructible track," as hailed by The New York Times, has sold over 1 million copies in the U.S. alone and continues to be supported by the dance music elite. A bit of triva..."Calabria" was also used in a Target Commercial.

Jumping forward to 2017, Kölsch has a brand new LP "1989" and has been locking in "opportunites of a lifetime" when it comes to high profile gigs. We catch up with Rune as he criss-crosses the U.S., taking his new and brilliant album to big clubs on both coasts and, we get to quiz our Cover Artist on his evolution as a musician and producer, the significance of album titles, life on the road and his recent Eiffel Tower gig.

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Q&A I N T E RV I E W

With a career that spans more than twenty years, how do you now see yourself as a producer and performer compared to when you first started?

Both my production technique and the way I approach my music has changed drastically over the last 20 years. For a long time I was a studio hermit, and spent insane amounts of time on figuring out how to make my music sound right. I was completely buried in the technique of the trade, and i would force myself to stay days on end in the studio. These days, it's much more of a mental process. I'll spend a long time making demos of tracks, conceptualizing and getting the emotional content right. After a couple of months there is a very crude selection process and only the best work goes on to the next round. I'm a very strong believer in the Kill your Darlings concept. Every piece of music i release, must be the best possible at the time i make it.

If there were one moment, over the course of your music career that you could jump back to and re-live, what would that be and why?

It would be my first dj gig. It was in Copenhagen around 1993. An old squatter house dubbed “the youth house� was the place where any underground event would take place. Anything from speed metal to Ska, and Techno. I had managed to blag my way in to a gig there, and I will never forget it. It was like the wild west.

Punkers everywhere and the party went until 12.00 the next day. The vibe there has definitely shaped my preference for crowds. I love when the weirdos come out.

3: Where did the idea of producing a three album series with 1977, 1983, & 1989 come from and what is the significance of the album titles?

The albums are about exploring my childhood years, before i got in to music. I have been very focused on early influences, and what elements have influenced me towards what I have evolved to since then. 1977 is very much about first memories. My parents and my grandparents. 1983 revolves around traveling with music and the early feeling of growing up. 1989 is about my struggles as a young teenager. Discovering music, skateboarding and traveling through the city and finding my way.

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“1989” revolves around your teen years experiences and reflection on a time when music played a big part of your life. What were the bands and music that shaped those years?

In 1989 I was listing to wide array of different stuff. I loved recording tracks of the radio, as I couldn't afford buying any records. Also, I would dig in to my parents record collection swell. It was a mix of early hip hop, west coast rock. Electro/freestyle stuff and electronica. Pretty much anything i found interesting. I'd say with the skateboarding, I started leaning towards more street orientated music. Run DMC, LL Cool J, 2 Live Crew, but also still Shannon, COD and such. It was a mix of influences.

It appears you have an appreciation for surrealistic influenced art and photography. How does visual art factor in to the overall production of your albums?

I believe that the visuals are a big part of any artistic expression. It used to be cover art of a 12” album, and it then morphed in to a CD format, and now its a minuscule gif on your phone. I love illustrating the story of the music and thereby adding to the storytelling. Hence the focus on a more artist social media content. I want it to be an extension of the story I'm telling through the music. As a modern record sleeve.

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Just a few days ago, you perched yourself atop the Eiffel Tower and treated the Parisians, as well as the rest of the world via live video feeds, to your new album. What was the view like and would you say that gig was a pinnacle of your career to date?

Playing an ode to the most beautiful city in the world was such an honor and I'm very happy we could make it happen. Defining it as the pinnacle of my career though, would indicate that I’ve achieved what I wanted to. It was an amazing experience, and one that I will never forget, but I've got so much more that i want to contribute to the world.

You are currently on a multi-continent tour in support of the new album “1989.” Tell us about your travels, habits (good or bad), and what you are looking forward to experience while on the road.

In all honesty, over the last years I’ve averaged around 140 shows annually. I pretty much despise everything about traveling, except the performing. I love communicating with crowds, experiencing the vibe in different places. That's what I always wanted to do. The Flights and Hotels, not so much :-). I try to produce music as much as I can on the road, at least in that way it doesn’t feel like i am wasting my life away, squashed in monkey class.

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Tease us with what one can expect from attending a Kölsch “1989” show.

The live shows are a combination of visuals and music. I've been helping out with developing a new program called show synch, that lets you improvise in your live shows and the visuals will follow what you do. It's been 4 years in the making and it's just so much fun to use. With the dj sets, I focus on playing longer. I prefer sets that are over 4 hours.

Preferably 7 or 8. I have a lot of music i want to share, and i love the different dynamics over the night. Experiencing the change of moods with the crowd is on of my favorite things.

Now that the “Trilogy” is complete, what’s the next project you are excited about pursuing?

The next project that comes to mind, is taking some time of to contemplate all the amazing things i have experienced over the last years. Ive had no time to appreciate all the big moments and i need to get bored a little before i start something new.

Where will you celebrate the holiday season? Are you thinking about any New Year resolutions?

I'll be In Denmark with my family and friends. We have a great tradition of having good friends over for the holidays. It always results in days of fun/ guilty musical pleasures and great food.

My favorite time of the year.

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ALBUM SIDEBAR For Danish native and much-revered producer/performer Rune Reilly KÖLSCH, Kompakt has proven the perfect home curating his music: with two critically acclaimed albums and a now classic run of solo instalments in the Speicher 12” series, he took his techno craftsmanship to new levels, setting it on a melodic, emotive and even autobiographical course - without losing any of its punch and quirkiness. With new full-length "1989," Kölsch presents the final chapter of an elegant, anthemic album trilogy that started with an exploration of early childhood memories and influences on "1977," the year of his birth, and continued on "1983,". a vibrant and picturesque journey sound-tracking the year he travelled through Europe aged six.

“With 1989, we have arrived in my early teens,” Kölsch explains, “a difficult time in my life, where I mostly just remember the greyness of it all – grey feelings, grey weather and my own grey face.” Coinciding with the already challenging need to squeeze past the bottleneck of puberty, it was a time of seething family crisis – his parents were divorcing: “I would escape that grey world on my skateboard, listen to my Walkman as I explored the city around me. Music became my savior – the only way to overcome my family’s hard times. I found a soundtrack to my grey life, and suddenly there was color.” It’s why you’ll find several tracks on the album being named "grey" in different languages, and they all share this distinctly "Kölsch-esque" moment of epic melodies breaking through propulsive techno beats like the sun through stormy clouds – a musical twist that’s particularly impressive on album hit single PUSH, first heard on “Speicher 97” (KOM EX 97).

"1989" also marks Kölsch’s intensified deployment of real-life orchestral sounds and the continuation of his extremely fruitful collab with Gregor Schwellenbach: after contributing to predecessor album "1983," the Kompakt affiliate, composer and multi- instrumentalist now conducts the Heritage Orchestra for tracks KHAIRO, LIATH (featuring a violin solo by Kate Robinson) and SERJI, the latter of which Schwellenbach co-wrote and co-produced. The 24-person Heritage Orchestra consists of violins, violas, cellos and double basses, adding the sweeping drama and organic, richly layered textures that only real strings can produce – a deeply humane tone that is set with the album’s opening recording of the orchestra tuning its instruments (which incidentally also incorporates a voice recording from 1989 of Rune Reilly’s grandfather Ludwig).

Seeing Kölsch’s propensity for vocalist cameos on his albums (Trœls Abrahamsen on "1977," Tomas Høffding and Waa Industry on "1983"), one shouldn’t be surprised to find beautiful cut IN BOTTLES, which features vocals written and performed by Aurora Aksnes.

Buy it here.

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STILL THE ONE

Finland’s Ville Virtanen, better known as Darude, creator of the legendary 1999 trance mega-hit “Sandstorm” (voted one of “the most important trance tracks of all time” by DJ Mag in 2014), knows how to create a sonic commotion. His complex, evocative beats have been whipping the masses into a frenzy for almost two decades. Earlier this year, Darude & Zac Waters released the blistering single “Singularity” (featuring Enya Angel), and, most recently, he has lent his remix expertise to fellow Finnish artist Max Millian’s summer hit, “You Are the One.” He’s excited to talk about this high-powered, infectious new version and his process for re-envisioning Max’s crowd-pleasing journey into uplifting electronica.

WRITTEN AND INTREVIEWED BY JAMES ARENA

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"Some people absolutely think I have to live up to it. Every time I release something to a record company, they usually compare it to "Sandstorm." Nothing will ever be as big as that hit was for me. That’s not pessimism or me hanging my head down, it’s just, dude, nobody knew that track would become as big as it did."

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How did you come to connect with Max Millian for the remix of "You Are the One?" I’ve known Max for, I don’t know, decades. He’s a Finnish guy like myself, who I met through [Scandinavian DJ/producer] K-System. Max did some sound tech stuff for K-System, and he’s been a DJ for a long time, so we had a personal relationship before this project. Over the last few years, he’s been sending me some great stuff, but this particular track—"You Are the One"—I really fell in love with the vocal. The vocal sounded a little unusual in the original mix, sort of a pitched-down gospel sound—unusual, in a good way. It worked so well against the chords and harmonic content and the simplicity of the lyrics, I found myself immediately humming it. Halfway through it, I knew it was a track I’d be playing on my radio show. It was an amazing track, but it didn’t have the build-up that would make it fit into the later portion of my show. We hadn’t even talked about remixing it, but I asked him for the parts, just in case inspiration struck me to create a version I’d play at peak time in my set.

He sent me the stems and main parts of the track. While I was in Hawaii and had some time off, I started making the remix in my hotel room. A few more sessions working on it during some flights and then one mixing session in my home [studio]—and it was done. I didn’t reinvent the wheel with this remix—it has the same basic chords and the main vocal, but I added a build-up and some energy to it. It was basically very selfish of me—I loved the original, but I wanted to really do something different to it and to be able to play it in my sets. Max asked me if I was interested in bringing the remix to the record label to see if they wanted to release it as an official remix. Of course, I was happy to that!

Seems like you may be very selective about the tracks you remix. What’s your criteria for accepting a project?

Well, if a big label offers a good price for doing a remix for one of their artists, I will, of course, consider it. But mostly, in the last few years, with almost all the remixes I’ve done, I’ve somehow been connected to the artists involved. Often it’s just a track that hits me, and I simply want to mess with it.

You really infused "You Are the One" with a white-water rafting, high-energy feeling. Originally, the track had a softer, more ethereal vibe. How challenging is it to shift the direction of a song like this?

In this one, it wasn’t difficult. I knew what I wanted to do. I wanted to take that more laid-back, progressive sound and make it more energetic. I changed the rhythm base a bit and added some energetic drum sounds into it. Both versions are the same BPM. The point is, I liked the track and just wished the original had this big, huge build—I knew if it did, it would work so well. That’s why I wanted to re-touch it.

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Generally, how much freedom do you have in your remix creation process?

I don’t want to sound big-headed, but if someone asks me to do a remix, I’m not going to ask them what they want. They’ve come to me because of my name or because of a style they’ve heard from me before. That said, if somebody comes to me today and asks for a "Sandstorm" kind of remix, I’ll laugh about it.

That was 18 years ago, and I don’t attempt to reproduce that song. But I will refer them to my last few remixes or my Moments album. That album contains several different styles, and it may have something that someone might like.

Then I might (or might not) go in that direction.

[Darude laughs].

It’s really always the moment in the studio with the track that guides me. I’m a very firm believer in sitting and listening to a track until it starts pulling me in a certain direction. I start hearing things—the rhythm, melody or a certain energy—and I start putting, like Lego blocks, layers into it, on top of each other, and figuring out what works. I can decide on a style or direction before hand, but it may turn out completely different in the end. I don’t want to lock anything up.

With Max, I asked him if my [vision of his track] was something he would like, but it was really just to see if he liked the [overall] direction.

But, really, everything stemmed from Max’s original—it’s his track.

How do current trends in EDM, and the commercial viability of certain sounds today, weigh into your process?

I think of David Guetta and Calvin Harris— maybe if I did consider the commercial aspects a bit more, maybe I would be closer to those guys. That is to say, I don’t think about that too often. On "You Are the One," I sat down and created something around the original vocals and original chords. What came out was something [that evolved from] bits and pieces that I had gathered over the last few months.

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By that I mean, when I work on tracks, I hear sounds and melodies that may not fit the current project. But I make a mental note that I have this cool bass line sound or a rhythmic element that may be useful later. When I heard Max’s track, I had about seven mental notes like that, which I wanted to try on this remix. Most of them fit. I really couldn’t have cared less if the remix was going to hit Beatport’s Top 10. I was only concerned that Max—and me—would be good with it. My main goal was to be able to play the track in my sets.

The coolest compliment I have gotten about it so far was someone commenting that it had a very cool ’90s vibe to it. I wasn’t going after that—but I loved that observation. When you listen to this track, there is nothing that says

modern EDM that I was trying to duplicate, but I also wasn’t going for a ’90s sound. It just came out that way.

You were very inspired by Max’s original version.

Are you interested in doing more work with him?

Yes, very much so. We’ve talked about collaborating more, and he’s a very talented guy.

You mentioned "Sandstorm" earlier. Are you at the point in your career where the song is effectively behind you, or do you still have to live up to that track’s standing in dance music history?

Some people absolutely think I have to live up to it. Every time I release something to a record

company, they usually compare it to "Sandstorm."

Nothing will ever be as big as that hit was for me.

That’s not pessimism or me hanging my head down, it’s just, dude, nobody knew that track would become as big as it did. It created a life of its own, and I’m really proud of it. But I refuse to get bookings just for that track. For instance, when I go on the road, I (or my management) have to approve all fliers and such, and it can’t say I’ll be playing "Sandstorm." I don’t want to label myself, or box myself in, as a ’90s, classics or an early-2000s trance DJ. You’re about to leave Finland for performances in the US and Canada. Do you observe any differences between generational connections to EDM and dance music in America and those in Europe?

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Wow, that’s a good question. I can say the United States has finally accepted dance music in the mainstream. It’s even in insurance company commercials—it’s in corporate America. We could talk for days about the good and bad effects of that. But now dance music is globally mainstream. The US has finally caught up—and I don’t mean anything bad by that, but it took a long time. For instance, if you go to Amsterdam, maybe one of the Armin [van Buuren] shows at the big arenas, the average age of these festival-goers must be closer to 40. There are young kids there, absolutely, but in America, the average age is barely 21. This music hasn’t been mainstream in the US for that long. In a country like Holland, they’ve been following trance and EDM since the early 2000s.

Darude’s album "Moments," Darude & Zac Waters’ single “Stimulation” and the Darude Remix of Max Millian’s "You Are the One" are available now on most digital platforms.

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The art ...of the french sound bart and baker rodriguez jr. ofenbach written by catherine strickland

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tisans...

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bart and baker C M Paris’ electro swing spinsters Bart & Baker have been entertaining crowds across France and other countries for years. Known for their trademark tuxedo and top hat costumery and brilliant showmanship, these two are the true innovators responsible sweeping in a new age of a timeless genre, mastering, mixing and sample usage of vintage Swing music sets a "years ahead of their time," club driven dance trend that is still being re-invented and modernized, referenced and copied. The events they throw are extravagant and are a throwback with a modern edge to the “Golden Age of Swing,” attracting sharply dressed guys and gals and giving validation that the Swing movement is evolving and gaining popularity within the dance music community. As Bart & Baker says, “we pride ourselves on reinvention, using elements that already exist like vintage music, performance styles and costume so we were able to please or uncover the swing music shades of rhythms to both vintage fans and modern kids.” Bart and Baker has

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worked with Clementiné, Dimirti From Paris, Gabin, Caravan Palace, Miss Kitten on a myriad of formats ranging from long player projects to EPs, singles, and remixes. This year alone they’ve produced 6 major projects: Pheel Balliana Sings Bart & Baker; The ROGAN Dubs; Clémentine Sings Bart & Baker; Kitten On The Keys Sings Bart & Baker; Electro Swing New Generation 01: The Best New Electro Swing Music; and most recently, We Are What We Are featuring Billy Bros.

Orchestra. While there are a lot of exciting acts coming out of France these days, there are none like Bart and Baker. Top shelf novelty, deep appreciation, a passion for the jazz age and being superb entertainers and are the chief reasons these two are the definitive torchbearers moving the music forward. Check them out and diversify your music library to include Bart & Baker.

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rodriguez jr.

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Olivier Mateu, known as Rodriguez Jr., grew up in the South of France seaside during the 90s honing his skills at Piano and becoming an active participant in the local electronic music party scene. Mateu is a consummate devotee to perfecting his craft by spending 10 hours a day in his studio, which by the way is full of various vintage synthesizers, keyboards, and analog gear.

It’s in this place where he conceives his songs, drawing his inspiration across a wide spectrum of diverse artists ranging from Stockhausen, Kraftwerk, and Micheal Polnareff to Carl Craig and LFO. Accolades and recognition include a Deep House Artist of 2016 Nomination from DJ Mag and a ranking of #32 in Resident Advisers 2016 list of best live acts. Performance wise, he’s added Tomorrowland, ADE, Off Week, Showcase, Watergate, Loveland, WMC, WeAreFestival, Oasis Festival, among others to his CV. Production output includes two solo albums for Mobilee—2011’s “Bittersweet” and 2017’s “Baobob” and “Baobab Remixes” featuring Claude

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VonStroke, Audiofly and Tim Green giving three unique adaptations that flow explicitly and reinvent the album’s original tracks. “Baobab is about roots. It has mainly been written whilst travelling and I needed to re-connect to my roots: the music I used to listen to as a teenager from South of France, my first parties, this fantastic sense of freshness, enthusiasm and innocence. This is why I decided to call it Baobab: a big tree proud to grow up in a lush surrounding, with it’s roots deep in the floor.” Ten glorious songs make up the long player and features Nouvelle Vogue’s Liset Alea vocals on three cuts. Rodriguez Jr. also shines with his vocal delivery on the track “Heal Me”— a song about the complexities of being human, it’s deep. Preferred tracks of note include the opener “An Evidence Of Time,” “Radian,” “Waste Tomorrow,” “Take A Walk,” “Ellipsism” and the anthemic “Tomorrow Never Comes.”

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ofenbach C M Dorian Lo and César de Rummel burst out of Paris with a smash Gold Record hit “Be Mine” last year and just a few weeks ago dropped another bomb with a funky bluesy track titled “Katchi.”

The duo are signed through Big Beat/Warner Music. Dorian and César are childhood friends were being inspired and encouraged by Lo’s Father to pursue music as a career path. Early on, the two would focus on Rock music citing Supertramp, Led Zeppelin, and The Rolling Stones as influences before finding their true calling. Coming across a Jacque Offenbach score would provide new inspiration and the all-important name, Ofenbach, from which they attribute to the French composer. They began cutting remixes in 2014 on projects for music icon Miriam Makeba, Andreas Moe and James Bay. 2015 would be more fruitful in production with the release of two original singles “What I Want” with Karik, “You Don’t Know Me” featuring Brodie Barclay, and a remix for Lily and Madeleine’s “Come To Me.”

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What makes Ofenbach special is that they know how to write catchy songs that are full of memorable and infectious hooks, unique choruses that are perfectly composed for large cross over appeal. I’ll be honest; I want a full-length album to listen to. Granted, “Be Mine” and “Katchi” has the power to emblaze themselves into your brain, which in turn makes you listen multiple times, its still leaves you in the end wanting more. One day soon one can hope.

Luckily for us North American fans and readers, Dorian and César are taking a trip to the United States and Canada beginning in Washington D.C. on December 1. Throughout the month, Ofenbach will be stopping in major cities including Miami, Montreal, Chicago, Vancouver, San Francisco, Santa Ana, Seattle, Los Angeles, Philadelphia and New York. Jump over to their website to get exact dates and venues and stay informed about this duo, as their future is just heating up and with this much talent, fame is certain.

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LATE NIGHT MU The secret is out! Two guys from Cape Town, South Africa, now calling San Diego, California home, are kicking up a firestorm of high praise from the press, fellow producers and tastemakers for their catchy jazz infused electro dance music. For the last few of years, the duo GoldFish, made up of Dominic Peters and Dave Poole, have won over critics, amassed a huge fan base, surpassed platinum sales status, held down a 4-year residency at Pacha Ibiza, and collected awards and nominations aplenty. Riding high on the successes gained in their

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USIC FOR LATE NIGHT PEOPLE WRITTEN BY JOSEPH WENSELL

homeland, breaking into the U.S. market is the next step on ladder. America has long been the #1 music market globally, and with today’s sound landscape, the music of GoldFish is a perfect fit for widespread radio plays, nightclub dance floors and major festival main stages, that have already included 2017 slots at Ultra Miami, Mysteryland USA, Electric Forest, and Electric Zoo. Dominic and Dave are deeply schooled in the idiom of jazz music and both have very interesting beginnings. Dom holds a Bachelor Degree in Jazz Performance, with a primary

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emphasis on Double Bass, as well as proficiency on Keyboards, Groove Box, and production. One that can hear colors, at age 6, Dom convinced his Mother to enroll him with private piano lessons and the path was set.

Dave Poole’s beginnings also started at age 6 and I think readers that were first introduced to playing a musical instrument in a very similar way Dave was. After what can be conceived as a negative experience starting with a sadistic violin teacher to being told to “pick your instrument” his choice was the saxophone. By the age of 13, he was already gigging in a rock band and then pursued studying and leading jazz bands, developing mixing and production skills and eventually hooking up with Dom to form GoldFish.

When listening to the many GoldFish releases you’ll hear the duo’s influencers ranging from down-tempo and chill masters to jazz and funk icons of present and past. These include: Kruder and Dorfmeister, Jamiroquai, Dexter Gordon, John Coltrane, Joshua Redman, Moby, Winston Mankunku, Air, Rae and Christian, and James Brown.

The latest album, their 5th, "Late Night People" on Armada Music was released on October 6 and as described in the Official Press Release, radiates a sense of coming home, of discovering a piece of the world that has yet remained unclaimed and untainted.

Between its funky and sexy title track featuring the legendary Sax man Soweto Kinch, the upbeat "If I Could Find" and the evervibrant "Rising Sun" (with Pontifexx and Gustavo Bertoni), the album harbors twelve songs that are as diverse as they are alike, coexisting peacefully.

GoldFish fans of old will undoubtedly enjoy this album and for those that are reading this and are just getting turned on to the duo’s musicality for the first time, all I can say is—turn it up!

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[BOOKS IN REVIEW]

During the 1990s, I was a GM running a record store in Georgetown, Washington, D.C. It was truly a glorious time to be in music retail, selling those long box CDs and CD5s, remember those? That decade gave us superstars Right Said Fred, C+C Music Factory, Ultra NatĂŠ, CeCe Peniston, and Haddaway, among others churning out hits that flew off our shelves.

The 90s was full of musical memories like these and within this 200 plus page collection of interviews, 29 to be exact, you get to peek in to the lives of the some of biggest stars and people behind the most popular dance music of that decade.

The person behind documenting these wonderful interviews and conversations is a seasoned and former music industry executive, turned author and dance music historian, James Arena. Arena's precise, yet brief introductions are timecapsule snapshots reminding us why these vital musicians, producers and djs are important and how each individual played an intergal part on the evolution of dance music culture that still influences to the present day.

The thoughtful and intelligent questions that dig deep and engage the interviewees allows for a nice conversational back and forth that gives the reader, at times, very candid and entertaining insights. Through

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the interviews, the telling of these superstar's stories, creative processes, varying degrees of success, etc…are put on display in such a way that when reading fans, peers and critics will find the interviews as educational as well as highly entertaining looking through the eyes of the artist's own experiences. You'll come away with realizing they’re human, just like you and I. Thea Austin of Snap! and “Rhythm Is A Dancer” fame, Fred and Richard Faribass of Right Said Fred, Tony Moran, recognized for his work on Michael Jackson’s HIStory projects, Frank Peterson, a former member of Enigma, label owner and a leader in the Italo Disco movement in the 80s Alfredo “Larry” Pignagnoli are just a few of the people inside “Stars of 90s Dance Pop” who collectively shaped the dance music landscape and attitudes of the 90s, educates the reader of the major players responsible for the era's biggest hits.

A real “get” for Arena was having Larry Flick write the Foreword. Flick, during the 90s, was a leading voice in introducing and writing on these music icons in his contributions to the globally read Billboard Magazine, serving as the Dance Music Editor among other prestigious titles.

It should be noted that in addition to his influential writings, opinions on music and his ability to breakout artists on to the international mainstream, it should be no surprise the he is also behind the establishment of what is today's Billboard's Dance Club Songs chart. So, there is truely no one better suited to provide the backdrop to that period of dance music and a little bit in to his beginnings and growth as music industry professional.

Also weighing in with commentary of the period is NYC legendary DJ Susan Morabito who was right in the middle of the Big Apple Club scene, spinning these artist’s hits in the city’s most iconic and exclusive spaces at that time.

Having these stories recorded and published for enthusiasts and historians alike show a deep love, not only for the music, but most importantly, love and respct for the people involved. Arena puts each individual in a confortable setting and gets them to open up and lets readers journey back in time and live that period through the eyes of the individual, even if for just a moment, it delivers it vividly.

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James Arena is a New York based author, host and commentator who has been featured on MSNBC, Fox, SiriusXM and other networks. He is the author of the pop culture books Fright Night on Channel 9, First Ladies of Disco, Legends of Disco, Europe’s Stars of ‘80s Dance Pop, Stars of ‘90s Dance Pop, and Stars of 21st Century Dance Pop and EDM published through McFarland Publishing and a recipient of a G.E.M.A. Foundation/City of Philadelphia award for preserving dance music history.

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

ALEX CHRISTENSEN &THE BERLIN ORCHESTRA Classical 90s Dance Extended Edition Starwatch Entertainment

 Alex Christensen’s contribution to dance music includes the global smash hits, “Ritmo de la Noche—his first Gold record and “Das Boot” with U96, a track that remained at the top spot on Germany’s charts for 13 weeks. It’s been said that Christensen is the sole individual responsible for moving techno and dance music in to the mainstream consciousness of his home country Germany, then Europe and then beyond. Busting out in this spectacular fashion opened the doors to high profile production jobs with the likes of: Udo Lindenberg, Helene Fischer, Söhne Mannheims, Tom Jones, Paul Anka, Sarah Brightman and Mark Wahlberg.

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[REVIEWS:ALBUMS]

Rising in global popularity and demand, Christensen was essentially everywhere, appearing in Hollywood films and television shows, gracing international magazine covers, and producing global hits that seemingly, overnight, established him as a major, high in demand, producer and entertainer. Many years later, he’s come full circle closing the loop on the Das Boot experiment. You see, when he recorded “Das Boot” his intention was to employ strings, however two things held him back from doing so, the knowledge and the tools.

Now, with his “hand picked” 49 members that form the Berlin Orchestra, he’s completed the circle with “Classical 90s Dance” taking the biggest techno songs of the 90s into the modern age. Christensen provides some insight about the process of selecting the songs to revamp: “When I was selecting the songs for the album, of course I had a mountain of material to work with,” recalls Alex Christensen. “However, quite a few things didn’t make it to the final decision because they simply didn’t move me. But all the songs that made it into the album have great emotional value.

Classical 90s Dance could have a subtitle if it weren’t so long: The evolution of dance tracks into songs whose emotional content is unconditionally moving.”

Now, let’s get to the music, track by track...

Classical 90s Dance kicks off with the one defining

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track that set off the Euro-dance craze, “Rhythm Is A Dancer.” The redo expresses the dedication and reverence Christensen has for this iconic track. It’s simply perfection. “Infinity” almost 3 three decades since it infiltrated the airwaves, originally featured a hot sax solo that left a lasting impression on Alex.

Ideas in hand, the addition of horns and winds and arranging the song for the orchestra to compliment the solos provides the listener with a newer, more colorful rendition. “United,” a huge global hit written with Frank Peterson for Mark Wahlberg (Marky Mark) inserted a gospel choir to the formula. A ground-breaking moment at the time and it's new redo puts an exclamation point on it. "Das Boot" with strings makes Christensen's original cover even more glorious to behold.

Years in the making, and years ofof perfecting his writing for strings, coalesced at the right moment in time to re-introduce the classic track. “Turn The Tide,” timeless and beautiful, the remake features singer Asja Ahatovic, cascading and sweeping strings pushed along by an insatiable dance beat.

Story goes, the first time Christensen heard Robert Mile’s slow and piano heavy track, “Children,” it was spinning at 45RPM instead of 33RPM. That did not matter. Instantly, he rightly predicted big things for the track and now with this rework, it's brilliant and

majestic homage to the original and its composer.

“Sonic Empire’s” melodies are brought forward with the orchestral parts, fleeting strings taking the lead, along with underlying darker tones and rolling beats reveals where there is smoke there is fire.

Christensen has a history with Scooter, the authors of this next track, “Nessaja.” Besides being a fan, he’s been on the road touring with the band, experiencing their carefree attitudes. Taking "Nessaja," an essential of 90s techno the new version of the song sticks with a fast pace, with an emphasis on lower brass instruments beating against rolling drums and the sunny vocals put a very nice sheen on an already shiny piece.

“L’amour Toujours” (I’ll Fly With You) was one of many Gigi Di Agostino hits in the 90s. Christensen re-arranges it magnificently and transforms it to an exquisite and beautiful ballad with Nicole Cross delivering the vocals. “Interlude/You’re Not Alone” and Christensen’s history goes back 20 years. The track was a must play within his 1996 DJ set.

Having had playing the song for the entire year, he set the song aside, and revisited it all these years later to give us a new version that features gorgeously punchy strings and powerful vocals.

“Redemption,” the producer’s 1995 favorite track, gets energized and crosses multi-dimensional

barriers with bouncy rhythms and lots of electronics.

“2 Unlimited’s “No Limit” is boldly transformed with glorious Trombones, wild strings and equally phrased vocal deliveries, giving the iconic song a cinematic feel rather than dance.

“What Is Love” was a defining moment for 90s dance music. Light, and at the same time, powerful with the universal message conveying freedom and easiness, the song captivated the youth of that generation and now with Christensen’s flair for orchestra and voice, this version ushers in a new spin cycle for the iconic track.

“Tears Don’t Lie”, the 1995’s track by Mark Oh was an international hit, charting at #1 in Germany and Sweden, as well as charting within the top ten charts across Europe. Christensen takes the original and slows it down, inserts dramatic horns, sweeping strings, atmospheric and angelic vocals and Piano.

At the midway point and at the ending, the mood shifts to deeper and darker electronics and strings making it a piece that represents the current times.

So, buy this album? The answer is an absolute yes. It's one of 2017's biggest surprises, and for those wanting to go back in time and hear modern takes on these classics, you'll not be disappointed.

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[REVIEWS:ALBUMS]

GALANTIS THE AVIARY BIG BEAT/ATLANTIC

 Most already know this, but for those that are familiar with the duo they are a Swedish electronic dance music production, songwriting and DJ act consisting of Christian Karlsson and Linus Eklöw.

Karlsson is also known as Bloodshy as part of two other musical groups, a duo (Bloodshy & Avant) and a trio (Miike Snow). Eklöw is known as Style of Eye. Galantis is best known for their biggest hit singles "Runaway (U & I)", "Peanut Butter Jelly" and "No Money".the duo have come back with a new album called “The Aviary” on Big Beat/Atlantic Records.

The album features guest appearances from Reece Bullimore, Matthew Koma, Hannah Wilson, Hook n Sling, and Wrabel all giving great performances adding to the omni-present signature sound that is all Galantis. Big sounds and big music wrapped around big idea return throughout the

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12 tracks featuring all the trademark sounds and vocal manipulations the duo are known for. Soaring vocals, thumping beats, expert breaks in time signatures, climatic rises and dramatic drops, and not forgetting the songwriting brilliance, with the inclusion of a more tropical feel than usual, when mixed all together, you get a good album. Fans will love this album.

Galantis’ dedication to high-end production value and writing catchy radio friendly songs while keeping in mind Big Room, House and Progressive House lovers in mind, the LP will satisfy. Its popularity since the late September 2017 release, indicated by several tracks having racked up millions of streams, so far, show people are definitely interested and listening.

Always upbeat and dancey, Galantis’ music evokes feelings of happiness and joy. Their songs are full of positivity, energy and brightly colored instrumentation in their song making.

Stand out tracks include: “True Feeling,” “Salvage (Up All Night-featuring Poo Bear),” “Tell Me You Love Me” featuring Throttle, “Love on Me” featuring Hook n Sling, “Make Me Feel,” “Girls on Boys” featuring Rozes and “No Money” which marked their first entrance to Billboard’s Hot 100 chart.

Towing the line musically, they kept to the formula that has afforded them their meteoric rise in popularity utilizing the stylings affiliated with Electro, Progressive and big-room house, dance pop, however, do not expect a major change or shift in their musical direction. IMO, there will be hits and dance floor fillers coming from this album, that’s for sure.

So, all in all, and track by track, "The Aviary" is a good solid follow up album that easily keeps the duo in the company of fellow contemporaries like ZEDD and Martin Garrix and the like.

—CATHERINE STRICKLAND

[REVIEWS:ALBUMS]

GIRAFFAGE TOO REAL NINJA TUNE

 Mainstream publications including Pitchfork, The Fader and Vogue all praise the San Francisco based artist’s debut album “Too Real.“ The 10-track album has its beginnings dating back two years ago, recorded in his bedroom, and tells a story of the artist’s personal journey of self-healing and the different stages of his life.

Born to Taiwanese immigrants, Giraffage first broke through in 2014 with a “redux” of The Dream’s “Love/Hate,” creating an increase in interest for the young producer. Later that year, he released his “No Reason” EP followed by a collaborative track, “Bring Me Your Love” featuring vocalist Thea, which brings us back the new album “Too Real.”

Described by leading tastemakers as having “perculating beats” “candy colored R&B” flavors, and being “Vibe-y,” these words are just a sampling of what you can expect from the music on this

album, because it is much, much more. Do U Want Me” opens the album and is sprinkled with a “Quiet Storm” flavor throughout its entirety, along with smokey vocals strongly sets the course of the musical direction. “Maybes” featuring Japanese Breakfast follows and offers up dreamy vocals and bright melodies. “Slowly” featuring Matosic is the album’s lead single and for good reason. Electronica at its finest is on display here, giving Radio a friendly nod, hint, hint. Midway through a progression of R&B infused electronica are the brilliantly constructed songs “Edge,” “ Green Tea” featuring Angelica Bess, “Falling Softly” and “Earth” ranging from deep in to the groove to super mellow (“Falling Softly”) and super chill, yet dancey (“Earth”).

Wrapping up the album are the tracks “19 Hours” featuring Harrison Lipton who provides soft vocals against a soft backdrop of synth layered melodies and hip-hop rhythms. “Just Over The Horizon” acts as an interlude featuring exclusively pulsating keys leading into the closer “First Breath” which is a fantastic way to wrap up the album.

Deeper synths, driving beats, and a nice piano line, plus the meshing of techno, house, and dub ingredients into the formula, makes this track the most unique of the 10.

“Too Real” is full of colorful melodies and beats, dreamy synth-generated pop effects on an R&B canvas shining with high production value and first rate guest artists. This debut for Giraffage, as represented through this collection of songs, displays his ability to write good songs that will resonate with Electronic music fans as well as those in the modern R&B and hip-hop camps. It will be interesting to hear what comes next in the future.

One thing is for certain, as more people get exposed to Giraffage's music, the continuation of praise, popularity and demand will be on the uptick.

—LEO WEAVER Beatselector Magazine | Issue N° 11 | 117

[REVIEWS:ALBUMS]

MARKUS SCHULZ WATCH THE WORLD (DELUXE) COLDHARBOUR RECORDINGS

 Springtime 2017, Markus Schulz released a fulllength album, “Watch The World,” a collection of 15 songs representing a shift in the prolific producer’s writing and musical identity. The original album, written in more of a Pop vein, features acoustic instrumentation at its base, lots of magnificent vocals and contributions from guest artists Adina Butar, Brooke Tomlinson, Cayo, Ethan Thompson, Nikki Flores and Helen, upbeat rhythms all inside a electronic dance oriented formula.

While creating the "Watch The World" album, thoughts of taking the music in a more Club oriented direction began to creep in and in October 2017, Schulz released a Deluxe 2 CD package of “Watch The World,” working out new sounds designed for the club scene. For the project, Schulz picked some great talent, such as Solarstone, We Rabbitz, JackLNDN among other leading contemporaries

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and peers to revamp the original WTW tracks, using a heavy duty electronic instrumentation as its foundation, taking each song down an awesome remix and extended mix highway.

In a nutshell, this is 3 hours and 55 minutes of majestic dance music, unleashed upon you with gigantic sound—bright and bold, glorious vocal edits, climatic builds and drops and high energy dance beats, all of which feature “bigly”(check out “Better You” and “I Hear You Calling”—you’ll get what I mean. While these are just two personal eyebrow raisers, there’s no doubt that you‘ll find many tracks getting repeat plays on your device, so, bottom-line, it’s all epic. And, it’s also nice to hear the original song’s underpinnings subtly displayed beneath the dance heavy gloss over’s.

Track by track, with each being Club ready, keeps you interested and engaged and not only showcases the talents and abilities of each guest remixer and/or collaborator, but most importantly, showcases Markus as a progressive songwriter and composer who is leading the pack of the most creative dance music creators and producers working today.

Highlights of the "Watch The World" Deluxe set include: “You And I” and “New York City” [Take Me Away] featuring Adina Butar; “Luce Prima”—14 minutes of glorious trance; “In The Night” remixed by 4 Strings and Dave Neven; the remixes of “Love Me Like You Never Did” by Standerwick, and Nifra; Kyau & Albert’s as well as Amir Hussain’s remixes of “Destiny” and Fisherman & Hawkins “Favourite Nightmare” remix.

While the above are well deemed highlights, truth is, throughout the massive 34 track package, 17 extended mixes and 17 remixes, you get an extension of brilliant embellishment and polish to an already gorgeously written original. A must have!

—CATHERINE STRICKLAND

[REVIEWS:ALBUMS]

ODESZA A MOMENT APART NINJA TUNE

 Odesza has three albums notched within their discography. 2012’ s self released “Summer’s Gone," 2014’s “In Return” for Ninja Tune, and just a couple of months ago, a new LP, also on Ninja Tune, “A Moment Apart.” Upon the September 8th release, came the instant critical praise and an incredible debut entrance to #3 on Billboard’s 200 Chart, and reached the top spot on Billboard’s U.S. Dance/ Electronic Albums Chart.

“A Moment Apart” features 16 songs with guest appearances by Regina Spektor, Leon Bridges and WYNNE among several others.

Highlights include the previously released “lead” singles “ Late Night” and “Line Of Sight” released back in April.

These tracks were perfect buzz generators and essential listening to get a pre-release insight to the forthcoming full-length album. Building on

the anticipation of the official release date, the duo released three more tracks: “Meridian,” “Corners Of The Earth” and “Higher Ground” featuring Naomi Wild.

Throughout the album, the Seattle based duo put forth some grandiose, exquisite and beautiful soundscapes, the return of horns is very welcomed, dreamy and heavenly vocal performances, both male and female, galactic and space-age pop themes while sticking to their chill and future bass leanings.

From the title track’s melancholic piano lines to the dancy “Higher Ground” featuring Naomi Wild, “Boy’s” obscurity, to the track “Late Night”—a definite must hear track, tight in the groove and beat, to competing guitar and voice harmonized melodies and the slow jam popish beauty that is “Across The Room” shining with choral qualities, a sing along lyric, compliments an already diverse array of songs. The ebb and flow of the track list shows the precision “ear” both have as the tracks transition smoothly and with chemistry.

Nothing groundbreaking here, just good solid songs made with high production value and skill for songwriting, show a progression of the pair’s flair for the cinematic feel and how to incorporate it for the dance floor.

Odesza’s fans will undoubtedly be adding this LP to their music libraries, and for those just getting to know the music of Odesza, I suggest those reading this to check out all three albums, "Summer's Gone," "In Return" and "A Moment Apart," from the first to the most recent. I also recommend searching out the many remixes and singles they've released to further discover the musical journey they’re on. I think you’ll be won over upon spending time listening and look for them on the road in the U.S. in December and in Australia in February.

—LEO WEAVER Beatselector Magazine | Issue N° 11 | 119

[REVIEWS:ALBUMS]

OLIVER HUNTEMANN PROPAGANDA SENSO SOUNDS

 “Propaganda” is German Techno producer and DJ Oliver Huntemann’s fifth full length LP and the first release since “Paranoia,” released 6 years ago. Senso Sounds is behind the release, offering consumers the new release in CD and Digital formats and really slick triple vinyl package. Officially released on October 13, “Propaganda” lists 12 new tracks plus 3 bonus tracks giving you over 75 minutes of high quality techno.

Oliver Huntemann, raised in Oldenburg, Germany and now residing in Hamburg, began his 30 plus year journey in the music world by simply taping radio shows, buying his first singles, and experimenting with belt-driven turntables.

In the late Seventies, rap, graffiti, the breakdance phenomenon along with groundbreaking artists Afrika Bambaataa, Grandmaster Flash and Whodini would be large influences and serve as

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chief inspirations for Huntemann, who at the time, was only 10 years old.

In the Nineties and onward he would go on to build record labels and studios, record and release four full length albums and numerous 12 inch singles, and remix popular smash hit singles from Depeche Mode, The Chemical Brothers, Yello, and dozens more.

Today, Huntemann is a leading pioneer and visionary producing some of the finest techno music being released today. His notoriety as a highly gifted technician of the technology is pretty evident and well deserved, just listen to any piece of music that he has been affiliated with in the past. Over the years, he has established himself as a major player and influencer among his peers and rightfully so. Again, all you have to do is push play on “Propaganda.”

Within his new album, Huntemann stretches out into adventurous waters experimenting with very progressive sound effects, good dance rhythms, dark undertones and an eclectic choice of various electronics, all featured in one way or another, as can be heard throughout.

The song titles serve as enlightening insights to the associated music, and note the simplicity… one word. Songs like “Egoist,” “Rotlicht” and “Vertigo” lay down some impressive backdrops of highenergy music primed for sweaty dance clubs and are just three tracks highlighted here in this review.

Truth is, each song stands strong on its own merits, and collectively as an album, "Propaganda" serves them on a silver platter. Techno purists should love this new album. Its intriguing, progressively modern and introduces a cutting edge sound design that is mature in nature. So, turn it up, put in those earbuds and let yourself get absorbed in this high caliber techno opus. High marks.

—LEO WEAVER

[REVIEWS:ALBUMS]

PHARAOHS IN OELAND INTERNATIONAL FEEL

 Ale Cohen's and Sam Cooper's chance meeting over ten years ago at Los Angeles’ iconic Amoeba Music has proven to be a friendship and partnership that was meant to be. Eventually leading to early music experimentation and jam sessions, the creativity blossomed in to a budding music career.

Add in members Diego Herrera, also known as Suzanne Kraft and Casey Butler aka Stellar Rahim, and the collective become complete and emerges as Pharaohs.

The primary source of creative inspiration behind the ideas and concepts come from “Crossings,” a book by surfer/journalist Michael Kew, who paints images of tropical paradise in the South Pacific within its pages. Cooper was inspired to recreate the scenes described in the narrative and exposing undiscovered places with vivid interpretations represented by exotic music

throughout the album.

The album, “In Oeland,” on the leading Balearic label International Feel, kicks off majestcically with “Muddy Middle of Nowhere” with synths and a deep rolling bass line of exotic feel feature, but the tropical drum beats and a sweet saxophone that lie just beneath is a nice segue to an alternative to the traditional Balearic descriptive commonly used.

Next up is “Oelan Gunda,” 5 minutes of deeper tones of varying degrees on the sound spectrum, continuing with tropical percussion rhythms and some native language chants/vocals sparkle, placing it to world beat prominence. Smooth electric guitar and softly played saxophone make up “Invisible Mile.” Mellow and relaxing the music literally washes over you.

“Air Kiribati” reveals a more exotic feel with its implementation of rarely used unique and traditional percussion instruments, creating trance like qualities and mystique. Leading to the wrapping up of the album is “Coral Heads.” Representing quicker pacing, friendly melodies and danceable beat unlike anything else previous heard on the album.

“Cadaje” drops back the deep feel and brainy contructs used prominently throughout and creeps along beautifully and strategically introduces a spectrum of field recorded island and tropic sounds.

The closing track, “Energy,” is a gigantic surprise and I feel they saved the best for last. The bass line grooves you along with airy synths and strumming guitars, sax and hints of percussion.

“In Oeland” is music for people that are openminded and those who are into “heady” complex compositions that utilize the merging of unusual instruments that teeters on taking the listener on a peaceful journey of tropical delight right to the edge of paradise and beyond.

—JOSEPH WENSELL Beatselector Magazine | Issue N° 11 | 121

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PURPLE HAZE SPECTRVM DOORN RECORDS

 The dark moody and euphoric creative side of Sander van Doorn—Purple Haze, has dazzled us over the years, notably with previous singles “Adrenaline” and “Eden.” Once in a blue moon, when a new Purple Haze production comes forth, it marks a special moment in time.

Encouraged by his wife, van Doorn began working on new Purple Haze music, a stunning new audio/video stage setup, and planting the roots for the development and creation of the new full length album that is “Spectrvm.”

Spread out over 13 tracks, electro, techno, trance and progressive house elements are on full display, creating a listening experience ranging from red-hot dance vibes to the “heady and trippy.”

Highlighted tracks include: “Plum” —featuring delicate piano sensibilities, haunting chords, pulsating electronics and shuffling beats create a moody backdrop. Dance oriented tracks “Neiloj,”

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“Fall,” “Light Me Up,” “Phaedra,” and “Kill Kitten” all have high energy pacing, gigantic sounds, melodies ranging from pure fire to light and breezy, and very climatic drops and dramatic breakdowns. For those waiting to hear darker, trance oriented music, well it’s on full display on the tracks “Spectrvm,” and "Out Here.” “ Prism” (Eyes Wide Open) is the one “standout” track among the 13. The track reaches its epic status through Sander’s expert usage of soaring arpeggios and pads. “Historia,” features an atmospheric and europhic beauty giving you a slow pace that builds and explodes. The closer is an epically cerebral and tripped out way to end an album.

So, I’ve briefly described 10 of the 13 tracks to give you an idea of what to expect from this very rarely seen side of Sander van Doorn. The complexity and shift behind the compositions may reflect a darker side of van Doorn’s vision of dance music, and that is a good thing. As overheard, Sander is on record for saying “I think Purple Haze needs to exist next to Sander van Doorn. I need both. They make each other bigger.” After listening, I think you’ll come to that same conclusion.

—CATHERINE STRICKLAND

READ MORE REVIEWS AT beatselectormagazine.com/reviews

[REVIEWS:ALBUMS]

SATORI MAKTUB CROSSROAD REBELS

 Satori has been quietly building an impressive catalogue of music, landing big time gigs at ADE and other high profile events and finds time to give back to his community and younger generations of music producers.

Returning to Damian Lazarus’ Crosstown Rebels, Satori has delivered a 12-track album titled “MAKTUB.” From the outset, Satori strived to produce music that is touching, uniting, and having the power of reconnecting us as human beings as its primary goals.

He did this by stowing himself away in the Belgian countryside, away from the hectic day-today noise and hustle bustle.

Residing in an isolated environment for about a month comes an album with glints of spiritual and meditative aspects, drawing on historical figures and literature displays a musical tapestry of exotic

middle-eastern influences on a complex electronic base. The triumphant result is an indication of high focus and dedication to writing and producing this highly impressive debut LP. Throughout the album, you will experience trance-inducing moments via Satori’s distorted vocals ranging from the sublimely poetic to spiritual chant lines with precision placement pushing along the musical narrative through an expert knowledge of integrating traditional instruments with modernday electronics, blending the two ingredients to make something that is uniquely special.

Shining bright among the 12 songs begins with the opening track “Sherazade and Her Never Ending Stories.” The song is deeply steeped in mysticism; traditional instrumentation, deep toned woodwinds and various percussion rhythms coexist happily against colorful harp chords and soft and slightly distorted vocals.

“Umama” features some very fine and exquisite guitar and other string instrument playing, brightly layered backgrounds, a seriously tight groove.

“Dive Into The Mystic,” a production with RQUE shuffles along with soft sounds and vocals complimented by a “Twin Peak’ish” sax line that lies right on the edge.

And lastly, Shotgun comes in with a more electronic dance feel, tasty guitar licks, a Muddy Water’s sample, and a good driving drumbeat along with vocals in a distorted fashion.

The remaining tracks follow the theme, taking the listener further down the beautiful and mystical road Satori has created.

The album conveys a musical statement that is not often heard, deeply inspirational and spiritual, sprinkled with multiple interludes of adventurism and at times, even evokes the sensual senses through the Arabian heavy sounds and magical compositions.

—JOSEPH ARTHUR Beatselector Magazine | Issue N° 11 | 123

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ALEX DIMOU TOT REBELLION

CANDIDA BORGES TE MERECER GOOD HOUSE KEEPING RECORDS

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“Tot” marks the return of Athens, Greece based Dj and deep house producer Alex Dimou to Rebellion. The three track EP displays Dimou’s versatility and creativity beginning with the title track, “Tot,” a meshing of deep house piano, whack rhythms and bouncy beats and a slither of spoken word. The second track, “Constellation,” features Lazarusman, who Dimou cites as a long time influencer, is even more whack than the opener.

The track shines with some super slick “tongue in cheek” conversational poetry in front of some damn fine tech house rhythms and sounds. The closing track “Define” was conceived during a live show in Paris and Dimou spreads out with various effects on the electronics, synths and a tightly weaved groove with shuffling beats. Overall, “Tot” is what we have come to expect from Dimiou, it’s full of imagination featuring unusual but intriguing soundscapes and rhythms making this EP something special and unique.

Candida Borge is well schooled in Bossa Nova, Jazz Lounge and contemporary classical music. She holds a Bachelor and a Masters Degree in Piano Performance and is an active educator in her hometown of Rio de Janeiro and in NYC. She's released a number of CDs including her latest “Te Merecer.” Bebel Gilberto, move over, Candida Borges is now taking the reigns. Borges has released a moving three track EP through Good House Keeping Records on which you’ll hear Bossa Nova styled jazztronica over the course of the EP. Borges brings in master mixers Marco Miro and Oscar P. to put their individual touches on the tracks and the outcome is dewy sweet. The silky smooth electric piano lines along with a multitude of tropical percussion instruments utilized in danceable rhythms throughout, give this collection of songs a festive feel, all the while keeping it quite chill.

—LEO WEAVER

—CATHERINE STRICKLAND

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GARDENS OF GOD MAPLE SODAI

IVO DEUTSCHMANN CRITICAL REFLECTION MYR

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About one year ago, we profiled Minidaugus Lapinskis aka Gardens of God and put the word out about his 2016 two track EP “River/Ghost” and the launch of his label Sodai. Over the course of the past year, relationships have developed and the label’s roster has grown, music has been released, and now the fledgling is celebrating a milestone moment with Gardens of God "Maple" EP. Featuring three tracks spanning over 20 minutes, shows the Lithuanian producer’s progression and evolution, transitioning successfully from composing for television and film, a gig he has held for years, to writing Techhouse dance floor friendly music that is modern and progressive. The producer’s concept behind the music on the new EP was to allow listeners to get lost in the sounds, which encompass varying synthesizers effects ranging from the distorted to the melodic, booming bass lines and thumping drum beats. "Maple" EP does just that.

Ivo Deutschmann’s pedigree in musical styles covers the gamut from new age, to electronica, to house music. Atmospheric landscapes; varying degrees of moodiness and storytelling through his compositions are qualities many aspire to.

Drawing on living in the moment, he has the skills to take listeners on a journey full of exotic sounds.

“Critical Reflection” marks his 2nd project for MYR and the label’s 5th. Five distinct tracks, “Destroyed,” “Floating Roof,” “Memory,” "Transmigration Part 2” and “Critical” all represent a new age for New Age inspired music adapted for dance floors. Inside you get island infused tribal rhythms, obscure electronics, driving beats, multiple vocal samples and space age atmospheric backdrops. The overall effect of combining dance elements and new age music is not an unknown practice, however, it is worth mentioning how the two are applied, just listen to “Critical Reflection” It’s a game changer and defines what it means to merge dance music with new age underpinnings.

—JOSEPH ARTHUR

—CATHERINE STRICKLAND Beatselector Magazine | Issue N° 11 | 125

[REVIEWS:EPs]

JAMIE JONES KOOKY MUSIC EP HOT CREATIONS

JUDE SHUMA REFLECTION SELF RELEASED

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Jamie Jone’s “Kooky EP” marks his label’s (Hot Creations) 100th release. The landmark project includes high profile performances from Katy B and Nookie on “Sound of Music” and label mate, Kevin Knapp featuring on “Positive Pressure.” The opening track, ”Sound of Music,” is overflowing with sunshiny beats, melodies and dance rhythms that keep you in the “Summertime” state of mind.

Featuring the originator, Nookie and vocals by Katy B., the track brims with a prominent piano bit, some nifty electronic tricks and a super low-end bass groove. Track 2, the EPs namesake, gets down and dirty with quick drum rhythms, bouncing bass, some wild and quirky voice samples and intricate breaks.

“Positive Pressure” featuring Kevin Knapp enters a sound sphere of sci-fi minimalism against techno beats and the closer “Parallel Universe” kicking with an industrial dance edge in heartbeat rhythms, countered by alternating drum and cymbal work is quite adventurous and shows some ability to stretch out and show hints of groove oriented modes.

Jude Shuma is a Chicago based singer songwriter with credits for HBO’s Ballers, CW’s Riverdale, and ABC’s Quantico. Putting aside his scoring for TV duties, he's recently released an exquisite collection of psychedelic pop songs in a lofi vein. Angelic vocals, introspective lyrics, alternating melodies, ranging from the melancholic to blazingly bright melodies accented by psychedelic rock guitars piano, live drums, tambourine, various wind instruments, and the right amount of lo-fi electronics make this release is a real get. While it may not fit in to the EDM norm, it reeks of the music of the ‘90s UK Guitar Rock scene, a la The Jesus and Mary Chain, House of Love, on and on. So, why get a record that is primarily a modern psychedelic rock record, well, I can say because the music is a brilliant and exceptional piece of work within the Pop canon painted on a lo-fi canvas. Of the 9 glorious tracks, highlights include “Reflection,” “Cosmic Feeling” and “Champagne Cigarette.”

—LEO WEAVER

—LEO WEAVER

126 | Beatselector Magazine | Issue N° 11

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TAPE HISS TAPE HISS EP JUST JACK

MELLA DEE TECHNO DISCO WAREHOUSE MUSIC

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Tape Hiss is an up and coming producer from Brooklyn, New York. Presently, Tape Hiss has recently released a new EP with three burning original tracks featuring a remix from Ostgut Ton associate Massimiliano Pagliara. The EP is full of heavy duty synthesizers, groovy beats and rhythms, with a touch of acid. Walking between the Hip-hop, Garage and Indie Pop worlds is what makes Tape Hiss's music so appealing. Punchy and catchy, cleverly written and the tracks “Hells Angel,” “M. Pagliara Remix” and the closer South of North all follow a similar path in deeper darker sounds and booming beats and each get the music rolling in high fashion. But it’s third track, “Shameful Indif,” that rules the day. Featuring a killer bouncy melody, great beats and bright backgrounds, the instrumental is destined to hit the dance-floor, bank on it.

Ryan Aitchison aka Mella Dee, hails from London and has records out on labels such as DEXT Recordings, 17 Steps and Omena Records. Drawing on main influencers Underground Resistance, Floorplan and Head High, you’ll hear hints of these trailblazers in the development and evolution of Aitchison’s sound. With the October 2017 release of “Techno Disco” on Warehouse, the music proves that the young producer is coming in to his own and hitting a high stride of creativity. Three tracks: “Techno_Disco_Tool,” “Cloud_Nine” and “World_ Dance” make up the EP and all three deliver a top shelf “warehouse party ready” soundtrack of blending disco with techno and house elements.

For those with an infinity for nostalgic disco, a clever usage of a Sister Sledge track is dropped in. Guess which track…This EP is a perfect mix of music that is guaranteed to fill up warehouses parties and crowd the dance floor.

—JOSEPH WENSELL

—LEO WEAVER Beatselector Magazine | Issue N° 11 | 127

[REVIEWS:EPs]

MILES BONNY LET IT OUT BASTARD JAZZ

SIS FEAT. BENJAMIN FRNKLN THE GET DOWN MOBILEE

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Miles Bonny is a producer from the Midwest, has spent time in NYC perfecting his chops, and has created some good down-tempo and jazztronica music. Bonny’s latest, “Let It Out” EP, ten years in the making, features 6 songs of down-tempo/ jazztronica/chill produced in collaboration with R&B producer TA-KU. “Let It Out” was recorded in Kansas City and released on Bastard Jazz, a super cool Brooklyn label by the way. The EP’s narrative allows for an introspective glance into Bonny’s, and many others, life experiences, struggles and pleasures. The music behind the story provides the perfect atmosphere for the storyline. Trumpet, jazzy guitar licks and soulful vocals, orchestral strings, and down-tempo rhythms flow easily from track to track. Turn the lights down, light up the candles and anything else you might fancy, and put this record on. Absorb its music and message. 18 minutes later, you’ll feel lighter and decompressed.

“The Get Down,” the brainchild of SIS and power vocalist Benjamin FRNKLN on Mobilee, showcase the embracing of state-of-the-art technology, creating a “killer” two track EP of deep bass and driving rhythms of varying degrees and styles including tropical and Balearic, spacey effects and echoes, chants and slightly dark distorted vocal bits. The title track gives you 8 plus minutes of just that. Track two, “The Module,” is a bit deeper in the low-end bass groove, employs rolling snare drums and crash cymbals which are perfect instruments complimenting the electronics and are placed strategically for the build-up and a very subtle drop. Featuring the cool spoken word by Benjamin FRNKLN, the phrasing is very conversational and seemingly effortless in the way it fits hand in glove with the music backdrop. Also worth revisiting is the expertise of SIS and his usage of modern music making techniques. Simply, he’s on the cutting edge and worth digging in to.

—JOSEPH ARTHUR

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—CATHERINE STRICKLAND

[REVIEWS:SINGLES]

DAVID GUETTA FEAT. JUSTIN BIEBER 2U SYMPHONIC WHAT A MUSIC LTD

DELTA HEAVY & DIRTY AUDIO STAY RAM RECORDS

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What happens when a Pop icon in Justin Bieber meets up with a legendary producer and music maker in David Guetta? All you have to do is to listen. 2U (Symphonic) incorporates lush string arrangements featuring lots of violins, cello, bass, and piano creating a powerful ballad. Whether you like Bieber, or Guetta for that matter, there is no denying that greatness lies within this production.

2U (Symphonic) will appeal to many. The thoughtful and heartfelt lyrics are achingly sublime and is easily identifiable to human nature and the longing for a lost love. In the gigantic world of what is todays dance music scene, this track stands way outside the box of the traditional and that is not a "bad" thing. On the contrary, it's a fresh new direction that should break out the Bic lighters at shows. The only criticism, the length of the track, it's rather short and leaves one yearning for more.

Delta Heavy and Dirty Audio have created a great track giving you a lethal combination of blending DnB and Trap into one "helluva" glorious song featuring vocals by HOLLY. "Stay" features uplifting vocals taking you on a ride of highs and lows which are both signatures of Delta Heavy and Dirty Audio's repretoire. The song begins with HOLLY behind a slightly pop oriented soundscape filled with softly layered synths, finger snaps, and bass drum kicks leading up to a climatic drop. That is where the magic appears. Heavy distortion and marching drum rhythms pushes you along until the the vocals return, all the while keeping the energic and frenetic pace that both Delta Heavy and Dirty Audio are both known for. This collaboration is a stroke of genius and proves that it is possible to create songs that combine these kinds of styles, while not alienating DnB and Trap lovers. Let's hope that melding of like minded artists continues...

—CATHERINE STRICKLAND

—JOSEPH WENSELL Beatselector Magazine | Issue N° 11 | 129

[REVIEWS:SINGLES]

DEORRO BURN OUT PANDA FUNK

DEPECHE MODE COVER ME (NICOLE MOUDABER REMIX) MOBILEE

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Following Deorro's debut full length album "Good Evening"—a collection of 26 tracks that was released earlier this year, comes a brand new single "Burn Out.' For the last couple of years, the California based producer has churned out remixes for Steve Aoki, Laidback Luke and Gareth Emery among others, has unleashed a juggernaut of high energy music. Period. Known for delivering songs that are full of experimentation, simplistitc minimalism and in your face melodic structures, "Burn Out " is a continuation of that successful creative formula. The track features elements of "Hardstyle" rhythms and funky beats displayed in a high energy pace that is sure to resonate with Deorro's loyal fanbase. When listening, the gritty, distorted and high pitch, teeth grinding electronics are complimented by an insane driving drum beat that is perfect for clubland and will inspire movement whether on the dancefloor or in the gym. Yes, the gym. It is perfect for your fast moving cardio workout.

—LEO WEAVER

Depeche Mode's latest single "Cover Me," from their 14th album "Spirit," features all the trademark elements that make up a DM classic, complex dark orchestrations and moody melancholic vocals. Enter Nicole Moudaber. A life long fan of the new wave synth band, the project came to fruition years after hanging out with Martin Gore at his countryside estate. Moudaber takes the original track of just under 5 minutes long to a whopping 11 plus minute club banger. Keeping true to the original composition and feel of the song, Moudaber takes you further down the dark road, incorporating seminal techno sounds, a deep rolling bassline, meshing and placing Dave Gahans vocals expertly within the remix that ultiimately results in a track that is hot and cool at the same time. You can bank on hearing this remix within the sets of Moudaber while she is currently touring the globe in club and festival settings.

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—CATHERINE STRICKLAND

[REVIEWS:SINGLES]

EL-P X LEONIS SMITHEREENS (STOP CRYIN') A NIGHT ON CANOPY

FELIX CARTAL HOLD TIGHT POLYDOR/CAPITOL RECORDS

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A Night on Canopy prides itself on presenting cutting edge artists and releasing music that is out of the norm, especially when it comes to mainstream Hiphop and rap. Bringing together Run The Jewels' EL-P and LEONIS to cut an underground hip-hop track firmly cements the label as a leading proponent of distributing new musical visions that are progressive and a bit ahead of the rest of the pack. The track features slick and spitting vocals divied up between the artists, complimenting to their different styles and languages, English and French. While the vocal delivery and the social message dominate the track, the underlying melody and electronics feature nicely and then there are those phat beats. Overall, fans of Run The Jewels and those that follow LEONIS, will be happy and enjoy this track.

—LEO WEAVER

Fresh off his top charting remake of “Get What You Give” released earlier this summer is the beautifully penned B-Side “Hold Tight.” The message within the music is one of optimism and hope conveyed through a tapestry of eurphoric and wistful melodies. Speaking about the song, Felix says: "I liked the Hold Tight phrase, which I sampled from "Get What You Give," as a theme. I think embraces are very powerful, and the mood of the song has this sort of unresolved feeling - like we are all searching for a moment of togetherness." “Hold Tight” is a major accomplishment and one of best tracks, IMO, of 2017. The music is dreamy electronica, with the looping vocal bit “Hold Tight” and high production value gives the track anthem qualities, and realizes the goal Cartal was to attempting to reach— releasing a bright track to combat the tough times as well as celebrating the good. Goal accomplished.

—JOSEPH WENSELL Beatselector Magazine | Issue N° 11 | 131

[REVIEWS:SINGLES]

KUURO SWARM MONSTERCAT

MANUEL RODRIGUEZ EVEN DUELL LEVEL NON ZERO

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Jordin Post and Luke Shipstad make up the duo KUURO, a Monstercat regular, and recent official remixers for Zedd, Liam Payne and Boombox Cartel.

These two Finnish producers dabble in multiple genres such as Trap, Electro, Moomahton, Hard Dance, Bass and most recently Dubstep with the head banging experiment that is “Swarm.” They’ve stepped way outside the box and put forth a heavyduty track that will excite not only their loyal fans, but also Dubstep fanatics and Bassheads. The track is full gritty sounds, climatic beats, and a dope bassline and seems to be a natural progression in the direction the two were heading upon listening to previous releases. It’s only fitting that this track would be released through Monstercat, their 8th project by the way, further demonstrates that the label is becoming a very formidable force with a progressive vision of taking electronic music well in to the 21st century. “Swarm” is the proof.

Tech-House producer Manuel Rodriguez’s "Even Duell" marks the 44th release for Pascal Feos and Level Non Zero. Joining in for the project is Guido Schneider who re-envisions the track through a great remix. "Even Duell" has subtle oriental vocals against a backdrop of music that is rooted in the Chilean tradition, expressing positive vibes through a deep groove of positive energy. The original track is 9 minutes long and is designed to take the listener on an otherworldly journey and shows how meticulous Rodriguez attends to what appears as “painstakingly” high attention to detail, not only with his technical ability, but also through his vivid imagination. Throughout the song, the instrumentation shines with a multitude of different tribal sounds, various percussion instruments and the perfectly placed positioning of the Triangle pings you’ll most certainly hear. The remix, by Guido Schneider, presents a more melancholic feel, streamlined and pristine and also fits well for late nights and after hour club hangs.

—LEO WEAVER

—JOSEPH ARTHUR

132 | Beatselector Magazine | Issue N° 11

Beatselector Magazine | Issue N° 11 | 131

[REVIEWS:SINGLES]

NGHTMRE THE KILLER MAD DECENT

PROSPECT PARK TILL YOU SURRENDER ZRECORDS

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L.A.’s NGHTMRE has been quite active this year with big projects with Ghastly and DJ Snake among others, appearances at Coachella, EDC Las Vegas, Lollapalooza and throwing his own event, Gud Vibrations Festival with SLANDER are just a few of highlights. Currently on his "NGHTMRE Before Xmas" tour with dates across the United States then off to Bangkok, Tokyo and Amsterdam, you can expect to hear “Killer” in the set and be forewarned, it will whip up the crowd in to a frenzy of dance mania, guaranteed. For the session, NGHTMRE brought in former roomies and fellow producers, Bret James and RNSOM to craft the tasty bass driven track “Killer.” Bret James provides the creepy vocal performance and RNSOM and NGHTMRE provide the instrumentation behind it. While the vocals feature, the bass lines and buzzing electronics are also essential elements to the song, giving it what is called a “sinister” feel and that’s pretty spot on description.

Dave Lee aka Joey Negro has damn good taste in music and is a master at identifying and recruiting top-tier producers to work with. That’s undeniable.

Back in the 90s, Lee released his cover of Rainbow Brown’s “Till You Surrender” featuring a stunning vocal performance by Taka Boom. Now, this track gets a re-introduction and a freshening up with a new version by DJ Fudge. Born and raised in the suburbs of Paris and now residing in Hong Kong, DJ Fudge is one of the most versatile and prolific producers of his generation and taking on this project for ZRecords and Lee shows just that. DJ Fudge has put a touch of “class” on the track originally penned by Patrick Adam of Inner Life and Musique fame by adding energetic string arrangements and other key disco and house ingredients that really spice up the original. Deeply rooted in a tight groove within an unbelievable pocket, this production is red hot and is evident that it demands spins in clubs.

Modern disco is alive and well, thanks DJ Fudge and ZRecords.

—CATHERINE STRICKLAND

—JOSEPH WENSELL Beatselector Magazine | Issue N° 11 | 133

A SELECT guide

NYEusa2 atlanta

Bassnectar GWCC

Chicago Adventure Club Aragon Ballroom

Detroit Matthew Dear, Ataxia, Chuck Flash & more Marble Bar

Las vegas Calvin Harris The Omnia Steve Aoki Hakkasan Nightclub Marshmello Intrigue at Wynn Chainsmokers XS at Encore

Los Angeles Markus Schulz Avalon Hollywood Gareth Emery Exchange LA Dillon Francis, Whethan, Team Ezy Shrine Expo Hall Dubfire Union Nightclub R3HAB Create Nightclub

134| Beatselector Magazine | Issue N° 11

to

2018 New York

John Digweed, Tara Brooks Output Gramatic, Big Wild, Ramzoid, Cobrayama Terminal 5 The Disco Biscuits Playstation Theater Soul Clap, Justin Strauss, Billy Caldwell Good Room Claptone BangOn! NYC

San Francisco STS9 The Warfield ZHU 1015 Folsom Kaskade Bill Graham Civic Auditorium Nora En Pure Audio Party Favor, T-Pain Fort Mason Fesitval Pavillion POPNYE: Green Velvet, Claude VonStroke, Solardo The Armory SF Beats Antique The Midway

Washington, D.C. Thievery Corporation Anthem Eric Prydz Echostage Nadastrom, Ken Lazee U Street Music Hall

Beatselector Magazine | Issue N° 11 | 135