NILE RODGERS & CHIC 'S IT 'S ABOUT TIME KICKS OFF 30 MUSIC RE VIE WS
THE REBIRTH OF
GET THE BLESSING COOKIN' UP A TASTY CASSEROLE JAZZ, ELECTRONICA & AMBIENT NOISE.
NICK ROYAARDS
A BIG TIME EDM POWER PLAYER CONNECTED TO THE SUPERSTARS.
SOPHIE FRANCIS
MAKES SPOTIFY'S NL TOP "25 MOST INFLUENTIAL ARTISTS UNDER 25" LIST.
&
MIKE LA FUNK
A LEADING PURVEYOR OF THE FUNK AND TROPICAL HOUSE SOUND.
KOLOMBO//LEVITATION JONES//LUCA SCHREINER//MAWAYY//THE GREEN CHILDREN//TRITONAL//UNREEL RECORDS
B EATSELECTOR Moving Electronic Music Forward
2018 / Issue N° 15
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 Vladimir Jean-Philippe Zach Miller
EDITORIAL REQUESTS
editor@beatselectormagazine.com
ADVERTISING & MARKETING ads@beatselectormagazine.com
GENERAL INQUIRIES
info@beatselectormagazine.com
SUBSCRIPTIONS
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inside ISSUE NUMBER 15 DECEMBER 2018
Cover and Table of Contents Photography courtesy of Scott Kirkland
COVER FEATURE
ARTIST THE CRYSTAL METHOD'S SCOTT KIRKLAND HAS GONE THROUGH A RECENT REBIRTH OF SORTS. TAKING THE REIGNS AND LEADING THE RE-BRANDING OF TCM, SCOTT DISCUSSES IN DETAIL HIS FORMATIVE AND WILDLY SUCCESSFUL YEARS WITH NOW RETIRED FRIEND AND CO-FOUNDER KEN JORDAN, THE CONTINUED SUCCESS OF THE DUO'S GROUNDBREAKING ALBUM "VEGAS," HIS MOST MEMORABLE MOMENTS SO FAR, AND HIS GREAT NEW ALBUM "THE TRIP HOME."
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inside ISSUE NUMBER 15 DECEMBER 2018
Table of Contents Photography courtesy of Get The Blessing
Features
76 GET THE BLESSING
JAZZ-ROCK / POST-JAZZ / NOT JAZZ...WHO KNOWS WHAT IT IS, BUT THE MOST IMPORTANT THING IS THAT GTB KEEP ON DOING WHAT THEY DO AND BEING THEMSELVES. OH, AND BY THE WAY, PETE AND JAKE DISCUSS THEIR NEW LP & THE INFLUENCE OF JAZZ ICON ORNETTE COLEMAN.
90 NICK ROYAARDS
THIS Q&A SHINES A SPOTLIGHT ON ONE OF EDM'S QUINTESSENTIAL MUSIC EXECUTIVES WITH INSIGHT INTO HIS EARLY ENTRANCE IN TO THE GLOBAL DANCE MUSIC SCENE, LONG HOURS AND LONG DAYS AND HIS TAKE ON WHAT IT TAKES TO MAKE IT TO THE BIG TIME!
98 SOPHIE FRANCIS
SOPHIE FRANCIS, AN ARTIST ON THIS YEAR'S SPOTIFY'S NL PRESTIGIOUS "TOP 25 MOST INFLUENTIAL ARTISTS UNDER 25" LIST, WHICH ALSO INCLUDES FELLOW DUTCH ARTISTS MARTIN GARRIX AND OLIVER HELDENS. INSIDE, SHE SHARES HER INCREDIBLE 2018.
104 MIKE LA FUNK
MIKE OHAINSKI, AKA MIKE LA FUNK, HAS FOR 18 YEARS LED THE WAY AS A LEADING PURVEYOR OF THE FUNK AND TROPICAL HOUSE SOUND. WE CATCH MIKE IN A MOMENT OF REFLECTION CONJURING HIGHLIGHTS OF HIS CAREER— PAST AND PRESENT & WHAT THE FUTURE HOLDS.
Departments 20 ICYMI ROUND-UP OF RECENT NEWS FROM AROUND THE WEB.
40 NEW MUSIC PREVIEWS
CHRISTOPHER KAH, EELKE KLEIJN, HYBRASIL, JUST A GENT, KOAN SOUND, MARKUS SCHULZ, NIGHTMARES ON WAX, RICHARD DURAND, ROBBIE RIVERA, THEODORE, TNERTLE.
62 ON TOUR
TRITONAL: ONE OF DANCE MUSIC’S MOST PROLIFIC AND VERSATILE PRODUCTION TEAMS, HAVE ANNOUNCED PLANS TO RELEASE A NEW STUDIO ALBUM, ENTITLED "U & ME," AND EMBARK ON THEIR BIGGEST NORTH AMERICAN TOUR TO DATE.
64 BUZZ WORTHY/ARTIST PROFILES KOLOMBO, LEVITATION JONES, LUCA SCHREINER, MAWAYY AND THE GREEN CHILDREN.
74 LABEL WATCH Q&A WITH FELIX GÖLLNER AND THE UNVEILING OF UNREEL RECORDS.
110 CD/EP/SINGLES MUSIC REVIEWS
NILE RODGERS' LATEST INCARNATION OF CHIC RETURN WITH "IT'S ABOUT TIME" KICKING OFF 30 MUSIC REVIEWS!.
[OPENING NOTES] Written by Joseph Wensell
ISSUE 15 The Crystal Method's Scott Kirkland is back in action. In recent weeks, Kirkland has been playing gigs, giving interviews and promoting his terrific new album “The Trip Home.” Given the opportunity to interview Kirkland at the cusp of his rebirth and leading TCM as a solo act, was truly a privilege. In the back and forth, Scott takes us inside his early successes with co-founder and close friend, Ken Jordan, the continual impact of their multi-platinum album “Vegas,” and of course his thoughts on his new album.
influencer and executive; Sophie Francis—a recipient of Spotify’s NL (Netherlands) 2018 “Top 25 Most Influential Artists Under 25” list happily shares her incredible year and Mike La Funk, who has been spinning Tropical and Funky house music for 18 years has big things planned for 2020 and as his name implies, a deep reverence for funk music. We find out why. KOLOMBO, Levitation Jones, Luca Schreiner, Mawayy and The Green Children get the "Buzz Worthy"/Artist Profile treatment, we list dates for Tritonal 2019 North America tour and our Label Watch is on the brand new label Unreel Records. Also inside, we have write-ups on 30 new and recent music releases, as well as several new music previews that should be on your radar and bucket lists. Happy 2019 and read on!
Our other features include Q&A with: Get The Blessing's Pete and Jake talk jazz, the influence of Ornette Coleman and their new album; Nick Royaards (the man behind Dimitri Vegas & Like Mike, Yves V., Lost Frequencies, Tomorrowland and the "Bringing the Madness" event series) allows us to give you a glimpse inside his life as a major EDM creative force
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[ICYMI] Glitterbox Pump The Boogie! Tour Hits Germany, Australia, UK & The USA N E W S F R O M A R OUND T HE WE B
Following a stellar summer in Europe, Glitterbox hits the road for another international tour: Pump The Boogie! Taking the much-loved party global, this 11-date tour will spread the Glitterbox sound around the world, moving minds, bodies and souls. 2018 has been a defining year for Glitterbox, with an 18-date, record-breaking season at Hï Ibiza, alongside parties in New York, Zurich, Amsterdam, Belgium, Croatia and Manchester to name a few. This decade’s most flamboyant club culture phenomenon has reached new shores and new heights—by the close of this year, over 150,000 people will have danced to Glitterbox’s unique blend of house and disco. The Pump The Boogie! tour will include Glitterbox’s Australia debut, with dates in Sydney, Melbourne and Perth, featuring house legend Todd Terry. UK shows include Leed’s Church club, Junction in Cambridge, Bristol’s Marble Factory, Digital Newcastle and the final London date at Ministry of Sound. On December 15, Glitterbox returned to NYC’s iconic House of Yes, one of the city’s most notorious clubs. Headliners across the tour include Dimitri From Paris, Roger Sanchez, Louie Vega, Purple Disco Machine and Horse Meat Disco, as well as support from Dr Packer, Nightmares on Wax and Simon Dunmore. As always, the euphoric house and disco hedonism of the Glitterbox dance-floor will be enhanced by performances from the Glitterbox dancers, including some familiar faces who have graced the covers of recent Glitterbox albums. Glitterbox A&R and resident DJ Melvo Baptiste, who will be playing at selected dates, continues to prove his credibility as a selector; he’s mixed the new Pump The Boogie! compilation, which perfectly complements the tour and captures the energy of Glitterbox’s parties. Get tickets here.
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[ICYMI] N E W S F R O M A ROUND T HE WE B
34th Annual Winter Music Conference At Faena District To Kick Off Miami Music Week In 2019, Miami will see the rebirth of one of its most iconic brands, a conference that helped give birth to an entire industry from its humble beginnings back in 1985. Under the umbrella of Miami Music Week, the Winter Music Conference at Faena District [WMC] will return to Miami Beach from March 25-28, 2019 with a refreshed perspective and insightful programming that will bring together a new generation of industry professionals and music consumers for a week of unforgettable experiences in the incredible Faena District. A property unlike any other, WMC’s exclusive hotel partner, The Faena, was named by Conde Nast Traveler as the #1 hotel in Miami Beach for two consecutive years via their prestigious readers poll. 2019 marks the first fully-programmed WMC since it was announced in March 2018 that the organizers behind Ultra Worldwide, the world's most successful independent, international music festival brand, had acquired the Winter Music Conference and International Dance Music Awards (IDMA) properties. The Ultra Worldwide acquisition aims to restore WMC’s status as the must attend dance music industry and networking conference in the world. “For decades, the electronic music industry ran through WMC. It was where the mega deals were done and provided a launching point for countless legendary tracks as well as breakthrough DJs. In March 2019, WMC returns with a fully revamped program that gets the industry back to business. It’s the perfect start to an unforgettable Miami Music Week.”—Russell Faibisch, Ultra Co-Founder, Chairman & CEO “After 34 years, we’ve reached a major point in the evolution of WMC. Attendees will experience expertly curated panels with key music professionals, cutting edge mixers, mentorship moments, and endless opportunities to share up-to-the-minute technology in an exceptionally beautiful and blissful setting, the Faena District.”—Bill Kelly, WMC Co-Founder Be on the lookout in the coming weeks for more exciting WMC announcements including the reveal of panels, keynote speakers, partners and much more. Register here.
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[ICYMI] Amsterdam Dance Event Rounds Up RecordBreaking 23rd Edition N E W S F R O M A R OUND T HE WE B
For the first time ADE welcomed over 400,000 visitors from more than 100 countries for an extensive day and night program featuring over 1000 events and leading artists and speakers from around the world. From October 17 to 21 there were more than 450 night and 600 daytime events spread over 200 locations, with over 2500 performing artists and around 600 speakers participating in keynotes, workshops and master classes on a variety of topics. The conference and festival program by day saw an increase in numbers attending with daytime activities exceeding more than 600. A major focus was the anniversary of 30 years of Dutch Dance. Celebrations included the premiere of a three-part VPRO documentary and the launch/presentation of a reference book featuring the scene’s leading lights. South Korea was the focus country this year, consequently much attention was paid to the rapidly growing South Korean music scene. Several conference and festival events illustrated that musically and culturally South Korea has a lot to offer the rest of the world. Other countries highlighted as one to watch were Australia, Belgium, Brazil, China, Columbia and Mexico, with special industry network sessions and a growing number of artists performing in the day- and night-time program. The Amsterdam Dance Event (ADE) has grown into a five-day poly-cultural event hosting more than 2500 music artists across all participating clubs and concert halls. ADE hosted a myriad of events from countless panels discussions at the main conference through to pop-up performances, audio/visual installations, film screenings, tech schools and charity events. Some of the diverse and exciting speakers involved in this year’s conference program included; Albert van Abbe, Bonobo, Bruce Carbone, David Guetta, Headhunterz, Imogen Heap, Jayda G, Jean Michel Jarre, Jillionaire, Kerry Trainor, Lena Willikens, Nile Rodgers, and Orbital, among others. Dutch journalist, musician and event organizer Gert van Veen received the Amsterdam Dance Event Lifetime Achievement Award for his enormous and crucial contribution to the dance scene, the city and ADE, only the second person in the history of the event to have received the honor. For a visual overview of the best things that took place at ADE 2018 look at the website here.
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[ICYMI] The 7th Edition Of We Are FSTVL Announces Its First Wave Of 2019 Acts N E W S F R O M A R OUND T HE WE B
The ultimate highlight of the festival calendar for true ravers and returning for its hugely anticipated 7th edition, We Are FSTVL is heading back to Damyns Hall Aerodrome, Upminster from May 24th – 26th, 2019. The event brings together colossal names in House, Bass, Techno, UK Grime and Drum & Bass with the first 20 acts announced in what is guaranteed to be the festival's boldest line-up of 325 acts. Headliners for 2019 include Basement Jaxx, Sigma, Solardo, Bugzy Malone, plus many more. Drawing in a crowd of over 90,000 across the weekend, We Are FSTVL is the biggest dance festival in the capital. Now in its 7th year of supplying London with the world's biggest acts, 2019 is gearing up to be its most explosive year to date. Spread out over 30 stages, 2019's site is the largest footprint in the festival's history, with two exclusive new bespoke stage structures taking residency onsite. Music lovers will also witness the worldwide exclusive debut of "The Maze," the largest Truss supported stage ever used in the UK. Transporting audiences back to the summer party vibes of Ibiza, Defected and Glitterbox will be returning to We Are FSTVL for 2019. This year will also see Café Mambo and HotBed host the official VIP area, the perfect celeb spotting hangout. Director of We Are FSTVL, Reece Miller, said: "Following a record breaking 2018, the British Festival Industry witnessed one of the greatest summer's in its history. We Are FSTVL was fortunate enough to be one of those that had a great event with our largest ever attendance to date. We look forward to We Are FSTVL 2019 for our 7th edition, lucky number 7, where we've taken our time to construct our greatest, latest, biggest & best line-up of all time. The team at We Are HQ have 2 unbelievable new world exclusive stage arena concepts that will be showcased for the 1st time ever on our beloved Airfield of Dreams. We can't wait to get cracking, Your Summer Starts Right Here!" 2019 headliner and DJ extraordinaire, Andy C said: "Headlining We Are in 2018 was a huge highlight for me. It was like a homecoming and I can't wait to do it all again in 2019!" Get tickets here.
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[ICYMI] Insomniac Finalizes International Deal & Partnership with ALDA N E W S F R O M A R OUND T HE WE B
In keeping with Insomniac’s ongoing international expansion, the company recently announced it has entered into a partnership with ALDA after acquiring 50 percent of the Amsterdam-based company that is a leader in developing, producing and promoting dance music events and experiences around the world. Together the two premier production companies will expand the dance music scene to a broader international audience, bringing their brands around the globe and expanding their footprint in Europe, Asia and the United States. “Allan, David and the entire ALDA team are first-class event producers, and friends I’ve known for many years. We’ve wanted to work together for quite some time, so this partnership feels very natural,” says Insomniac Founder and CEO Pasquale Rotella. “By aligning our businesses we can bring the world-class experiences that both Insomniac and ALDA are known for to the US and exciting new places around the world.” Over the last 25 years, Insomniac has grown into the premier dance music production company and has produced more than 2,000 events, including Nocturnal Wonderland, the longest running dance music festival in the U.S., and Electric Daisy Carnival (EDC), North America’s largest dance music festival, which welcomed over 400,000 attendees to Las Vegas for three days in May of this year. Insomniac’s international portfolio—which includes events in 8 countries—currently features events like EDC Japan, EDC China, and EDC Mexico, which is now the largest music event held in that country. “We are thrilled to enter into this partnership with the Insomniac family. Pasquale and his team are true innovators when it comes to creating and executing festivals and music events,” says Allan Hardenberg, ALDA Cofounder and CEO. “It has been our goal to provide dance lovers with high quality musical experiences, and Pasquale encourages this vision.” With more than 180 shows produced in more than 30 countries, ALDA leads the international dance music scene with outdoor and indoor festivals, tours and events, including AMF, the largest indoor music festival in The Netherlands, A State of Trance, the world’s leading trance event and New Horizons Festival, one of the largest electronic music festivals in Germany.
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[ICYMI] International Music Summit Reveals Its Theme For 12th Edition N E W S F R O M A R OUND T HE WE B
International Music Summit (IMS), the premier global platform for business, culture and education within the electronic music industry, returns in 2019 to the dance music capital of the world for its annual three-day educational, inspirational and motivational thoughtleadership forum. As an incredibly powerful and poignant year draws nearer to a close, today IMS announce its cornerstone theme for its 12th summit on May 22-24th 2019. The platform, once described as "the TED of music conferences", has been responsible for leading initiatives that have resulted in positive change within the electronic music industry and it continues to set the agenda for the genre across the world in Europe, North America and Asia. Focused on evolving and elevating the potential of both the individual and organizations in order to unlock success, IMS Ibiza 2019 will assemble industry leaders and artists from the international electronic music sector and beyond, to inspire and be inspired, throwing a spotlight on the most crucial business challenges and opportunities we face today. Special emphasis on health and wellness for mind and body will also continue to be a summit focus, with daily yoga, meditation and reflection sessions offered to all delegates. REMEDY STATE, the first wellness, creativity and performance retreat aimed at the Arts & Entertainment industry, will also return to the serene Sa Talaia for IMS Ibiza 2019, building on the critical momentum generated during its 2018 sold out debut and continue supporting the health and wellbeing of our industry. Participants in the fully immersive 2-day retreat will experience one-on-one consultations with doctors, coaches, and nutritionists, lectures from world leaders in the fields of mental health, mindfulness, fitness, and performance coaching, hands-on workshops from cutting-edge practitioners in the fields of sleep, sound healing, breath work, yoga, fully inclusive organic & paleo meals and more. Along with the carefully curated three-day summit of inspiring keynotes and workshops, delegates will experience powerful networking sessions, Ibiza opening parties, the IMS Legends Dinner and the annual IMS Dalt Vila closing celebration. For the second year IMS Ibiza offers delegates the opportunity to choose their summit experience from three tailored badge tiers as well as the option to bundle REMEDY STATE packages. Special discounts for students, Under 25's and Ibiza Residents are also available providing full summit access, as well as entrance to selected Ibiza clubs and opening parties over the duration of IMS week.
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[ICYMI] N E W S F R O M A R OUND T HE WE B
Alex Niggemann And AEON Celebrate 5 Year Mark With New Compilation Album Alex Niggemann had a vision to launch a label that mirrors diversity. Now, in 2018, his absorbing AEON imprint celebrates five years in the business. To mark this pivotal moment, he invites a succession of celebrated AEON family members to contribute to this impressive ten track release. The album begins with TVA’s "MH17." An ambient and melodic wonder that floats you into a dream-like state. Kincaid featuring Sinal provide a darker beat on "Gibberish"- creeping synths are complemented by a psychedelic guitar sample, whilst "Trails Of Snails" from Uriah Klapter creates a twisted and dronelike atmosphere. Omri Smadar takes the reigns next with his tribal drum-infused "Drum Odyssey" which leads into the bouncing kick of Speaking Minds & Amarcord’s "Dancing Under Bright Lights", taking you on a journey deep into space. Label head Alex Niggemann continues the cosmic journey with "Orion" - heady bass and glitchy beats are laced with a small, harmonic synth section. This flows perfectly into the synth-led, broken-beat vibe of Third Son’s "Hypernormalisation." The next offering comes from LPZ who continues with the broken-beat theme adding a crescendo of clashing cymbals on "In My Mind." Echonomist delivers the penultimate track in the shape of "Loosing Less" a driving number with a racing and pulsating heartbeat. Radeckt closes the album on a high with "Raven"- a carefully crafted, playful slice of techno. Alex Niggemann needs little introduction. A classically trained pianist, it was his brother’s vinyl collection that created his thirst for electronic music. Niggemann formed his AEON imprint in 2013 as a place to release quality and timeless house and techno. But it was the discovery of artists such as Carl Craig and Underground Resistance that spurred him on to DJ. He’s had music signed to Upon.You, Rotary Cocktail Recordings and Resopal. Radeckt’s productions often reflect that of his surrounds in Denmark- cold and urban, but still managing to retain a warmer, spirited side. His considered productions have been given a home on respected imprints including Constant Circles and Sincopat.
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[ICYMI] N E W S F R O M A ROUND T HE WE B
Astralwerks Announces Partnership With World's Biggest Gamer, Ninja In a first for the music and gaming worlds, Astralwerks and Tyler "Ninja" Blevins have joined forces on a groundbreaking new project, Ninjawerks. Ninja, who is the world's biggest gamer, announced the album recently at TwitchCon in San Jose, CA. As the most popular online gamer in the world, Tyler Blevins – known to millions simply as "Ninja" – has risen to mainstream star status. If the stats aren't convincing enough – the most followed channel on Twitch, 19 million subscribers on YouTube, and 11 million followers on Instagram – then the recent ESPN Magazine cover (the first for any gamer in a mainstream sports magazine) and teaching beloved TV host Ellen DeGeneres how to play might prove it. He's a favorite duo partner among sports stars like Juju Smith and Baker Mayfield and DJ's like Marshmello and Dillon Francis, and entertains thousands on a daily basis through his mix of informative and humorous Fortnite streams. The Chicago area resident also has raised millions for charity and enjoys spending time with his wife Jessica and two dogs when not online. Many of today's most acclaimed electronic artists have been tapped to soundtrack Ninja's gaming world. Ninjawerks will be available in digital, CD and vinyl formats. Look for songs and other content to be launched in the weeks ahead, including a wide range of merchandise, Ninjawerks accessories and original artwork. "I'm stoked about this project, first because I truly love the music, but also because I think this is another big step towards bridging the gap between music artists and gamers," said Ninja. "Our worlds keep getting more and more connected, and this feels like the next step -- hopefully this can become the soundtrack to gaming. It's also amazing to partner with Astralwerks and Capitol Music Group, because they bring so much credibility to the album. I mean. Come on. Get your ears ready." Astralwerks General Manager Toby Andrews added, "Partnering with Ninja and taking our first step into the gaming world simultaneously as a label is an extremely exciting proposition, and we couldn't be happier to be announcing Ninjawerks. Working with Ninja and his team at Loaded to curate and conceptualize the album and the coming campaign has been remarkable. Through the hard work and dedication of a lot of people, it's great to see this project come to life and expand the possibilities of what we can offer artists." Checkout Ninjawerks here.
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[ICYMI] N E W S F R O M A R OUND T HE WE B
Brighton Music Conference 2019 Announces Dates and Venue Change Brighton Music Conference, the UK’s foremost electronic music conference, has announced a venue change for its sixth year. BMC19 will take place at British Airways i360 beachfront complex from Wednesday April 24th to Saturday April 27th 2019, following its most successful year to date in 2018. After 5 years at the Brighton Dome, Brighton Music Conference will be taking over the British Airways i360 venue space and restaurant and offered ‘golden tickets’ to launch ticket sales for next year’s event. The 50 golden launch tickets will include entry to a VIP panel and exclusive networking party 450 feet above Brighton in the i360 Pod observation tower with a secret DJ. The special BMC Professional ticket also includes entry to the Professional Conference plus Academy Theatre 1 and 2, the Focusrite/Novation Theatre, all BMC evening networking events, Demo zone including DJ and music tech and services, plus BMC Goodie Bag and BMC Event Guide. Academy 2-day passes will also be on sale. BMC19 features talks and panels in the Professional Theatre sponsored by Sharp Stream, as well as workshops, panels and seminars in the Academy 1 & 2 Theatres. The Focusrite/ Novation Theatre returns at BMC19 featuring workshops and talks. There will also be a specialised ‘Demo Zone’ exhibition floor for the tech and services industry for DJs and music makers and a delegate Networking Hub in the exhibition centre’s beachfront brassiere. The Toolroom Academy and Hospital Sonic Surgery will host production workshops in at additional venue still tbc. There will be networking events and club nights over 4 days. Sponsors of BMC19 include Focusrite/Novation, Sharp Stream, HMUK, PRS for Music, Loopmasters, Pioneer DJ, Plugin Boutique, and Horus Music (panel sponsor). Charity partners include Audio Active, Help Musicians UK, Last Night A DJ Saved My Life. Conference partners include ACS, Association for Electronic Music (AFEM), Beatport, Berlin, British Airways i360, Defected Records, DJ Growth Lab, Hideout, Hospital Records, MonoKrome Music, Patterns, Rubadub Records & Music Technology, R&S Records, Shogun Audio, Tempest Inn, The Arch, Toolroom Academy, Ultra Music, Wunderland, Women In Dance Music Collective, Media Partners include BN1 Mag, Data Transmission, DJ Mag, MusicTech, Skiddle and more. Get tickets here.
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[ICYMI] N E W S F R O M A R OUND T HE WE B
Groove Armada To Release Limited Edition Football Shirt In Aid Of "The Music Support" Charity Group On the brink of their highly anticipated sold out 'GA21' UK live tour, which will see the critically acclaimed dance music duo return to the live stage for the first time since 2013, Andy Cato and Tom Findlay are set to release a limited-edition football shirt in aid of charity. In collaboration with the football merchandiser and social media sensation Bands F.C., half the proceeds will go to the "Music Support" group, which provides support for individuals in the UK music industry suffering from mental, emotional or behavioral health disorders (including but not limited to alcohol and drug addiction). The shirts will be extremely limited in number and are available to purchase at all shows on the tour, as well as online. "'Apart from our run of live shows alongside the band, this is next most exciting thing about Groove Armada 21 tour. An exclusive football shirt brought to you in conjunction with the amazing Bands F.C. This brings together some of our favourite things: gorgeous design, a touch of early 80's football and a song that changed everything for us. Strictly limited edition run, your chance to own a piece of Groove Armada history." – Groove Armada The concept has been designed by the highly coveted Bands F.C, whose aim is simple, to create bands as football teams and football teams as band through their designs. Having previously merged football badges and band names together for the likes of The Charlatans, Echo and the Bunnymen and many more, Groove Armada's badge is based on Plymouth Argyle F.C. Controversially using Exeter City F.C.'s colors; Plymouth Argyle's bitter rivals. Groove Armada are also launching a supporting campaign to supply an under 13, girl's football team with the limited shirts for the upcoming season. Running alongside the charity aspect, Tom and Andy are inviting girl's teams to send in a video that best captures their clubs spirit; a goal, a killer tackle, a club anthem, a video of them making as much noise as possible. Entries must be uploaded directly to Twitter or Instagram, tagging the Groove Armada official page. All videos will be reposted via Groove Armada's social media networks.
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[NEW MUSIC: PREVIEWS]
Coming at you with a truly grandiose project from one of France's best-kept secrets: musician, live act, DJ, producer and label owner, Christopher Kah. A trained classical musician, Kah is a unique proposition in electronic music thanks to his sheer eclecticism as well as the manner by which he approaches his compositions. A true musical visionary, his unique way of working has been picked up by Roland and Instruments (Kah regularly product tests and does demonstrations for both) and has been supported recently by the likes of Amelie Lens, Laurent Garnier (who played his tracks at both Sonar and Time Warp) and British techno legend, Dave Clarke. His latest LP, "Second Nature" is a fitting example of where he's at right now. Full to the brim with raucous techno cuts, it could only be made by a truly versatile and eclectic musician who's very much at the top of his game right now. Composed over the course of a long, hot summer month, Christopher Kah's latest long player serves up a firm reminder of the endless possibilities involved in creating electronic music. An 8-track affair that sees the producer call on his trademark brooding techno sound, it nonetheless serves
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up a fascinating alternative to his last album, the brilliantly received "Limited Resource." With that one picking up heavy support from the likes of Laurent Garnier, this is another that's sure to appeal to those interested in dancefloor-driven electronica. From wild electro sounds to Detroitinspired techno, it serves up a energy-filled workout that barely if ever pauses for breath. Getting us going is the sounds of "Second Nature," a full-on sound assault that immediately lets the listener know that they're in for a white-knuckle ride. The infectiously catchy "CKosmos'"expands on the electro vibe, with its muffled vocoder vocals and heart-racing bassline particularly worthy of note. Barely two tracks in, and we've already encountered an album that's not for the faint of heart. The aptly-titled "Stamina" is another cut that's positively teaming with energy, while "Wavering" takes matters down a notch courtesy of a more trance-tinged, restrained approach that forces parallels with Age of Love's self-titled classic anthem. The captivating, otherworldly sounds of "4:1" remind us that this is no ordinary LP, before "Phantom" goes deeper than ever before in search of its kicks. Kah reminds us once more of his love for atmospheric vibes on "Faces," another cut that's never lacking in momentous overtones. The final quarter of the release gets underway thanks to "Fallout & Ashes," a twinkling, hard-edged track that neatly leads into the album's closing salvo, the quite emphatic "Whirlwind." A fitting track with which to close out on, its melancholy heavy aesthetic means it's sure to appeal to DJs from both the house and techno divide. An endlessly intriguing release with no shortage of big moments, Christopher Kah's latest is sure to be treated with wide acclaim by those in the techno community.
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[NEW MUSIC: PREVIEWS] and dulcet pianos pitched against brooding, driving bass tones. "1,000 Lights"—originally composed as part of a huge drone installation at Burning Man—provides a dreamy respite with its twinkling pianos and beatless beauty. "The Calling" is a joyous slice of dancefloor gold, with subtle melodic elements and pleasing bass throbs cut through with a bold lead line. "Drive" takes its cues from classic Italo disco with its pleasingly arpeggiated bass and synth combos, making for a fist-pumping, uplifting ride. "Glass Waves" provides a mesmerizing, cinematic interlude that makes Kleijn's prowess as a film and TV composer incredibly clear, while the brooding low end and beautiful scales of "Punta Cana" take things into a darker direction.
Inspiring Dutch producer Eelke Kleijn proudly presents his third stunning album: "Moments Of Clarity." Drawing on his career DJing on dancefloors around the world as well as his work as a film & TV composer and his background playing piano, guitar and bass, it effortlessly blends club sounds with the melodic integrity required for home listening. "'Moments Of Clarity' is about those rare moments where everything seems to come together and fall into place," he explains. "You find them in all aspects of life, not just in music. They don't come along often, but when they do I always treasure them. Every track on the album finds its origin in one of those moments." Clarity is indeed the watchword here, both in terms of his refined production aesthetic and the composition of the tracks themselves. Every element is felt in precise detail. Nothing is wasted, nor overcooked. "Maschine 1.0" kicks off in classic Eelke Kleijn fashion, with graceful orchestral strings gliding over a delicate, atmospheric groove, building to a dazzling melodic synth solo. "Lost Souls" takes a more direct approach, with Ost's sublime vocals
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"De Orde Van De Nacht (Part 2)" is a continuation of the 2017 original, and is a wonderfully atmospheric breakbeat roller with soaring pads and chord progressions, while "Mojo's Tale" is a slinky slice of progressive house driven by an elastic, funk-fueled bassline. "Maschine 2.0" increases the intensity of the album to its most potent peak, with rasping techno synth rhythms and taut percussion driving this hard-edge track forward like a juggernaut. It's no surprise that it has been a huge track in Solomun's sets in recent months. The title track is another sumptuous breakbeat number, with the album's most stunning string section working its way over a spacious, glacial arrangement. "René's" shimmering, trancey tones make for a perfect ambient closer to round off this magical record. The upcoming prospect of his new live/DJ hybrid shows is incredibly exciting, with the music on this superb record perfectly suited for dynamic recreations with a degree of spontaneity. Sophisticated, accomplished and diverse, it represents everything that's so compelling about this continually flourishing artist. Buy it here.
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[NEW MUSIC: PREVIEWS] even traded Dublin for a full-time move to Berlin. To round off the year in suitably momentous fashion, he delivers the sixth installment on his Hybrasil label. Featuring three slabs of dancefloordriven, upfront techno, the release has already been supported by Dave Clarke (who played "Ares" on his famed White Noise Radio show) and is sure to go down a treat with fans of the producer in particular.
Over the past two years Hybrasil has released on respected labels such as Kraftek, Break New Soil, Intacto, Loose Recordings & Bush Records. 2016 was a breakout year for the Hybrasil live project, performing on the legendary Space terrace alongside techno-midwife Juan Atkins, Paul Ritch & Marc Houle. This was followed by a 6 hour DJ set on the Space Sunset Terrace & a special live set before Jeff Mill’s at his sold-out Orchestra show in Dublin’s Bord Gais Theatre. In 2017 he played on the Privilege Ibiza Terrace for Pure Carl Cox & Game Over, joining Joseph Capriati, tINI, Eats Everything & Archie Hamilton. Hybrasil LIVE emerged as a Festival act performing with KiNK, Maceo Plex, Moderat at Forbidden Fruit & after a debut full season in Ibiza, returning to Ireland as a headliner at Boxed Off alongside Jeff Mills, Enrico Sangliano, Dense & Pika & Nicole Moudaber. 2018 has been a landmark year for Irish live act, Hybrasil. Aside from playing Ireland's famed Electric Picnic festival, he has also thrown it down in Ibiza alongside the likes of Sam Pagagnini and Len Faki at Amnesia, released on Gregor Tresher's Break New Soil, and as if that weren't enough, has
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The release kicks off via the wonky stylings of the sublime "Ptah." A track that's unique in its outlook, it subtly rises and rises, all the while continuing to impress courtesy of its many off-kilter hues. A tripped-out affair that's sure to appeal to fans from both the house and techno divide, it's indicative of a producer who's not afraid to take risks - and is greatly rewarded here for doing so. Following "Ptah" is the more upfront sounds of "Ares." A peak-time bomb that positively oozes attitude, this one follows a stringent techno template but will nonetheless go down a treat wherever it's dropped. Undoubtedly made with cavernous soundsystems and larger dancefloors in mind, if ever there was a track deserving of the big stage, then "Ares" is surely it. One listen to this one and you'll quickly realise why Dave Clarke was immediately drawn to its many charms. Culminating the package is the stylish sounds of "Amen Bey." A robust, full-bodied techno workout that's scarier than a Monday morning after a heavy weekend, this one is characterised by its foreboding demeanour as well as its firm, headsdown vibe. Dark, dextrous but also sumptuously arranged, it's indicative of the producer at the peak of his powers. With such a thrilling year set to come to a head shortly, 2019 looks set to be the year Hybrasil rubberstamps his reputation among the techno elite. Buy it here.
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[NEW MUSIC: PREVIEWS] music breakout artist Just A Gent has revealed his http://EP in full. With two brand new tracks completing the 6 track EP, "Injustice" and "Drowning," the conceptual work tells the story of humanoids whose existence has come crashing down due to the fall of the internet, which their entire existence had been built on.
Jacob Grant aka Just A Gent’s rise from bedroom producer to future bass golden boy has been a journey of epic proportions. With pure class and forward-thinking music as his focus, he has become a select member of the Australian electronic renaissance. His rapid rise to fame earned him the title of Stoney Roads & RedBull Breakthrough Producer of the Year – solidifying his place at the forefront of modern dance music. His debut triple j Mix Up set earned the support of Nina Las Vegas, Dom Alessio, Linda Marigliano and more, including solid support on triple j Unearthed. Such support carried into his expansive 2014 remixing roster which included the likes of Zhu, The Ashton Shuffle, Madison Avenue and Tears For Fears gaining hundreds of thousands of Soundcloud plays over the past few months and the full attention of the blogosphere. Furthermore, Ultra Music Festival featured his track "Fortaque" in its 2014 Aftermovie, a true honor given the selective nature of the tracklist. Now to current events, the Australian electronic
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The opening track "Drowning" features an up and coming Brisbane producer Yvng Jalapeño, and has been in the producers’ arsenal for quite some time. The haunting vocal track is a hybrid masterpiece, with elements of glitchy experimental bass, trap, and future bass. The following tracks are already fan favorites, including "VIBE (feat T$OKO)" and "404," while the closing track "Injustice (feat. Dia Lone)" gives fans a dose of new Just A Gent music with this compelling release about looking for a loving relationship. The five characters on the album artwork play an important role in the story of the EP. These five survivors and their leader The Gent had left the corrupt system long ago and have returned to find their home in complete chaos. This group of explorers try to restore this system to its former glory and rebuild the internet. To learn more about the characters and their background, head to the EP website, which is complete with Myspace profiles for each character, shown on a glitchy Windows 98 operating system screen. Just A Gent has racked up over 68 million plays for his work on Spotify, played some huge international festivals including Splash House alongside Duke Dumont and What So Not and Beyond Wonderland festival alongside Flosstradamus, Valentino Khan and Tiësto as well as joining San Holo on his sold out North American tour in 2017. Buy it here.
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[NEW MUSIC: PREVIEWS] their native Bristol, UK. Like the legends to come before them - Massive Attack, Portishead and Reprazent (the list goes on) - KOAN Sound have delivered an album that brings electronic music to new horizons. Pop on your headphones and get lost in sound. While "Polychrome" is an album meant to be listened to as a whole from start to finish (there are no true singles). The first song to be revealed from the album is "Virtual Light." It’s a true representation of this journey; airy and atmospheric on the one end while raw and jagged on the other.
KOAN Sound is an electronic music production duo from Bristol, United Kingdom. The duo consists of Will Weeks and Jim Bastow. The duo cite bands such as Rage Against the Machine and Incubus as early influences. In 2005 the duo began to explore electronic music through artists such as The Prodigy and Noisia. They initially gained recognition as dubstep producers, with earlier popular tracks including "Akira". Some of their many types of music includes glitch hop, neurohop, and moombahcore. The duo have since released music on various labels including Inspected Records and OWSLA, and have worked with a number of other artists, including producer Asa and singer Ed Sheeran. On December 7th, Jim and Will will return with their new album "Polychrome." The album marks the band’s first release on their new label, Shoshin Records. "Polychrome" is a highly listenable, versatile album; the result of maturation and personal growth with great artistic bloodlines drawn from
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The album trailer - viewable here - offers a roadmap to "Virtual Light" and sets a visual tone for "Polychrome". KOAN Sound teamed up with local Bristol artists to create macro photography art for each of the tracks on the album which will also be incorporated into the visuals for live shows. The band will be performing a special hometown show in Bristol at the famed Trinity on Saturday, February 16. This will set the stage for a 2019 live global takeover. "We wanted the album to be listenable but also work live at the same time - that was the hardest part. We made every track as a cinematic piece; each one tells a story. There isn't a lot of repetition in terms of structure and arrangement, and each progresses in such a way that we can play it live in its entirety," the band says. Previous to "Polychrome," KOAN Sound made waves globally for releases on Skrillex’s OWSLA imprint and the UK’s Inspected Records. The one common factor has been the band’s deft ability to weave in and out of genres, perfectly at home with mid-tempo, funk and even orchestral treks. Essential listening: "Sly Fox," "Funk Blaster," "Strike" and "Starlite," to name a few. Buy it here.
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[NEW MUSIC: PREVIEWS] it in a one word - "up." This is something that its track titles swiftly underscore. Numbers like "The Awakening," "You Light Up The Night," "Heaven," "We Haven’t Lost Our Way." "Safe From Harm," "The Dreamers," "Together," "Utopia" and "We Are The Light"’s title single all telegraph its standpoint clear as day. The album features a company of singers and fellow co-songwriters that - even by the gilt standards of Schulz’s previous LP releases – are an unparalleled assembly. Markus has consciously (as he puts it) "mixed up the pack" on the album.
The seventh artist album from musician, DJ and – most recently - songwriter, Markus Schulz has released sixteen tracks within the album frame of "We Are The Light." A release that draws on musical areas Markus has been long recognized/venerated for, as well as ones more recently ventured into. Given the two albums that immediately precede it, it’s also a release he’s aware that’ll come with a degree of predetermination. “Yeah, I know!” Markus says wryly: Dakota: ‘dark’, Markus Schulz: ‘not dark’. It’s an easy expedient way of looking at it. Personally though, with this album, I feel we’re transcending that. We’re moving beyond it and into a third band. If anything, this is ‘Markus Schulz: ‘positive’.” Whilst doubtless sharing some sonic genetics with both "Watch The World" and last year’s Dakota LP, it is too neat to peg "WATL" as either straight successor to the former, nor clear-cut yin to "The Nine Skies" yang. Something indeed more conversional and epochal took place at the start of its production. A shift in outlook that had a decisive effect upon its make-up. This album is in fact a result to both releases and marks an expressional ascension for Markus. It is - to put
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For every familiar name, there’s a co-writer making their debut. For every neophyte, there’s an established artist from another style-space being introduced to the electronic music realm. From the already-acquainted side, "Scream 2'"s Seri is back collaborating, as are "Watch The World" alumni Nikki Flores, Adina Butar and Soundland. As expected the album houses the 2018 Schulz singles "Safe From Harm." "Calling For Love" and "Upon My Shoulders." (Those respectively marked Markus’ debut collaborations with Emma Hewitt, JES and Sebu of Capital Cities fame). On the spellbinding "Symphony of Stars," Christina Novelli also makes a first time appearance, while the album seeks and finds talent from other European quarters too. Alina Eremia and Smiley – already immensely successful household names inside their native Romania - make dazzling first time musical debuts outside their home country. "We Are The Light"'s has also afforded Markus the much desired opportunity to resume the songwriting that first manifested on "Watch The World." For each album track, almost without exception, Markus sat down with singers and songwriters to contribute thoughts, angles and individual insights, as well as lyrical lines, verses & choruses. Buy it here.
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[NEW MUSIC: PREVIEWS] Danielle Moore and also introduces his chuggydisco project Chieftain. NOW’s recent single "Look Up" makes a welcome appearance and the producer also gifts the mix with an exclusive in the form of brand new track ‘Goodship’. Moving internationally; there’s Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy "Innocence," US-born/Colombian based Afro/Latin/disco/funk producer Bosq, Italy’s Massimo Vanoni with the slo-mo funk "Exciting Groove," the deep and jazzy "Gotta Have It" by Berlin’s Soulphiction side project SBM and two tracks by New Zealander Ladi6. There are more exclusives with Creative Principle "Caught In The Middle" and NOW’s own remix of Fat Freddy’s Drop rounding off a formidable Back To Mine mix. Famed mix compilation series "Back To Mine" makes a triumphant return in 2019 to celebrate the 20th anniversary with the indomitable Nightmares on Wax the first to share his personal collection of music for after hours grooving. 2018 was a defining year for Nightmares on Wax. He kicked it off with the release of his latest album "Shape The Future," seen by critics and fans as another classic in his illustrious, near three decade career of releasing records. He’s toured the world playing his biggest headline shows to date in all the major cities, dropped remixes from some of electronic music’s finest including Moodymann and Ron Trent, done a BBC Radio 1 Essential mix and recently broke the world record for the highest altitude DJ set, on a charity ascent of Mount Kilimanjaro. Naturally, the 13 tracks - including three exclusive to this mix - are impeccably mixed and blended, as you’d expect from a DJ and collector of George’s pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull’s Steve Cobby provides his own "Lefthanded Books" featuring Crazy P’s
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The first volume of Back To Mine was released in February 1999 by Nick Warren and it went on to include editions by Groove Armada, Orbital, New Order, Roots Manuva and Mercury Rev. The compilations are based on what the artist would play at home after a night out, rather than as part of a nightclub session - tagged "a personal collection for after-hours grooving". On why he’s decided to reboot Back To Mine after ten years, and 20 since it launched, Sean Brosnan (owner of parent company Material) explains: “I grew up listening to the Back To Mine albums, so I’m so happy to be able to bring the series back to life for a new generation. When we discussed who we could ask to compile the first edition of the new era, my immediate thought was Nightmares on Wax. It ticks so many boxes for me and I think this mix is yet another timeless Back To Mine to add to the many that have come before.” "Back To Mine" will release worldwide January 25, 2019.
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[NEW MUSIC: PREVIEWS] do so organically. They take place with like minded operators (Marco V, Mark Sherry, Sied van Riel, by way of example) who share Richard’s vision of a tougher, more propulsive clubbing tomorrow. Similarly vocal cuts are distinct in their rarity Christina Novelli and Mike Schmidt (last heard on Cosmic Gate’s "Nothing Can Touch You Now") make appearances throughout its course. The album is a release whose essence is bound in the oneness of the hypnotic, marching and indeed flat-out entrancing character of trance. "The Air We Breathe" is as much an exhalation as inhalation for the Dutchman, and one with the unmistakable subtext of one musical era passing and the beginning of another.
Allow us to catch you up... It’s been six years since Richard Durand released his boldly high-concept "Richard Durand Versus The World" album. It’s reasonable to say that in the meantime his outlook on many aspects of life - both personal and professional - have shifted. Over that period he has circled the planet a dozen plus times, DJing, producing travelling, experiencing and life balancing. It’s also a time-frame within which he experienced loss (through the passing of his longtime friend and manager) and a near sizeable shift in his trance music tastes. (The latter prompting him to depart the "In Search Of Sunrise" mix series). Consequently Richard has been on albumpause while the frequencies realigned and life loops resolved. He always knew that when he returned to the medium (after 2009’s "Always The Sun," 2011s "Wide Awake" and 2012’s "R.D.V.T.W."), it had to be with a world-beater. To that end Durand has spent much of the last 14 months developing a new track collection, strong in both number (it features 19 productions) and sonic nature. It also bucks the current trend of collab, collab, collab, its assembly being far more Richard’s own singular take on the trance sound. Where studio partnerships occur, artistically they
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The album overtures with "Insolidus," which Richard co-produced with Geert Huinink. Through Durand’s remixing of Huinink’s (the legendary co-writer of Tiësto’s opening three albums) "The Sacred Vine," Geert makes a second appearance but a few tracks later. Vocal number "Kill The Fear" (sung by Mike Schmid) and the deeper edge of "Land Of Angels" further assist in "The Air We Breathe"'s development. From there its physics become markedly more gravity defying, and the album gears up to the serious business of floor elevation. "Skies Above," "Aida," "Lotus" and the Sied van Riel-coproduced "Universal Minds" collectively put it in flight mode. With the midpoint-marking "Pandora" and the Mark Sherry co-produced "Cosmic Dawn" comes another pivot point. It assumes a harder, tougher, more angular profile, as (the tellingly titled) "Savage," "Toxic," "Vortex," (alongside Marco V) and the deliciously unsettling "Boogieman" supply it an onrush of "4AM"-ness. At track 19, the album emerges blinking into the light, with Richard’s Beatport chart topping, most recent single (alongside Christina Novelli), "The Air I Breathe." Buy it here.
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[NEW MUSIC: PREVIEWS] 20 years on, Robbie Rivera has evolved into becomimg a House legend and in celebration comes some dancefloor magic with "I Can’t Lie," the first single from his new album, "Twenty," out now on his Juicy Music imprint. Puerto Rico-born and Miami-bred, Robbie has been a prominent figure on the global house music scene for two decades.
One of the first to popularize the tough, sexy tribal house sound, Robbie Rivera is a living legend who remains at the top of his game. His Juicy Music empire has signed a partnership with Armada in Amsterdam and the prolific producer has been releasing music this year on the world’s best labels like Spinnin Records, Armada, Axtone, Juicy Music, Doorn and Ultra Records. Rivera grew up in Puerto Rico, and was a fan of freestyle and Eurobeat when he bought two turntables to teach himself DJing techniques. Starting out performing at weddings and school party gigs, eventually led to nightclubs at age of 16. After high school graduation, he attended The Art Institute of Fort Lauderdale to study music production and was introduced to many different digital audio tools including the popular Protools program. While in college he released his first record, "El Sorullo," a track influenced by Latin house music. The track became popular in New York City and Miami and his career was underway.
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Whether it be his original productions, such as the UK dance chart topping "Bang" (It was performed live on MTV and Top Of The Pops and used extensively throughout the 2000 Sydney Olympic Games) or remixes for the likes of Kylie Minogue, Madonna, Basement Jaxx, Deadmau5, Tiësto, Kaskade, Ferry Corsten, Axwell, David Guetta, U2, New Order, Clean Bandit and Erasure to name a few. One thing is always constant with Robbie Rivera. He is a master in bringing sexy back to house music. In addition to his skills behind board and on the decks, Robbie and his wife Monica are the purveyors of the acclaimed "Juicy" brand and the infamous Juicy Beach parties that have become a staple event during Miami Music Week and Winter Music Conference. "Twenty" pulls together the essence of Robbie Rivera’s music from the the last two decades and offers 10 tracks that traverse the many twists and turns that make up house music. There are a ton of surprises in store, but for now, "I Can’t Lie" will start you on this incredible album journey. Robbie and Monica’s collaboration is even felt on "Twenty" as she has personally designed all the cover art by hand. Buy it here.
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[NEW MUSIC: PREVIEWS] publications such as CLASH Mag, Music Week, Tsugi, FGUK, Gaffa and Szene, and radio play from the likes of BBC Radio 6 Music's Lauren Laverne, while his single "Towards? (for what is to come)" is currently playlisted on renowned national radio stations NPR All Songs 24/7 Music (USA) and Flux Passport Approved (Germany).
Multi-instrumentalist and composer Theodore will be releasing cascading LP "Inner Dynamics" via United We Fly. The album was completed in May this year, recorded in a whopping number of different studios, and mastered at Soundgarden (Franz Ferdinand, Gossip) in Hamburg and was announced by renowned publication NPR Music. The Greek performer has already garnered considerable success with his previous album "It Is But It's Not" which was co-produced by Clive Martin (Queen, Reef ), mixed by Ken Thomas (Sigur Rós, Moby, M83), and performed live at the fabled Studio 2 at Abbey Road Studios. With nearly 2 million Youtube views, Theodore has supported Sigur Ros and DIIV at Release Festival, graced the stages of Reeperbahn Festival - where he was named Best Performance of 2017, performed at Eurosonic Noorderslag and showcased his talents at this years SXSW Festival - where he was picked as NPR Music's SXSW 2018: Favorite Discoveries And Memorable Moments. Theodore has received support from tastemaker
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Fusing classical composition with electronic elements to create beautiful, atmospheric and often cinematic songs, his sound is characterized by contrasting styles. Citing influences such as Sigur Ros, Radiohead, Pink Floyd, Doors, Chatzidakis, Vagelis Papathanasiou, Nils Frahm, The National, Olafur Arnalds, Arcade Fire and Max Richter, his unique mélange of influences allow a broad scope of movement, from ethereal classical movements to driving, melancholic postrock sections. "Inner Dynamics" is an emotional whirlwind of kaleidoscopic texture; "Disorientation" begins with mystifying whispers, and a pulsating bass until Theodore's heavy-hearted voice brings in dream-induced dramatism. The gentle yet thought provoking "Alcyone" is soaked in glimmering pianos and a composed atmosphere. "Floating" is an ethereal merging between the ocean and the sky, Theodore's powerful, reverbdrenched vocal delivery portrays his ability to lull and immerse simultaneously before erupting into a driving post-rock sections. The album's closer, "Fluttering" is a sincere reflection on the album as a whole; concise percussion and drum rolls sit beneath emotive pianos and synthesizer bliss until you're left wanting - no, needing more. Stream it here.
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[NEW MUSIC: PREVIEWS] “While working on titling the album, I explored a concept where there is a planet of turtles and their sun is getting too big and going to explode soon and destroy their solar system. Because of that, they come up with a plan to Burn down the Sun before it explodes and the turtles relocate to a new solar system. Enzo is the turtle who leads the mission to the sun to try and burn it down before it explodes,” Campbell details.
The fan favorite electronica ensemble TNERTLE is making waves with a west coast tour, climbing streaming numbers, and their most eclectic album to date, "Burning Down the Sun" finds Denver's electro-funk behemoth reaching towering new heights doing what they do best: crafting gigantic beats that ooze with contagious melodies reinforced by a neo-"wall of sound" that features a full horn section, hearty guitar riffs, and authoritative drumming. Released on November 2nd on Super Best Records, the album is a testament honoring a signature sound that continues to push sonic envelopes and never rest on its laurels. TNERTLE has garnered a well-deserved reputation for crafting a one-of-a-kind brand of EDM, but "Burning Down the Sun" transcends any past effort. Not only has producer and band-leader, Trent Campbell, put together an 8-track collection of songs that will make you simultaneously bang your head while stopping in your tracks to marvel at refined production skills with memorable fleshed-out melodies, but he has crafted a storyline that will take you on an auditory and conceptual journey.
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Since the group released their last EP "Monsters Out West" in summer 2017, they’ve exuded unwavering forward trajectory with numerous guest vocalists during live performances including Lily Fangz and Knowledge Thyself and have been frequently featuring electronic cellist & sound designer, Keith Snow (Tori Amos, Billie Eilish) in both live sets and the studio (Snow is featured on "Petrichor Feeling" on the album). "Burning Down the Sun" is also hot off the heels of a recently released live album of the band’s sundown set at Colorado’s accredited EDM festival, Sonic Bloom, that features Snow and Knowledge Thyself. Offline, TNERTLE has made their way into speakers of tens of thousands since their fulllength release MataMata in 2015 getting over 1000 plays a day on Spotify for over two months straight with their track "Dance All Night" featuring Lily Fangz clocking in at over 372k plays. In addition to a robust list of features and performances, TNERTLE has recently signed with The Empire Agency based in Los Angeles & Denver and is planning on hitting a multitude of new markets across the United States in 2019. In support of "Burning Down the Sun’s" release, the group embarked on a West Coast tour in November with a hometown capstone release party at Cervantes’ Masterpiece Ballroom on December 8th. Stream it here.
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[ON TOUR] Tritonal, one of dance music’s most prolific and versatile production teams, have announced plans to release a new studio album, entitled "U & ME," and embark on their biggest North American tour to date. While the festivities won’t kick off until January, Tritonal have provided a new dynamic single - "U Found Me"- to hold fans over until then and have promised a steady flow of new releases until the album drops in the New Year. The Austin, Texas-based team will headline major venues including Los Angeles’ The Palladium, Chicago’s Concord Music Hall, NYC’s Terminal 5 and many more as they criss cross the continent. Tickets for Tritonal’s "U & ME" Tour are on sale now. Get more information and full list of tour dates here.
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TRITONAL U & ME TOUR DATES 1/25 - Portland, OR - Roseland Theater 1/26 - Seattle, WA - Showbox Sodo 1/29 - Sacramento, CA - Ace Of Spades 1/30 - Chico, CA - El Rey 1/31 - Santa Cruz, CA - The Catalyst 2/1 - Los Angeles, CA - Palladium 2/2 - Albuquerque, NM - El Rey Theater 2/6 - San Luis Obispo, CA - Fremont Theater 2/7 - Fresno, CA - Rainbow Ballroom 2/9 - Phoenix, AZ - Marquee Theater 2/14 - Salt Lake City UT, Sky 2/15 - Denver, CO - Gothic Theater 2/16 - Oakland, CA - Fox Theater 2/21 - Bloomington, IN - Kilroy’s Sports Bar 2/22 - Houston , TX - Stereo Live 2/23 - Dallas, TX - Stereo Live 2/28 - Urbana, IL - Canopy Club 3/1 - Chicago, IL - Concord Music Hall 3/2 - Pontiac, MI - Elektricity 3/6 - Pittsburgh, PA - Rex Theater 3/7 - Buffalo, NY - Town Ballroom 3/8 - Boston, MA - House of Blues
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[BUZZ WORTHY] KOLOMBO
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Written by JOSEPH ARTHUR hen it comes to electronic dance music coming out of Belgium these days, names such as Dimitri Vegas and Like Mike, Netsky, Lost Frequencies, Yves V. and Charlotte de Witte come to mind, especially with all the worldwide and regular headline media coverage I read
through on social media and other outlets. Those artists are without a doubt, well deserving of the support they receive and their PR Firms deserve lots of credit. However, there is one overlooked Belgian DJ/producer that has paid his dues and deserves some editorial space and coverage. That DJ/producer is Olivier Grégoire, known nowadays as Kolombo. Work ethic, consistency, and a spirit of open-minded creativity have been said to be the key ingredients to his success so far and all but guarantees his future, a burning bright one for many years to come. This statement stands tall as Olivier’s peers, colleagues and outlets describe him as being a master of modern productions in the house music tradition. His discography is extensive and proves it through dozens of high-profile House and Disco inflected eleases for Diynamic, Noir Music, Turbo, Kompakt and Dirtybird, the last of which, is the home of Kolombo’s summer 2018 banger "It’s Getting Hot." Additionally, you can find several releases on his imprint, LouLou Records, many of which are very recent. Over the years, Grégoire also has been a contributing member of fellow Belgian artist Geoffroy Mugwamp’s outfit-Mugwamp, turning out several releases on Kompakt, Suara Music, Cocoon, !K7, and International Feel among others. Kolombo’s past travel itinerary include stops at Tomorrowland, all over the U.S.A., Russia, Australia, Berlin and South America . You can catch Olivier’s live sets at upcoming tour stops in Brazil on December 30, January 2, 12 and 26 at the Proride Live Tour in France. Be on the lookout for new releases from Kolombo via Warung Recordings and Dirtybird in 2019.
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[BUZZ WORTHY] LEVITATION JONES
Written by LEO WEAVER
B
rian Gardner aka Levitation Jones represents a bold nonconventional approach to making bass music. Whether it’s in the veins of Dubstep, Future Bass, Trap or Grime, one thing is certain, his music will blow you away. Gardner’s music is reflective of his attitude rather than being determined by outside influencers
and gives him the freedom to create his art in his way. Gardner is preceded by a reputation for producing bass music that goes well beyond the usual norms and practices of most bass producers. His approach certainly has an effect. One that is designed to separate him from the rest of the pack and one that get’s him included in conversations. All you have to do is jump over to Levitation Jones’ Soundcloud page and check out his three most recent releases: "Lurk Skank" EP, "Lurk Skank Remixes" EP and "The Putrescence" EP. Highly recommended listening. One area that is important noting, is the fact that Gardner goes in to his shows completely on the fly. He’s keenly aware of his audiences, feeding off their energy and vibes, and in a sense, improvises his mixes to create sets that are tailored to what’s happening in the venue and on the dancefloor. Last year, Gardner performed in more than 40 cities across the U.S.A., his most extensive tour to date. As a rising star in the bass music category, it’s apparent that Gardner has carved out his slice of the pie. He is an artist that is uncompromised, completely unique and unabashed in making music that is cutting edge and entirely his own. These skills and traits allow the artist to be included in name dropping when it comes to the new crop of exciting bass music producers popping up and breaking out, including fellow supporters like G Jones, EPROM, Space Jesus, Yheti, Bleep Boop and The Widdler to name just a few. What can you look forward to in the near future from Levitation Jones? NYE appearance at Skyway Theatre in Minneapolis, MN with TroyBoi, YehMe2, and Apashe among many others and an early 2019 gig at Post Future Takeover Fort Collins in Colorado on January 25.
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[BUZZ WORTHY] LUCA SCHREINER
Written by CATHERINE STRICKLAND
S
tuttgart, Germany’s Luca Schreiner's interests in electronic music lie partially with his upbringing. You see, his father is involved with the electronic music industry and as they saying goes "the apple doesn’t fall far from the tree." Easily, one can assume being immersed in the music world, within a family from an early age in life, would most
likely lead to a future career path in music. Luca took that path. Early on, Luca spent a short four years of perfecting his skills in the studio and applying his budding talents as a behind the scenes music producer on big release projects with Shaggy, Mako, Omi, James Arthur, Alessia Cara, Matoma, and Pitbull among others. Buzz was building and the word was out, Luca would be picked as an artist to watch in 2018. When Luca decided to step out from behind the studio consoles and take the proverbial leap to releasing his deep, progressive and tropical flavored house music, he would have the important record label relationships in place, such as Universal, Sony, Ultra and Armada, by which to pursue for his releases. So, where does a young talent as incredible as Luca go? Ultra Music. The famed label has the young man signed and has positioned him for a destiny of greatness. The very first single "Missing"- the iconic track by Everything But The Girl, was a breakthrough moment for Luca, opening doors to high profile remix projects for major artists. Obviously, Ultra has recognized and is developing this new talent at full steam as demonstrated with the recently banging Official Remix for Backstreet Boys "Don’t Go Breaking My Heart." Spend some time listening to his music and join the millions that are rapidly increasing and contributing to Luca’s wave of popularity. Luca’s success goes well beyond the studio however. In 2018 Luca enjoyed major bookings during the Summer festival season sharing the bill with Don Diablo, Felix Jaehn, Alle Farben, EDX, and many more! At just 23 years old, Luca Schreiner has shown he’s a real promising artist to watch out for! So keep an eye on this young German!
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[BUZZ WORTHY] MAWAYY
Written by LEO WEAVER
S
izzling electro-pop. That’s what The Huffington Post has said about the musical sounds coming from Iranian-American Emmy Award winner Brian Wayy and Iranian producer, artist and DJ Masoud Fuladi Moghaddam collaborating as the duo MaWayy. Brian Wayy is known for his work in TV, providing music for The Ellen DeGeneres Show, Judge Mathis, TMZ and The Bachelor in addition to being a producer, songwriter and remixer. By the age of 18 he was already signed to major record label MCA and by 24 years old he would tour with The Untouchables, UB40, The Police and Duran Duran. His official remix catalogue includes work for superstars such as Rod Stewart, Paula Abdul, The Doobie Brothers. Brian also has production credits with Diana Ross, Stevie B, and Corbin Bleu. Masoud Fuladi’s beginnings go back to his 2009’s release "Leave It All Behind," a collaboration with Jaren and Josie Cerf. First discovered and signed to Ferry Cortsen’s Flashover Recordings, Fuladi would go on to release two more remixes. Starting with NYC’s DJ Eco Pres;’s "Staring At The Sea," then followed by a remix of Sebastian Brandt’s "Blinded." These two projects solidified his stature as a producer and music maker. You can find Fuladi’s remixes and productions on many compilations and labels such as A State of Trance, Trance Nation, Armada Lounge, Spinnin’ and Ministry of Sound. Wayy and Fuladi’s introduction came by way of Fuladi signing a contract to work with Teletunez, in which the two released theme songs to Warner Bros TV including Crime Watch Daily and TMZ Hollywood Sports. In 2015 Faludi and Wayy officially started releasing music as an EDM duo under the name of MaWayy. Their first single "Wrong" was released last year through Teletunez division HiTunez and Blanco Y Negro, peaking and staying at #42 on the Billboard Dance Club Songs Chart for three weeks. Three years on, the follow up to "Wrong" was released on October 12. The track features epic build-ups, heavy bounces to killer drops and simple vocals. The two are just hitting their stride showcasing a polished ability to produce infectious pop music with simplistic expertise. Watch MaWayy as "Blame" will continue to push the duo to the limelight and raise their status as songwriters and producers.
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[BUZZ WORTHY] THE GREEN CHILDREN
Written by JOSEPH ARTHUR
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arlow Bevan and Milla Sunde make up the Electro-pop duo TGC (The Green Children). Over the course of their career, major media outlets such as Rolling Stone, Clash Magazine, The Huffington Post and Billboard Magazine have all praised their music going back to their 2010 debut full length album “Encounter”right up their latest two singles "ECG" and most recently "Rooms."10 years ago, Marlow and Milla met in Liverpool while attending the Liverpool Institute for Performing Arts. Soon thereafter they sign their first major U.S. recording contract with Universal Music Group. The duo would leave UMG two years later signing a worldwide distribution deal with Jackson Browne’s Spinside. These days, TGC release their new material via their own imprint Illuminated City. Through the years the duo has worked and collaborated with producers including Paul Oakenfold, Linus Loves, Moguai, Downlow’d and M4SONIC, has held regular gigs at Hollywood’s famed Viper Room and The Roxy, and performed at Summerfest. They've also worked together with Nobel Peace Prize winner Professor Muhammad Yunus, launching a fundraising CD/ DVD release entitled "Hear Me Now" all throughout Norway. The campaign raised $400,000 for one of the first eye hospitals in rural Bangladesh. Upon the release of their second album "Connection" in 2013 (Amoeba Music) came the lead single and video "Outline" connecting them to The Planetary Society, Yale University and Bill Nye, the science guy. Marlow’s and Milla’s musical tastes and influence range from Michael Jackson to Enya. Categorically, TGC falls in to realms of synth-pop, dream-pop, and ambient-pop joining the likes of The Chromatics, Electric Youth and Blue Hawaii. The pair exhibit highly skilled abilities to control and manipulate texture at will, while retaining their original dreamlike and developed sound. Check out their latest single release "Rooms," released during the Halloween season. The track takes you through “an immersive excursion through placid landscapes; warm tones, rolling synthesizers and solid electronic percussion atop vocalist Milla Sunde's silken vocal presentation. Darkened yet beautiful chord progressions weave in and out amidst the duo's eerily animated and atmospheric productions." Good stuff.
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[LABEL WATCH] 5 Questions & Answers with Felix Göllner
What is the Mission for Unreel Records and what can new listeners expect to hear on your releases?
Felix Göllner's
contributions to the Electronic Music industry include serving as a volunteer coordinator, a radio music editor, an educator, a club promoter for Universal Music Group, a club music promotion and public relations business owner, and a Senior PR and Social Media Specialist for Berlin's powerhouse Techno label Kompakt. Accumulating this impressive wealth of experience has presented Felix, along with adminstrative assitance from his wife, an opportunity. Unreel Records is now unveiled as Göllner's latest venture. In this Q&A, Felix explains his vision, how he plans to develop artists and position Berlin's newest electronic music label for success. Thanks Felix! —E.D.
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I guess that like most labels, I started Unreel because I love music, not only as a DJ. I grew up listening to alternative rock, hip-hop and then more and more to electronic music the older I became. Also, Berlin is a big influence on you if you're into clubbing, so discovering house and techno here keeps on bringing its lot of epiphanies. It's a movement you can hardly keep up with these days, so it's a way for me to unreel my view of the scene and add my taste to the mix. Do you have a team around you or are you wearing all the "proverbial hats" running the label? How will you position Unreel Records for success? There's basically just me on A&R duties and my lovely wife helping me with decision making. She has worked with a few labels herself and is currently working at Beatport, so there's plenty to chat about in our household. I guess everyone measures success in their own way. Do I want to release music that everyone plays or music that reflects my own taste? Surely, you need to get attention if you want to survive in this business, but then again, you don't always do. I'm curious about the ups and downs of running a label. What kind of promotion will be used for creating awareness and what will make your label different from other labels in your space?
I learned all things PR and Social Media during my time at Kompakt Records and will certainly use some of those methods. There's not really any secrets to this, so in the end, it all comes down to connections, personality and the music itself. How will you go about recruiting new talent to grow your artist roster? I'm excited and happy to listen to every demo carefully. Giving new artists a chance to release their music should be the goal of every label, but I'm convinced you need some known artists to get started and make a name for yourself. During my time at Kompakt I noticed how much good music does not get released, so I'm looking forward to hearing new music. What's your first release and how many projects are in the pipeline for the future? The first release is by Berlin's one and only Housemeister with a remix by T.Raumschmiere. It's called "Soo Good" due to the awesome vocal sample used in the title track. It was actually one of the first tracks I was sent after reaching out to a few artists and it felt perfect as a first release. Next up will be Engyn with a nice melodic EP including a remix from John Tejada. We also have a few more surprises in the pipeline for around New Year time, so make sure you stay tuned.
Vitals unreel-records.com
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an interview with
GET THE B
COOKIN' UP A TASTY CASSEROLE OF JAZ
By Josep Photography Courtes
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h pete and jake of
BLESSING
ZZ, ELECTRONICA AND AMBIENT NOISE
ph Arthur sy of Get The Blessing
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❶ Hi guys. How was your Summer? Pete: Good thanks. Unusually summery for the UK. Jake: Bloody hot. ❷ Get The Blessing is defined as being a jazz-rock quartet. However, GTB appears to be a bit more than that. Please tell us in your own words, what the collective vision of the band has been for the last 10 years and moving forward. Pete: Hmmmm...Jazz-rock / post-Jazz / Not Jazz...who knows what it is, but the most important thing is that we keep on doing what we do and being ourselves. We’re very good at being ourselves these days. It’s for the best. Jake: It’s also worth using the word "cinematic." We often find ourselves using imagery and filmic references to describe our music and these are a crucial part of our composition process. Sometimes that movie is filmnoir, sometimes gritty, cop drama, and they almost all feature a car chase of some sort. ❸ Do your histories of performing across the rock, jazz, new wave, trip-hop and drum and bass genres create challenges writing new material? Pete: On the contrary, I think they all feed into the rich bubbling stew that is GTB, jostling companionably with the other flavors, encouraging skillful seasoning and the occasional unexpected garnish flourish.
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❹ Why venture off and have a concentration in the Jazz world, considering the audience is relatively minute in comparison to electronic music, down-tempo and trip hop fan bases? How will “Bristopia” appeal to these electronic music listeners? Pete: Why indeed! We’re happy to play to any audience. “Bristopia”, to return to the casserole, has some particularly tasty lumps of electronica bubbling to the surface every so often, alongside some nourishing minimalist batons, a sprinkling of ambient-noise pulses, and even a half teaspoon of Americana granules, as well as plenty of other unidentifiable morsels. Jake: To a certain extent, the venture into the jazz world was inevitable, given that our music is instrumental (and features a saxophone), and not entirely of our choosing, for exactly the same reasons, but the jazz world has been very kind to us. It has, by and large, appreciated the freewheelingly improvisational nature of some of our music, been excited by the rawer rockier energy of that end of things, and been bemusedly tolerant of the darker electronicier edge we frequently engage in. But, as Pete says, we’ve always been happy to play to any audience. A fact born out by the number of times people have told us that they “don’t really like jazz, but I liked you!” ❺ At the formation of Get The Blessing, Ornette Coleman played major role in your band’s direction of song writing. Now that you have been together for several years, are you still referencing Coleman’s music? Are there any other Jazz musicians that play a similar role as influencers? How so? Pete: Ornette is still a huge influence on what we do. The spirit, energy and fearlessness of his quartet with Don Cherry, Charlie Haden and Billy Higgins is something we constantly aspire to. We have plenty of other Beatselector Magazine | Issue N° 15 | 79
influences - from the jazz world, for me, they're Miles Davis, Monk, Bill Evans, Ron Miles, Anouar Brahem and Arve Henriksen, and also from many other types of music: Bjork, The Necks, Talking Heads, Bach, Stravinsky and Sibelius. Music that resonates, that comes from the heart as much as the head, that doesn’t care about what category it’s supposed to fit into, that means what it says. ❻ Over the years, major media and press have thrown praise and support your way with exclamations such as “being the most exciting band on the British scene” by Jazzwise Magazine, winning BBC’s 2008 Jazz Album of the Year with your debut LP “All Is Yes,” plus write-ups from The Guardian, The Times, All Music among others. 10 years and 6 albums later, how does the music on “Bristopia” stack up or compare to your previous LPs?
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Pete: It’s come a long way from "All Is Yes," and yet I think it still has the same playfulness and experimentation, the same wilful stupidity and despite-ourselves seriousness. The textures and colors are different, as well as the shapes and structures, but it’s definitely us! There’s a recurrent theme on the new album of things happening the wrong way round, so whatever journey we’re still on we’re happy to embrace the fact that we’re quite probably making it in the wrong direction. ❼ What are you experiencing and seeing in your scene (the U.K. and in Europe in general) that excites you most and deserves wider recognition and coverage? Why? Pete: There’s a fantastically rich and diverse underground of uncategorizable small-scale independent music, Beatselector Magazine | Issue N° 15 | 81
"'Bristopia,' to return to the casserole, has some particularly tasty lumps of electronica bubbling to the surface every so often, alongside some nourishing minimalist batons, a sprinkling of ambient-noise pulses, and even a half teaspoon of Americana granules, as well as plenty of other unidentifiable morsels." in Bristol and elsewhere - pretty much everywhere. It’s the antithesis of the walls and borders mentality that operates at government level. More of that. Jake: I think the Bristol scene is particularly vibrant at the moment and it’s often over-looked. The music scene in the UK is inevitably London-centric, but Bristol is often not even mentioned as scene of note. That’s partly because Bristol can be a little insular, mind you, we’re very happy where we are and with what we’re doing thanks very much. ❽ For the last few weeks, GTB has been active touring in Europe. Describe your shows, the audience response and what you are doing, as a band that separates you from the rest? Are there near future plans to come and play in the U.S.A. or any other continents for that matter? Pete: we love touring in Europe. Audiences are reliably open-eared and up for it. They seem to like the fact that we are most definitely a band, with a collective identity, and that, as a friend of ours once put it, we play like children - a great compliment. We would love to return to North America...plans are afoot for next year... fingers crossed. I’d love to play in South America and Japan too. ❾ Are there any new developments with your individual side projects that you would like to share?
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Pete: My side projects are little ones that you almost definitely haven’t heard of. Three Cane Whale is a multi-instrumental acoustic chamber-folk trio. I know, it’s a bit of a mouthful, and we’re currently working on our fourth album whilst touring our film project in which we perform live to specially-created short films. Eyebrow is an ambient-jazz-minimalist trumpet and drum duo, fifth album out last year, and currently working on a commission involving four poets and a railway line. Jake: My principle other “side-project” Michelson Morley was recently involved in a project that involved a troupe of dancers, live visuals, and a geiger counter converting cosmic ray detections into live midi. We plan to release the recordings next year. I’m also in several other bands such as Sefrial, Uphill Game, and recently recorded with Krake run by our great Portuguese friend and drummer, Pedro Oliveira. ❿ And, finally, being fans of Ornette Coleman, have you checked out the recently released “Celebrate Ornette” Premium Box Set? Thoughts? Pete: No!! Sounds great! We should get it for the van!...if only we had one.
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or more than two decades, The Crystal Method has remained at the forefront of the worldwide dance music industry as pioneers of the big beat genre, innovators of the ‘90s electronica movement and current-day global ambassadors of the American electronic sound. Originally formed as a duo, alongside now-retired founding member Ken Jordan, The Crystal Method today lives and breathes as a solo act, with co-founder and originator Scott Kirkland at the helm. And with the artistic reboot comes the next chapter in The Crystal Method timeline: "The Trip Home" on the band’s own Tiny E Records. In this Q&A, Scott enlightens on many
fronts including his new album, favorite tracks and collabs, the continued success of TCM's bombshell opus "Vegas" and winning High Times magazine's "Best Electronic Album" award.
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THE REBIRTH Q&A By Joseph Wensell Photography by Graham John Bell
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“The Trip Home” is described as a creative rebirth of The Crystal Method brand? How so? SK: Well, for me, it was in every way. When Ken retired a few years ago, I had to decide if I was going to move away from The Crystal Method or embrace it. I went back and listened to the albums "Vegas," " Tweekend" and "Legion Of Boom." I remembered with enthusiasm how those records were made: Roland Jupiter vintage analog synths, Moog Synths and pedals sent through quality outboard gear, all of which were still in my studio. So, I upgraded and revamped our studio, which was now mine and my created rebirth began. What’s your favorite track on the album and why? SK: That’s hard to say really. I love them all for different reasons. "Holy Arp" because it was the first track born from revisiting the process I spoke of earlier. "Ghost In The City" because it reminds a bit of "Comin’ Back" from "Vegas" and one of my favorite new synths the DSI Prophet 6 is all over it, not to mention the hauntingly angelic voice of Amy Kirkpatrick and the opportunity to collaborate again with Le Castle Vania. What was it like working with Glen Nicholls? Have you worked with him before and what kind of an influencer was he in regards to the album’s musical direction? SK: Glen has Jedi skills in the studio, enjoys the analog process, follows his instincts, communicates well and is such a solid bloke. I’m very happy that after all the years we’ve known each other that we were able to get together in the studio and make magic. Not to mention his great taste in music. What would you say is the most common trait with the sounds and rhythms on the album? How does it compare or stand out from the sound design on previous TCM records? SK: Overall, the album is an embrace of the cinematic sound crafted with aggressive touch and bathed in warm circuitry. It’s a purposeful journey through our collective early years of raving, rocking, and rollin’ through the years before fireworks and bottle service. Tell us about your special guests that appear on "The Trip Home." Are there any particular performances you’d like to hype up?
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SK: I’m such a big fan of all the collaborators on "The Trip Home." Glen Nichols, Tobias Enhus, Matt Lange and Le Castle Vania all brought their "A-games" to the creative process. Franky Perez, Amy Kirkpatrick and Delila Pez lift and soothe the soul with their humanity, my mate Justin Chancellor’s late night bass session brings a bloom and gloom vibe to "Cabin Pressure" and Teflon Sega brings an emotional thread that binds the album together. What are your most memorable experiences spanning your 25 years in the music industry. SK: Ha! Well, there are so many but I as I close my eyes and think about that question, I’d have to say over time I made or played music with my best friend Ken Jordan to so many enthusiastic fans all over the world… and winning the High Times award for best electronic album, which is a working bong. Your debut "Vegas" continues to get current praise and coverage 21 years on. That debut is classified as a "building block of the American electronic music canon" and still appears on iTunes "Electronic Album Top 20" chart. What’s the "magic" behind keeping it at the forefront of dance community consciousness? SK: I can’t say exactly what the "magic" was, but I will say that "Vegas" made an impact on a lot of people when it was released and those people shared it with friends and family members over the years. So many people have said it was their introduction to electronic music and everyone always remembers their first time. Never selling more in a single week than it’s first week, the album had an organic vibe and went on to sell over a million copies over a 10 year span. Will you be taking "A Trip Home" on the road? SK: I’m putting together a live show that I hope to take out next year. What will The Crystal Method fan base be treated to when they catch you live and in-person as a solo act? A mixing of the nostalgic with moments of the future? SK: Exactly !
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I
can’t say exactly what the 'magic' was, but I will say that 'Vegas' made an impact on a lot of people when it was released and those people shared it with friends and family members over the years. So many people have said it was their introduction to electronic music and everyone always remembers their first time. Never selling more in a single week than it’s first week, the album had an organic vibe and went on to sell over a million copies over a 10 year span.—SCOTT KIRKLAND
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A
BIG TIME EDM P
NICK RO
DRIVEN, MOTIVATED, CREATIVE, PAS
Nick Royaards co-manages the very successful careers of the world's n Yves V. and Lost Frequencies, all of whom are darlings in EDM culture. A The Madness' and helps run Smash The House Records. This Q&A shin insight into his early entrance in to the global dance music scene, lon
By Joseph Wensell Photograp
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A
POWER PLAYER
OYAARDS
SSIONATE & SUPERSTAR CONNECTED
number 2 DJ act Dimitri Vegas & Like Mike, along with popular artists in Additionally, he is the co-creator behind the wildly successful 'Bringing nes a spotlight on one of EDM's quintessential music executives with ng days and his thoughts on what it takes to make it to the big time!
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"No one’s career is Forget what the haters say, everyone I’ve eve anything has had to work hard. They’ve h It’s just part of the Tell us how you broke in to the music business? Nick Royaards: I used to own a company called Blue Flame which was one the largest producer of nightlife concepts in Belgium. I’ve known the brothers behind Tomorrowland for a very long time. And around the time when they were setting up their first editions of Tomorrowland they asked if we’d be interested to host a stage at the festival. We were promoters running some hugely successful parties and were amongst the first to bring DJ’s like Chuckie, Dadalife, Bingo Players, Yellow Claw, Sebastian Ingrosso, DJ Jazzy Jeff, A-Trak, DJ Kool, DJ Premier and others to Belgium, so it was a natural
fit for us to work with them in this capacity. Our stage turned out to be a massive success. When I sold the company, I sat down with Michiel and I started discussing about ways for the two of us to work together. It was from here that we started co-managing Dimitri Vegas & Like Mike and Yves V. A few years later Lost Frequencies was signed and 5 years on, the success speaks for itself, but it has been a wild ride to date and we still have so much more planned! Did you have mentors in the beginning to learn from?
Benjamin who started doing our first nightlife concepts has always been someone who had a great vision and definitely taught me certain skills. But I’m a hugely driven person and was finding my own way regardless of mentors in my early years, but as your journey through any industry to surround yourself around people with a likeminded attitude is very important. Working with my artists is also a very motivational experience. The passion they have for the music and the scene is contagious and gives me great belief in the work we do.
NR: Besides the Beers brothers who have been great inspirers to be around, my older brother
It’s very impressive that you manage many high value ventures in our exciting
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built on pure luck! ver met who has made a successful career in had shit times along with the good times. journey."—Nick Royaards category of the music industry. In just a few years, your concepts starting with “Bringing The Madness” series to now being a core executive working with ID&T/Tomorrowland to overseeing Smash The House Records, aside from elevating Dmitri Vegas & Like Mike, Lost Frequencies, Yves V. popularity to incredible heights, all paint a picture of long days, lots of responsibilities, multiple and simultaneous campaigns and loads of time spent on the road. How do you do it? NR: It involves a lot of time management to make everything come together. It’s vital to surround yourself with a good team, those that are as passionate about the projects
you’re working on as you yourself are. It is long days, but I don’t struggle with that. I love the job, I love the challenges and the exciting and endless opportunities it brings each day. As the saying goes “love what you do, and you’ll never work a day in your life.”
more of a lifestyle choice so it’s essential to take time out every now and again. A good home and wife is the key to success and happiness.
And when you do have free time, how do you spend it?
From your experience and perspective, what does it take to break a major talent, grow a massive fan base, land lucrative record deals, headline bookings, so on and so forth?
NR: In my off time my wife and I will go away and detune from the craziness of the life. It’s good to catch up with family too during these times because I don’t always get to see them being on the road so much these days. Our scene can be incredibly demanding and it’s not so much of a career but
NR: Hard work. No one’s career is built on pure luck! Forget what the haters say, everyone I’ve ever met who has made a successful career in anything has had to work hard. They’ve had shit times along with the good times. It’s just part of the journey. You need to stay focused, have a vision and build
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a great team around you. Talent can’t be forced, it needs to be nurtured and allowed to grow freely. We are always working. Our team never stops. We do it because we love it. If you don’t want to put in the hard work for something you believe in then I’m sorry, but you’re in the wrong game. What’s the coolest aspect about your job? What’s the noncoolest aspect about your job? NR: I live and breathe this and I’m very fortunate to love almost every aspect of what I do. To be around incredible people, work with some of the hardest working individuals you’ll ever find and be a part of amazing projects every day. The non-cool aspects, thankfully there aren’t
many, but it would have to be working with anyone who is just in this for money because they never truly understand what it is we’re all doing this for. When you first started out managing and producing your own events, did you know that your early success would open the doors to opportunities representing world famous artists and presenting internationally recognized and award-winning major productions? NR: Not to the crazy extent it has become but I always had belief in my goals. I knew very early on I had a passion for electronic music and this was the right career direction for me. When your instincts tell you
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to go with it you should always listen. Lastly, what excites you about your career and it’s future and how you see yourself contributing to the industry as a whole? NR: I’m excited about the amazing talent we possess in our scene, by the new boundaries we’re constantly reaching and by the scale at which our industry is now operating. It makes me proud to be a part of it and my goal is to help the artists I work with achieve their ambitions and the projects we’re involved in to be something personal and memorable for the fans.
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NOT YOUR TYPICAL SILLY LOVE SONG WRITER Sophie Francis, an artist on this year's Spotify's NL prestigious "Top 25 Most Influential Artists Under 25" list, which also includes fellow Dutch artists Martin Garrix and Oliver Heldens among others, has had an incredible 2018. She's landed a major Indie Label contract with Spinnin' Records, traveled to all corners of the globe, and had an impromptu onstage appearance with Martin Garrix. These are just a few of her highlights. In this Q&A session, Sophie shares in detail her escapades, adventures, life at home, her latest single "Weekend Love" and more. By Catherine Strickland Photography courtesy of Sophie Francis Beatselector Magazine | Issue N° 15 | 99
Hi Sophie. Tell us about your summer and some of the memories you made this year. Sophie Francis: I had a super cool summer! I got to travel a lot, see a lot of different countries and meet a lot of awesome new people. I also have so many amazing memories and it is very hard to choose and talk about just one. I played on some crazy stages such as the main stage at EDC China, Ultra Korea and Ultra Beijing. Also at Ultra Japan, the crowd was super energetic there!!! I loved Parookaville in Germany, Palmesus in Norway, a festival in Slovenia which was super cool, and of course BCM in Mallorca. Those were a few of the most epic shows I was able to play! I loved it so much. If you were not a professional producer and dj, what career path do you think you would have pursued? Why? SF: Definitely something in music. I am not sure what. I never really thought about it, because I have been doing this since I was 15. So, I never really had to think about a course of study or a different career path. I imagine that the now infamous impromptu B2B with Martin Garrix was a career highlight. How did it all go down and did you know about it beforehand? SF: It was all super crazy!!! Of course it wasn’t planned, and I could ever imagined it. Not in my wildest dreams (laughing). I had to play at BCM Mallorca and I heard that Martin Garrix was playing right across the street a few hours before my own show. So, I went to watch his show at the BH hotel and the promoter, who works at both venues, allowed me to go backstage. I had the chance to meet Martin in person and gave him one of my new single promos and chatted a bit. He is a super humble and nice guy!!! After his set he decided to come to hang out during my show at BCM. That was super unexpected for me. And then when I was playing, I saw him entering the dj booth and he asked me to play one of his songs and he jumped into a b2b with me. I couldn’t believe what was happening (laughing) it was one of the best times of my life!! He was so sweet and down to earth giving me that amazing and joyful gift, being able to play with him. As a signee to Spinnin’ Records, how would you describe your label relationship in terms of accelerating your popularity, opening more doors and developing you as an artist? SF: Being a Spinnin artist is very positive! They are really respected and have a really big audience.
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What is the back-story for your latest single for "Weekend Love." How’s the reception been and who’s showing love and support? SF: I was in a writing camp and I heard this song! I was immediately in love with it because it is not like every love song. Normally love songs are about epic breakups or epic love stories, and this one is about the love life of single people. That is why I loved it, the song was original, happy and I immediately wanted to produce it. The reception has been super nice! And I have been getting a lot of support from everyone, not only other DJs but also fans. How do you balance and spend your free personal time against the DJ “lifestyle”— meaning lots of travel, working long hours and being away from friends and loved ones? SF: Touring requires lots of time, leaving very little for personal life. I love to do sport activity in my free time. I do CrossFit and during travels, I go to the gym in the hotels. When I am in Holland, I also love hanging out with my friends, and they are the best and most supportive people in the world! A little example is when I have been away they will pick me up at the airport, which is like an hour drive! I love them to pieces. What has you most excited about the current and future state of dance music culture? SF: That really everything is possible at the moment. There is not just one music genre right now in dance music, all is blended and it makes it creatively limitless!! Also the culture is expanding worldwide and its amazing!! What’s next on your “to do” list? SF: I just arrived from Asia. I am in writing camps right now while we speak the whole week, writing and producing lots of new music for 2019!!! After I’ll go to South America and back to Asia again this month! And finally, The Netherlands or South Africa? Pros, cons? SF: Wow, this one is so hard! (Laughing) I love both countries equally! The Netherlands is where I have my life now, which makes me lean towards it more in pros wise, but South Africa is so nice country wise. There is so much too see, nature wise, and we don’t have this in Holland.
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di
MIK & HIS
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iggin' IN TO
KE la funk S FUNKED UP JOURNEY
Mike Ohainski, also known as Mike La Funk, has for 18 years led the way as a leading purveyor of the Funk and Tropical house sound. Home based in the music and art hot bed that is Berlin, Germany, Ohainski is riding a wave of recent high profile releases and top billing gigs. We catch Mike in a moment of reflection, conjuring highlights of his career— past and present, memorable moments, what music is allowed to be played in his home, sound advice to young producers and what the foreseeable future has yet to unfold. In this Q&A, Mike goes deep and shares his positive and sunny outlook.
By Catherine Strickland Photography courtesy of Mike Ohainski
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Coming up on your 18 year mark of producing music and performing as a professional DJ, when you look back over the years, how have you and your musical tastes evolved and how has that made you better as an entertainer? MLF: Mad, as time has passed! It has been a very interesting journey so far Totally exciting. I started to play with Vinyl the Black Gold and during that time there were tape recorders and record cases that you dragged along to the next gig. Today, everything is digital! My strong love for house music has stayed with me the whole time. It's amazing that over the years, there weren't any big changes in my music. Currently, I stay true to the "Energetic House" with disco and soul influences and do not follow any trends. But, I have noticed a big change over the years. In the past, the music was 80% artistic. Today, it is now 20 to 30%, the rest is pure branding and marketing. Presently, artists are often seen as a commercial brand and less of a producing and performing talent. As an entertainer and DJ, I have of course, continued to develope my technical and performance skills over the years. In your opinion, what makes a great set and how do you fill a dance-floor? MLF: I always wonder about acts and Djs who play a different style than they actually produce or release. This makes fans feel very insecure. I take my fans and club visitors on a journey, there are no ready-made standard sets, which is unfortunate and typical nowadays. Since I mostly play the main time slot , the dance floor is usually already full because the resident DJ of the club did a good job. If not, then my professionalism is required to get the best out of my performance and to play the right opening track to fill the dancefloor. Then I guide the crowd through the party night. My sets are always full of dynamic, energy, cool bass lines, melodies and powerful vocal hymns. I can't stand still behind the DJ deck, I show that I live my music, love and feel its authenticity and the fans and party people love it. You have recently stated that your latest release, a re-envisioning of Artful Dodger’s "Movin’ Too Fast" as your all-time favorite track. What makes it so special to you? MLF: When I first heard the track in 1999/2000, I was fascinated by the song. The Garage /2-Step beat and the cool vocals and hook line was just perfect to me. I love the vibes, and of course, I have the original track on vinyl. Additionally, the track reminds me emotionally of some nice things, so I have a personal connection. When I rummaged through my record collection last year, I rediscovered the track and knew I had to make a Mike La Funk Re-Cover. The idea became a release in the new current guise of today's dance music time and I have already received lots of positive feedback on the track.
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Another recent 2018 release —"On A Dream" with Paige on Armada Deep—received a big promotional push with your guest appearance and performance for Armada Invites Radio program. How was that experience and did it drive more awareness and listens for the track? MLF: Yes, Armada Music, as one of the biggest independent labels in the dance music sector, is of course a big player when it comes to promotion and marketing. Although, being a big label with many contacts in all directions to push a track properly, that doesn't automatically mean that every number and release is pushed aggressively to the masses, simply because almost every day new music comes out, which limits strategies for marketing the advertising. The attention threshold of fans and users is getting lower and lower and it's not easy to stand out from the crowd with a track, considering that every day about 20,000 new tracks are released on Spotify. Armada Invites Radio is a great format and I was very happy to be part of this show and that my track was pushed massively. I was able to attract a lot of new fans from all over the world who discovered my music this way. Meanwhile, the track spins around the globe on many radio stations and can be found on a lot of playlists of the DJ House League. Your track "Alive" is enjoying some big success, wouldn’t you agree? What’s the back-story behind the track and where does it go from here, now that it’s surpassed the 1.5 Million-stream mark. It’s obvious that people are listening. How does that make you feel? MLF: Update..., the track cracked the 1.7 million mark...and we're headed towards the 2 Million mark. I'm just overwhelmed and overjoyed and thank everyone for the fantastic support. "Alive" is something special for me. I've learned so much about Spotify because I realized that with the right song Spotify makes a lot of sense and you can earn more money than with the decreasing download numbers. The track was released 12 months ago and started at Spotify in some smaller playlists, only half a year later the track was directly listed and curated in three of the biggest "dance lists" of Spotify, which was surely due to a hard and intensive promotion work. That was the beginning of the success. Currently, we are on approximately 200 small and large playlists worldwide with the song. I've received feedback from fans and listeners all over the world and they're already asking for a follow up track with the talented singer "Lyla Bull" and YES, actually we're working on a mega follow up track to top it all. Let’s explore the "funky" side of your musical offerings and inspiration. Do you ever include “old school funk” in your sets and if so, what would you say are your personal favorites? Crowd favorites?
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MLF: Original "Old School Funk" is only available on vinyl at my home in a cozy listening session! (laughing) The Funk, Soul and Disco eras caught and captivated me early on. I like the basslines, funky guitars, horns and vibes of this era of music history. My sets are always "funky." I like Loleatta Holloway 's "Love Sensation," the original samples which I incorporate in my DJ Sets into modern House/Dance tracks. As a "Funk" lover, I like tracks from The Whispers, Evelyn Champagne King and The Temptations. For the audience "Satorial - Ride The Sensation" is currently the absolute dancefloor burner... "Love Sensation" is a really cool production as well. If you could, would you travel back in time to be part of the funk music scene of the ‘70s, ‘80s and ‘90s? What band/group would you see yourself in? Why? MLF: I would be a member of The Temptations - they shaped the legendary success story of the Motown label. The Temptations revolutionized pop radio history in superlatives with always a high degree and demand on professionalism, which is also very important to me. They were always in a good mood and showed a cool authentic stage performance which is also important for a professional DJ nowadays. What is the most amazing experience you’ve had so far as a professional DJ and producer? MLF: That the quality of music production and DJ performance is not the most important thing nowadays in the Dance Music Scene. The right contacts, the right management or just luck and being in the right place can be more of a success factor than years of hard work and a do it yourself marketing. When you're producing, don't think so long, release your music. I know so many good musicians and DJs who sit in the studio for weeks, sometimes even for months and then still aren't satisfied with the "one track." I also had to learn that the business is so fast moving. Every day thousands of new music tracks come in to the market. You have to deliver and deliver fast! Unfortunately, you have to adapt to the market in some way regarding the mechanisms. Most of the music today is consumed on a smartphone or laptop, so high-end quality like 20 years ago is no longer necessary. The second amazing experience is that you can work hard for years in the studio, perfect your sets, hang up, and do the best marketing, but only an important contact or just a track that really goes through the ceiling and that can put everything else in the shade. But for me long-term success is self-made
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"I take fans and visitors journey, are no r made sta sets, wh unfortu and typ nowada
—mike oh
e my d club s on a , there readyandard hich is unate pical ays."
hainski
and not by a third party or a management. I get a lot of requests and feedback from young talented DJs and producers and they often ask how to be successful. My answer to them is don't copy, be yourself and make your sound no matter if it's hype or not. Stay authentic and be diligent and network with important contacts. Not for nothing: The music business is a people business. If there was one single thing that you could go back and re-do, what would that be and why? MLF: I'm not one to look backwards. It will always be forward for me! However, I miss the times when "HOUSE MUSIC" enjoyed a different status, when people were more open to consuming new music beyond mainstream and radio mash-ups. My generation grew up with "Real House Music." For the kids today, it's David Guetta's "House Music" thats shows a distorted picture of the musical genre. On the subject of repetition in any case: cool gigs are always in my memory! Capturing the amazing party vibes and for every artist, a successful and fantastic party night is the best inspiration for new music productions. Often it happens that after a cool party, in the morning in the hotel, I still have my creative ideas to hold on to and then implement them as quickly as possible in the recording studio to produce the next Big Thing. What’s on the horizon for you? Multi-continent tours? Is there an album forthcoming anytime soon? MLF: This year there are still some highlights to come! In general it was one of the most successful years in my musical career for me. In December I will play for the international House Music Party Brand "Kinky Malinki" (20th Anniversary) in one of the hottest clubs in London. My greatest highlight will be the New Year's Eve party in South America (Costa Rica) this year. I played there two years ago on New Year's Eve and in the Dominican Republic. It was indescribable regarding the flair, the vibes and audience. New music productions and tracks are also planned or in the pipeline. An album is planned for "20 Years MIKE LA FUNK" but will not release until 2020, but I'm already working on the first tracks for the album, and it will be a damn exciting musical journey through the last 20 years. Be curious!
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[MUSIC REVIEWS] Masterpiece Excellent Good Fair Poor
NILE RODGERS & CHIC
It's About Time Virgin EMI
Nile Rodgers and Chic’s new album "It’s About Time" marks the debut of Rodgers' latest incarnation redefining his music as a "new Chic experience" and reflective of 21st century dance music. Since its release date of September 28th, "It’s About Time" has had a presence, at one time or another, in international charts across the globe, signifying once again, Nile's widespread popularity and relevancy. While researching the release, I noticed that some respectable media outlets wrote up “mixed reviews.” Could it be that their expectations were so high, that they had a let down? Who knows? What is known, is
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[REVIEWS: ALBUMS] pretty much anything Nile Rodgers is involved with,
electronic producer Mura Masa along vocalists
lots of global buzz and high anticipation follows. The
Cosha and Vic Mensa. I thinks it's great!
man is, after all, responsible for million albums sold
There are other big name guest appearances
and over 75 million singles sold. For me personally,
by Elton John and Emeli Sande ("Queen"), Philippe
writing about music is all about how the music
Saisse ("State of Mine/It's About Time") and Craig
makes me feel.
David with Stefflon Don on the LP's second official
As a life-long fan of Nile Rodgers and Chic,
single "Sober."
I was hoping that Rodgers and company would
So, I’ll break it down to simple terms. If you
provide a selection of songs that would make me
want songs with that classic Chic feel, then "Till The
feel good. In most respects, it does. However, the
World Falls," "Boogie All Night," "Dance With Me," "I
hard part is coming up with words that are written
Dance My Dance" and "I Want Your Love" are the
to convince you—the reader—to find agreement
songs immediately to go to. For those interested,
in my commentary and to be persuaded to take a
“Sober” and “New Jack Sober,” along with “Do You
listen.
Want To Party” are more slanted in an RnB style and
Millions and millions of people around the
sprinkled with hip-hop vocal styling.
world know and love Chic's "Dance, Dance, Dance,"
In my opinion, the best track on the LP is a
"I Want Your Love," "Le Freak" and "Good Times," all of
2018 modern version of "I Want Your Love." Rodgers
which were all worldwide massive hits back in their
masterful pick of having Lady Gaga deliver the
time. To this very day, those iconic tracks still remain
vocals, well, let's just say there is no one on the
very influential among DJs and producers alike.
planet that could have given a better performance
Case in point, DJ Oliver Heldens recently released
freshening up the 30 year old classic. I am biased.
a burning remix of "Le Freak" celebrating the iconic
Also, I have to mention a couple other tracks
track's 40th anniversary. 40 years later!
that stand out. First up is “Do You Want To Party”
Through my first pass listening through the
featuring the silky rapping by LunchMoney Lewis
new album, I recognized many elements of the
that flows effortlessly above funked-up slapping
trademark Chic sound. Listen closely Chic fans, you
bass-lines, and guitar riffs offering up a nice cross
will hear it too! There are vivid flashback moments
section of the old and new. On the contrast, a bit of
on this collection of new songs that will take you
ballad/slow jam pursues with deeply soulful vocals
back to Chic’s dominance of the 70s and 80s and
by Elton John and Emeli Sandé on “Queen” telling a
other songs that delve more into Soul/R&B (in the
heart-wrenching story.
90s vein) à la "New Jack Swing."
All in all, “It’s About Time” is an excellent album,
Personally, my favorites include the album’s
and to me, feels real good. I say, Nile and company
first single and opening track "Till The World Falls."
have given the world an album that looks back
Released ahead of and in league with announcement
and incorporates the long legacy of Chic’s sound,
of the forthcoming album, way back in June, the
one that adds a splash of modernism that fits tight
track features Rodger's classic guitar groove and
within today’s dance music canon.
guest appearances by two-time Grammy nominated
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—JOSEPH ARTHUR
[REVIEWS: ALBUMS]
ADRIATIQUE NUDE AFTERLIFE RECORDINGS
Adrian Schweizer and Adrian Shaia are the musical minds behind the Techno, house and electronica Swiss based act known as Adriatique. You can find their recordings on Diynamic, Cityfox, Afterlife and their own imprint Siamese. The duo’s debut album, "Nude," is out now on Afterlife and lists 13 tracks sparkling with downtempo, electronica, melodic techno, all inside an experimental common mindset. "Nude" opens with dark dramatic fashion, booming bass, strings and an intricate melody creating an eerie soundtrack titled "Dawning." The following track, "Awakening Machines" goes even deeper into the dark realms, pulsing with oddly timed beats and rhythms. "Random Notes Orchestra" brings in warm rays of light with hypnotic rhythms, quick beats and a bright melody. The title track "Nude" gets experimental through complex multilayering of sounds. The sonic weirdness continues with "Panchromatic" where both artists lay down
a melody and beat that builds up to chaotic levels, eventually finding its tight groove. Delhia De France brings in "Tachyardia" with mystical vocals against a backdrop soaked in melancholy. "Point Of No Return" emerges through rising tensions built by dramatic synths, driving and ethereal guitar riffs, leading to thumping beats and a cinematic flair. "Buchla’s Dreaming" gets down with some damn fine melodic dueling, which makes it the most interesting selection on the album. "Studies In Dance Theory" incorporates static, distortion, rapid electronic beats, subtle bass booms and dance inducing rhythms. Just like the title says, it’s a study in dance theory. "Mystery" enters with soulful vocals by Jono McCleery, leading to oscillating keys against distorted low-end layers and slowly paced pitter-patter drum rhythms. "Ultraschall" dives more into techno oriented waters, rhythmically speaking that is, and is partially inspired by Schweizer’s son’s Ultrasound heartbeats. "Ray-Reincarnation" displays intricate rhythms, gorgeous piano chords and shiny synths, revealing a peaceful feeling of spirituality. Closing up "Nude" is "Golden Bird." Uplifting, yet darkly toned and a bit more slanted toward the dance floor, the track provides the perfect ending. "Nude" is a diverse, adventurous, experimental, weird, and in parts, deeply personal piece of work. Keep your mind open while listening and pay attention to what is going on in each track. The amazement will follow, but you, as the listener, must also immerse yourself in to the album to fully appreciate. As mentioned earlier, there are moments of house, techno and down-tempo inflections, however, the real beauty inside the collection reside in how impressive the duo’s imagination, creativeness and skill in mixing their experimental ideas with traditional and drum and bass universal practices. So, for those that want something cerebral and on the edge, "Nude" easily satisfies.
—LEO WEAVER Beatselector Magazine | Issue N° 15 | 113
[REVIEWS: ALBUMS]
BE SVENDSEN BETWEEN AN SMILE AND A FEAR MUSIC FOR DREAMS
Be Svendsen has had a busy 2018. He’s been touring the world since January, playing the main stages at Tomorrowland, BPM Mexico, Fusion Festival Germany, BOOM Festival Portugal, Robot Heart Burning Man, Get Lost Miami, DGTL Amsterdam, Secret Garden Party UK, Oregon Eclipse and Rainbow Serpent Australia, among others. He has recordings on Crosstown Rebels and All Day I Dream and has earned the support from the likes of Pete Tong, Black Coffee and Kenneth Bager among others. Every release from Be last year landed in various top 15 Beatport charts. Interestingly and despite all these accomplishments, Svendsen remains virtually unknown. I have a feeling that is all about to change. Around the end of October, Be Svendsen and Music for Dreams released the full-length album "Between A Smile And A Tear." Throughout the ten tracks, you are taken on
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rollercoaster ride of varying moods. From chill and melancholic to the dramatic and cinematic. One thing that is consistent throughout the album is Be’s self-described "Tarantino Techno" styling and its "dessert-tech" inspired sounds, ranging from the subtle to the "in your face" and everything inbetween. "Between A Smile And A Tear" conveys and documents Be Svendsen’s thoughtful and complex writing, masterful instrumentation and vocal usage, displaying a collection of songs representing a new and modernized take on "Spaghetti Western" styled music. Guitars, wood percussion instruments and strings are mixed with electronics, ambience and tempos of all speeds, keeping you on the edge, anticipating the next track with moments of surprise and brilliance. The album highlights include the opener "Falling," "Drop The Gun," "Andromeda," "Hazy Eyes," "Le Piroguier" and "October Letters." For those that appreciate exquisite instrumental songwriting, the title track "Between A Smile And A Tear" and "Day 3" shine a spotlight on Svendsen’s soundtrack’esque writing skills. Readers should listen to the album a couple of times to fully embrace the ride Svendsen takes them on. Futuristic? Yes. Mysterious? Yes. Cinematic? Yes. Moreover, the diverse range of beats, rhythms, feels and moods make for a wildwest musical adventure. There is also something to be said for the album’s track list order. From open to close, the music flows seemlessly creating a modernistic that western tinged theme that compels attention and repeat plays. I commend Kenneth Bager and the MFD team for consistently releasing interesting and diverse albums that surprise and always end up as enjoyable listens. "Between A Smile And A Tear" continues in that tradition and demonstrates a true passion between the artist and the label for releasing music that is cutting edge, experimental and accessible.
—JOSEPH WENSELL
[REVIEWS: ALBUMS]
BILLY IDOL VITAL IDOL: REVITALIZED CAPITOL/UMe
"Vital Idol," originally released in the UK in 1985 and then in the United States in1987, marks it as the first remix record ever released by a rock superstar. The album would go on to earn platinum status and re-launch "Mony Mony" to the top of Billboard’s Hot 100 Singles chart. The recently released "Vital Idol: Revitalized" is a modern-day upgrade remix package of the 1985 original release. For the project, the punk rock icon employs the talents of Moby, Paul Oakenfold, The Crystal Method, Tropkillaz and more. Throughout the "Revitalized" package, you get everything you’d want— all the hits, re-imagined and painted in broad strokes with modern Drum and Bass, house and electronica sound design. It all begins with CRAY rocking out "White Wedding." Accenting the bottomed-out bass line, drums, guitars, vocals and keys, CRAY builds and takes the classic track straight to the dance-floor, adding
modern electronics, big league drops and brief interludes of bounce. Next, RAC takes "Dancing With Myself" on a wild retro ride featuring harmonized keys taking on the melody. Tropkillaz slows down the pace with his colorfully applied Tropical House infused "Eyes Without A Face." The Crystal Method’s remix of "Rebel Yell" brings the heavy drums, scorching guitars and dark snyths to rule the day on this track in typical TCM fashion. Moby makes an appearance on "(Do Not) Stand In The Shadows" adding theatrical inspired electronica, infused with Drum and Bass rhythms. St. Francis Hotel drops the bottom out on "Flesh For Fantasy" and adds elements of clicks, and distorted electronic beats on top of the core structure. A deep groove commences on "Catch My Fall" by which Juan Maclean swirls the melody to new heights and colors while cranking up the bass and drums. Paul Oakenfold’s remix of "One Breath Away" is, in my opinion, the true highlight of the collection. Gigantic in sound, designed to fill a dance-floor, Oakenfold’s remix is simply aces. House music flavors featuring piano, choir styled vocals, bouncing bass and skipping drum beats showcase on DJDS’s remix of "To Be A Lover." Finally, coming up to the album’s closing tracks, Shiba San presents "Don’t Need A Gun" with a gnarly rolling bass-line, reverb, some dope electronics across escalating tempos. Ending the collection is a tropical infused rendition of "Hot In The City," featuring exotic, island inspired percussion beats and that infinitely famous piano riff, there really is no better track to end on. “Vital Idol: Revitalized” is available now on CD, as a digital download with four additional remixes: "Mony Mony" (Idol/Stevens Remix); "One Breath Away" (Paul Oakenfold Extended Remix); "(Do Not) Stand In The Shadows" (Moby Remix, Half Time Version) and "Save Me Now" (Lost Dog Remix) and as a 180 Gram 2 LP for all you audiophiles out there.
—JOSEPH WENSELL Beatselector Magazine | Issue N° 15 | 115
[REVIEWS: ALBUMS]
JOEY NEGRO REMIXED WITH LOVE VOL.3 ZRECORDS
Always anticipated by a wide legion of fans, renowned DJ Dave Lee’s (stage name Joey Negro) Remixed With Love compilation series is something that can’t help but generate attention. He once again puts his spin on more than a dozen seminal disco/soul/pop records from the ’70s and ’80s, preserving the integrity of the original versions while adding his signature flair for reimagining their most powerful and memorable elements. It can be a dicey affair tampering with classic dance music’s golden past, but Lee hits the bull’s eye most every time on the third installment of his series. In the two years that have passed since his last foray into yesterday’s beats, he’s been gathering some fascinating and rather stellar examples of vintage disco and funk. Take Eddie Kendrick’s 1976 Tamla/Motown nugget "Goin’ Up In Smoke," which originally reached number 11 on the Billboard disco chart. Lee’s mix has a "Salsoul" flavor that flows
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effortlessly, favoring punchy horn work and bongo effervescence that was a bit more understated in the original. It feels a touch less dark, working on a retro-pop level that doesn’t diminish the song’s relevance or insightfulness one bit. Likewise, Lee recognizes the earnest, yearning vocals that made the funky pulse of Evelyn (Champagne) King’s 1981 summer smash "I’m In Love" so infectious (it reached number one and stayed on the Billboard dance chart for 22 weeks). Lee gives the track an ethereal big room makeover that’s a unique combination of dreamy and driving. His lushly orchestrated embelishments of Earth, Wind & Fire’s somewhat more obscure 1979 pop/disco track "Can’t Let Go" capture the theatricality of this cross between "Boogie Wonderland" and "Let’s Groove" and makes you wonder why it wasn’t a bigger hit in the States. Ashford & Simpson’s relentlessly joyful "Found A Cure" seemed to (ironically) foreshadow the AIDS crisis just around the corner when it reached number one on Billboard’s disco survey in 1979. Here, Lee offers a dub version that, in some ways, draws attention to disco’s occasional reputation for long, repetitive instrumental breaks—where dancers frequently blissfully zoned out and critics took aim. Jump to Gladys Knight & The Pips’ mid-charting disco effort "Bourgie’, Bourgie" from the group’s early ’80s Columbia catalog. Lee fully explores and gently reimagines the complexity of the track, appreciating the song’s irresistible strings, soulful passion and wonderful hook. Other tracks include Sister Sledges’ "You Fooled Around," Booker T.’s "Don’t Stop Your Love" and Patrice Rushen’s "Never Gonna Give You Up," and it quickly becomes evident that Lee is, indeed, a connoisseur of the genre, giving listeners a rare opportunity to embrace the extraordinary range of creativity that punctuated dance music in the ’70s and ’80s—be the tracks acknowledged classics or perhaps under-appreciated moments of brilliance. It’s a fine collection
—JAMES ARENA
[REVIEWS: ALBUMS]
MITEKISS CRATE SIX SEVEN HOSPITAL RECORDS
Mitekiss is a drum and bass music producer hailing from London. Working for years, Mitekiss has had a long ride carving out his space in the DnB scene with several impressive releases on some of the genres biggest and successful labels. Starting out at age 15, Mitekiss has mastered a sound all his own—exotic, diverse and experimental while staying true to DnB traditions. His watershed moment came via Shogun Audio’s label head discovering, what would be a breaktrough track in "Void"—later released through Skankandbass. Immediately following the success of "Void," came the opportunity from London Elektricity to remix his classic "Just One Second." Since then, he has released on some of DnB’s finest purveyors of the genre including Shogun Audio, SGN:LTD, MTA, as well as his own imprint Goldfat. Now the stage is set as Mitekiss is officially among the elite DnB producers on Hospital Records' roster. As of November 2nd,
"Crate Six Seven” has been making the rounds, gaining support and critical praise from media outlets including DJ Mag, BBC Radio 1, UKF and more, helping to spread the news of this remarkable album of Drum and Bass tunage, featuring special guest collaborations with vocalists Emer Dineen, Mr. Porter, Emilienne Chouadossi and Naibu. The album’s first four tracks: "Crate Six Seven," "Body Move," "Farmost" and "Hutan" introduce complex composition and exploration in sound realizing deep expressions of colorful melodies alongside drum and bass dance rhythms. On "Lenz" and "Another Sad Song," Mitekiss flips the feel on its head as it gets deep down and dirty with darker tones and features gnarly and deeply soulful vocals by Mr. Porter. "Human" brings the heat with prominent jazz drumming rhythms, sci-fi effects and samples. "Turn Up" and "Viewpoint" gleen and glint with calm and soothing synths lines, mid-to-rapidtempo beats and jazzy/soulful grooves. "Fellowship" dips its toes in the cool waters of ambient tones and layered heavenly sounds with the drum and bass laying down the beat. The last four tracks: "Genesis," "Straw Man," "Goolab" and "Flight" roundout the collection of songs found on "Crate Six Seven." Just like the first four opening tracks, these songs explore and express similar "feels." Summing it all up, Mitekiss’s Hospital Records Long Player debut is a unique collection of 14 songs that are stunningly beautiful, delicate and silky smooth. The album continues to amaze as you transition track to track with moody complexities that is rarely seen in DnB music. He has managed to successfully deliver an album, not primarily rooted in frenzied drum and bass leanings, but brings thoughtful atmosphere front and center, making for a unique listening experience. Without a doubt, "Crate Six Seven" is of one of finest and most interesting Drum and Bass albums of 2018.
—LEO WEAVER Beatselector Magazine | Issue N° 15| 117
[REVIEWS: ALBUMS] his love of ambient, chill, jungle, island and tribal music, all of which are well represented throughout this album. "What You Have To Do" opens the album with a dewy canopy of deep jungle beat rhythms, gorgeous synth layers and softly spoken vocals creating a calm and chill feel. "Calling" featuring vocals by Välva follows the same formula utilizing more bleeps and blips, static bass and a touch of distortion. Transitioning to the album’s namesake, "One Man’s High Is Another Man’s Anxiety" rolls in the jungle percussion and subtle electronics. "You Will See" featuring Apoke ups the tempo and the trance factor through deeply hypnotic grooves and vocals.
NANDU ONE MAN'S HIGH IS ANOTHER MAN'S ANXIETY CONNECTED
Copenhagen's Nandu is one of the most sought-after electronic acts from Scandinavia. He’s an artist unrestrained by genre barriers and is not a stranger to performing alongside the industry's key players. For the past three years, Nandu has been building his fan-base through a series of solid releases on cutting-edge labels Constant Circles, Azzur, Rebirth and his imprint Calypso Chill. Connected, the label run by the guys from Stereo MCs, know the score and certainly recognizes rising talent when they see and hear it. Turns out that Connected is the home label to Nandu’s latest full-length album "One Man’s High Is Another Man’s Anxiety." Spread out over eight tracks, listeners will be treated to Nandu’s inspirational pool discovering
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"While We Wait" pulses with shakers and wood instruments, soft piano and voice, presenting a song that has more of a contemporary jazzy lounge feel. "Isibane" brings back the tribal percussion rhythms inducing euphoria and trance like feels, oh and not to forget Oluhie’s muffled, yet mesmerizing vocals. "When They Call" is unique compared to the previous songs you’ve experienced while listening. The track has more of sci-fi, futuristic vibe, tribal chants and pristine sounds that push you in to a different head space. “The Cost Of My Childish Dreams” closes out the album and guess what it features rapid rhythms, banging piano, swirling atmospheres, ending the LP in feel good, uplifting way. The universal theme on "One Man’s High Is Another Man’s Anxiety" is one of heavy tribal, island, atmospheric feels whipped up by Nandu's exotic electronic sounds results in an eight song narrative that lays a gorgeous and other-worldly foundation by which to engage and embrace.
—CATHERINE STRICKLAND
[REVIEWS: ALBUMS]
RÜFÜS DU SOL SOLACE ROSE AVENUE/REPRISE RECORDS
Keyboardist Jon George, guitarist and vocalist Tyrone Lindqvist and drummer James Hunt form one of Australia’s most popular musical acts. Eight years in, the trio specializes in making Chart-topping and award winning alternative and indie dance music. In 2011, Jon, Tyrone and James released their selftitled EP "RÜFUS." The EP would have two singles peaking at #8 and #13 on Hype Machine’s charts. Months later a second EP "RÜFUS Blue" would drop. Now comes the band's full player releases. "Atlas"(2013), the first number one LP on the Australian Album charts (2013), brought RÜFUS into the spotlight with 4 spectacular singles, "Take Me," "Desert Night," "Tonight" and "Sundream." Followed by "Bloom" in 2016, this gorgeous LP also reached the number one position on the
Australian album charts and is a certified double platinum release. Their third full-length release, "Solace" (2018), is the first album under a new name, changing from RÜFUS to RÜFUS DU SOL. The explanation, according to Tyrone goes: "I guess we don't really know any other bands that have two names throughout the entire world so it just seemed fitting.” Now that the formalities are briefly spelled out, we can dig in to the music on the new album. "Solace’s" 9 songs provides a lyrical narrative of self-realization, second chances, lost love and acceptance. Musically, you get everything from sonic booms, drum and bass to deep house music with beautiful melodies soaked in dark melancholic tones to brighter summery soundscapes and quicker tempos. Highlights include the softly tempered opening track "Treat You Better," "Eyes" with its supersonic drum and bass parts, the dance oriented title track "Solace," "Lost In My Mind," "New Sky" and "No Place." "Solace" is destined for year-end “Best of” lists. The album documents the growth that Jon, Tyrone and James have achieved over the course of their eight years together, reaching the next creative plateau and producing beautiful deep house productions. Having the maturity and bravery to tell their introspective stories to the masses also proves that the trio is ready for bigger success and exposure. So, in closing, a simple statement should suffice. With "Solace," RÜFUS DU SOL have confidently taken a gigantic step forward in becoming an international powerhouse and joining the world’s elite.
—JOSEPH ARTHUR Beatselector Magazine | Issue N° 15 | 119
[REVIEWS: ALBUMS] 30 million record sold, the Essex based act (Liam Howlett, Keith “Keef” Flint, and Maxim) have been leading trailblazers in electronic rave music for several decades. Fans already know The Prodigy always hit hard with progressive supersonic angst and attitude. So, why would the new stuff be any different? Well, it’s not. It goes straight to the core of The Prodigy repertoire—fiercely raucous and as expected, wild, loud and bold. "No Tourists" packs all the kicks, punches and all the sonic aggression The Prodigy are known for: slamming heavy-metal melodies, gigantic beats, piercing hard-core electronics and punkish vocals. There is no new ground broken on this album. In
THE PRODIGY NO TOURISTS BMG/TAKE ME TO THE HOSPITAL
The Prodigy first exploded on to the rave scene in the 1990s pioneering the big beat sound alongside the likes of Fatboy Slim and the Chemical Brothers, among others. Over their long career, the "premier dance act for the alternative masses" have enjoyed a wildly successful ride, selling millions of records, filling stadium sized venues and amassing a global mainstream following. With years of received recognition and praise from MTV, The Brit Awards, The Mercury Prize, Kerrang! NME, Q Magazine, IDMA and other media outlets spanning the globe, when any news of a new release or activity leaks, anticipation and buzz builds and fans pay attention. The Prodigy’s "No Tourist" LP, was released in mid-November via BMG/Take Me To The Hospital and is the follow up to 2015’s "The Day Is My Enemy." Over the years and 7 albums later, leading to over
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fact, you’ll hear some similar sounds drawn from their previous records, just updated and applied for the current age. ""No Tourists' is ultimately about escapism and the want and need to be derailed and not to follow that easy set path," explains Liam Howlett from his North London studio. "In these times we live in people have become lazier and forgotten how to explore. Too many people are allowing themselves to be force-fed, with whatever that may be. It’s about reaching out further to find another alternative route where the danger and excitement may be to feel more alive… not accepting that you can just be a tourist. That’s what the title is about for us." To this day, The Prodigy continues to be an important musical voice, and although, like I have mentioned before, "No Tourists" does not break new ground. But it does continue to apply the "evil-rave" sound around today’s relevant current events and subject matter. Stand out tracks include the opener "Need Some1," "No Tourists," and "Fight Fire With Fire."
—LEO WEAVER
[REVIEWS: ALBUMS]
WHINEY WAYSTONE MED SCHOOL MUSIC
Whiney, aka Will Hine, is an electronic music producer signed to Med School Music, the sister label of London based Hospital Records. Hines is well trained in music having spent his early and formative years performing in choirs and orchestras and excelling in violin and piano. By the time he turned eleven, Drum and Bass music had entered his life, thanks to being introduced to Pendulum’s "Slam" record, inspiring Hines to pursue a path of becoming a successful drum and bass music producer. And successful he has become. His debut for Med School, 2017’s the "Talisman," received wide spread praise and hype, and many have said the album changed the game. The debut went on to three Drum & Bass Arena Award nominations (Best Album, Best Newcomer and Best Track), a Beatport #1 spot with the modern DnB anthem "Flashlight" and widespread radio/DJ support from the likes of Noisia, Randall, Friction (BBC Radio 1, 1xtra) and Charlie Tee (KISS FM). Now, the buzz machine is
back in full swing and this time around it is hyping Whiney’s highly anticipated Med School Music follow up, "Waystone" featuring 14 tracks. On the album, Hine infuses drum and bass, trip-hop, grime and hip-hop and invites special guest collaborators including Keeno, Inja, Pippa Violets, Lakeway & Degs, Kwam, Hugh Hardie, Truthos Mufasa, Sense MC and Mr. Porter to join in the festivities. "Waystone" opens with the track "The Capitol" with big and bold brashness, kicking the Drum and Bass techniques into overdrive, setting the tone right from the beginning. Inja features on "Mission" where waves crash upon waves giving way to hip-hop flavors, gritty and robotic beats and Inja’s dope vocals rocking the track. "Spheres" brings the talents of Keeno and Pippa Violets to the consoles. The result is dreamy layers of bright ethereal sound and beautiful vocals that transports with rapid-fire beats. Next up is "The Edge" featuring Lakeway and Degs' vocals complimented by mid-tempo beats and a modern soul vibe. "Slingshot" comes in with manipulated vocals, dark instrumentation and a real twisted flair for the theatric. "Doin’ It For Time' is a hip-hop flavored cut with deep bass booms, rapid beats, and ultra smooth rapping by Kwam. A true gem and an album highlight. Halfway in, you now come to the tracks "Fever," "Triple Duppy Demon" featuring Hugh Hardie and Truthis Mufasa, "Dismissed" and "Darkest Night." You’ll experience memorable moments of distorted space, rocking beats, killer vocals, and tranquil reflective interludes. The four closing tracks: "Notorious" featuring MC Sense, "Virgo," "Shards" featuring Mr. Porter and "Amulet" are locked in and loaded to give "Waystone" a high octane ending. Whiney’s sophomore release lives up to and in some ways surpasses the greatness of "Talsiman." Each track delivers beautiful intros, spitting vocals, and hot beats. Will Hine’s explorations in Hip-hop, down-tempo and Grime applied to the DnB formula proves Whiney and "Waystone" is deserving of the hype.
—LEO WEAVER Beatselector Magazine | Issue N° 15 | 121
[REVIEWS: EPs]
ANDRE CROM READY 2 JACK TRONIC
CHIME EVOLVE CIRCUS RECORDS
Andre Crom is on a mission to achieve and trademark a sound that will distinguish him as an elite music producer. For years, he’s paid his dues with countless gigs, co-produced multiple club hits, and his diversified his repertoire with explorations in Techno and house music. Crom’s recent activity includes releases for Sleaze Records, Ovum Records, and for those that do not know-his own imprint OFF Recordings. Keeping the music flowing, Crom has teamed up with Tronic Music for a three-track EP release featuring "Elevation" and the title track "Ready 2 Jack," along with a remix contribution by Frenchman [Wex 10]. "Ready 2 Jack" EP displays Crom’s mixture of high quality Techno and house influence, creating a tight groove that is bumpin’, bold and progressive. Complimented by atmospheric layers, cool vocals, dynamic rhythmic patterns and booming kicks, this Tronic Music package has the goods!
Chime is Harvey Thompson, a young music producer from the United Kingdom that you will, without a doubt, hear more about in the future. Over the years, Thompson has released his melodic style of bass music on Circus Records, Firepower Records, Rushdown, Kinphonic, Most Addictive Records and NoCopyrightSounds. Returning to Circus Records, Chime’s "Evolve" has been coined as a "four-track sonic sucker-punch." "Evolve’s" tracks: "Your Eyes;" "Here We Go;" "Coins!" and "Evolve" favors mind-blowing dubstep leanings this time around. There are moments of high theatrics, kicking drums, bottomed-out drops, melodies that stick and even a bit of humor and wildness giving a clear look in to why Chime is primed for greater success and exposure. While "Evolve" is primarily themed around dubstep traditions, Chime expertly throws in some hip-hop, pop, and ballad styled elements creating a diverse and interesting collection of songs that really does deliver that so called sucker punch.
—LEO WEAVER
—LEO WEAVER
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DUBEATS UNRELIABLE DEEPLOMATIC RECORDINGS
HENRY SAIZ A WALK THROUGH THE HAZE LAST NIGHT ON EARTH
Dan Williams and Chandler York are two guys from Boston now living in San Diego. They make deep house music accenting the Soul and Funk tip. For about a year now, the duo has been honing their craft, rockin’ and leading the charge in Southern California’s active and thriving houseparty scene. Last month, Williams and York, under the moniker Dubeats, dropped a new four-track EP for Deeplomatic Recordings. Titled "Unreliable," the EP features two original mixes and two remixes. The 2 originals, "Unreliable" and "You & I," feature jazzy guitar licks, melancholic piano chords, subtle percussion and groovy bass-lines. The remixes from Electronic Youth—"Unreliable" brings the percussion and guitar parts further out front and center and places an interesting spin on the vocals, add the rolling beats and voila, there you have it. Nik Thrine’s remix of "You and I" also brings out the percussion and "ups the ante" with the bass-line.
Henry Saiz, a Madrid, Spain electronic music artist, creates music that transcends genres. He’s known for releasing records steeped in electronica, Indie, Techno, Deep House and Lo-fi. Opening up "A Walk Through The Haze" is "Hunt," taking you to the ether with hypnotic drumming, pulsing bass and trippy electronics going from dark space to brightly colored patterns. "The Arch" follows and builds off of low tones and moderately paced cymbal work above layers of interchanging and oscillating melodies, bass kicks and just a touch of reverb, presenting a more chill track of sorts. Wrapping it all up is "Claustrum." The track has a deep nostalgic feel more like 80s new wave with bright electronic sounds a la Yazoo and Book of Love. All in all, "A Walk Through The Haze" take you on an unpredictable musical trip where atmospheric sounds, bass and rhythms are truly cosmic, surprising and fulfilling.
—JOSEPH ARTHUR
—JOSEPH ARTHUR Beatselector Magazine | Issue N° 15 | 123
[REVIEWS: EPs]
JP LANTIERI MALBEC FLEMCY MUSIC
KIDSØ APART FINEST EGO
JP Lantieri’s "Malbec" EP on Flemcy Music follows his previous and most sumptuous releases “Riesling,” “Chardonnay” and “Shiraz.” Known as a wine buff, JP Lantieri's “Malbec” EP gives us a delicious sampling of full bodied aural tastes and quality in the next installment of this delightful series. The original mix by JP is every melodic lovers dream, whilst the Ge Bruny remix packs a slightly darker progressive punch. Bioslave and Marcus Knight also treat you to their superb remixes. Bioslave delivers a more ambient, yet upfront take, as compared to a deeper tech house version presented by Marcus. Lantieri stays true to his mantra "a glass of vintage wine in one hand, a melodic mash of deep, tech and progressive in the other hand." "Malbec" follows this recipe and boy does it have legs. Warm and smooth, sophisticated and lingering. How do you translate that to sound design? Swirl a glass, take a breath and anticipate that first taste, then press play. That’s how.
KIDSØ’s Moritz Grassinger and Martin Schneider have experimented with a variety of different genres—from hip-hop and funk to rock and heavy metal. Both members are drummers and with the realization of wanting to expand their repertoire, Moritz learned to play classical guitar and piano, eventually becoming responsible for the melodies of KIDSØ. Martin transitioned to the beats and rhythm master role. The duo draws inspiration from acts such as Ólafur Arnalds, Christian Löffler, HVOB and Chris Huelsbeck and has often been compared to the minimal beats of Parra for Cuva, as well as the moody sound-blends of minimal techno duo Kiasmos. On their new "Apart" EP, all six tracks beautifully display rippling synths, crisp, sparkling and infectious drumbeats, Bavarian field recordings and haunting melodies that create moods of varying degrees. "Apart" is a fine example of organic downtempo and house-infused electronic music that showcases the duos sensitivity and virtuosity.
—JOSEPH WENSELL
—CATHERINE STRICKLAND
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[REVIEWS: EPs]
LUIS MIRANDA & GROOVEBOX WATCHING YOU TRANSMIT RECORDINGS
MELLA DEE EXACTLY MATE WAREHOUSE MUSIC
DJ and producer Luis Miranda is well schooled in the sounds of Tech-pop and Acid House. Raised in Madrid, Spain and currently residing in Los Angeles, Luis has a 20 plus year career entertaining and electronic music lovers all over the world with dazzling recordings on labels like Minimal Sessions, Juicy Trax/Armada Music and Transmit Recordings. Groovebox is producer with credits on Toolroom, Suara, Spinnin’, Nervous and Transmit Recordings. His early influences go back to Hip-hop, break-beats, UK Garage, Drum and Bass to currently focusing on Techno and Tech-house sound design. Miranda and Groovebox, both signed to Transmit Recordings, have released a two-track EP titled "Watching You." The title track and the joint production with Groovebox, "Frozen Poison," goes deep in to dark places with low-end basslines, steely and pulsing beats, precise kicks and classic vocal samples giving both tracks a futuristic feel in electronically created sound. Techno and Tech-house fans, heads up!
London based Producer Ryan Aitchison aka Mella Dee recently returned to Warehouse Music with a brand new, dance-floor designed EP titled “Exactly Mate.” This four-song release incorporates and blends all kinds of rich sounds and brightly colored textures; uplifting and positive music that encourages dance floor bliss through the usage of piano and synths, lots of percussion and groovy basslines. Opening up the new EP is the uplifting "Passing Me By" featuring a rolling, piano-led house melody, pristine percussion beats and an extremely infectious vocal sample. Track two, "Club Vibe," is a ground-shaking call out tune to get dancing. It’s fantastically groovy and punchy. Track three, the namesake of the EP "Exactly Mate," is simplistic in its sound design, stripped down and bare bones with an emphasis on accentuating a thunderous bassline. "Out of Love" wraps up "Exactly Mate" in fine form by giving the listener a sense of positivity and sheer happiness through its uplifting sounds.
—LEO WEAVER
—CATHERINE STRICKLAND Beatselector Magazine | Issue N° 145| 125
[REVIEWS: EPs]
SLANDER THE HEADBANGER'S BALL EP MONSTERCAT
UFO PROJECT LETO CIRCUS RECORDS
SLANDER’s 2018 has seen the duo launch an official homebase and label—an extension of their brand Gud Vibrations, with fellow Bass producer NGHTMRE. On top of that, headlining an American tour ("Headbangers Ball") in several major cities including Las Vegas, Washington, D.C., Miami, Houston and Chicago. More recently, they have given fans a brand new and shiny 3 track EP courtesy of Monstercat. Titled "Headbangers Ball," the release sees the duo invite and collaborate with Riot on "You Don’t Even Know Me," Spag Heddy and Elle Vee on "Running To You" and Dylan Matthew on "Hate Being Alone." The music on the EP has a tendency to stir emotions while painting dreamy landscapes with epic intros, primo vocals, dramatic crescendos and climatic drops— everything SLANDER is known for. While they do not rewrite the book, the three new tracks are equably enjoyable, fresh, inspiring and uplifting.
UFO Project is an Electronic Music duo formed by Rubén García and Rubén Pachón. Based in Spain, Garcia and Pachón’s specialized Bass music has enjoyed influential support from the genres elite including Excision, 12th Planet and Dirtyphonics. When you consider the high praise placed upon the duo’s previous songs, it’s clear that UFO Project is setting the Bass scene afire. Garcia and Pachón Circus Records' debut "Leto" features three previously released tracks ("You Make Me," "Artemis" and "Music Soldier") plus two new songs ("Move 4 You" and "Apollo") taking you on a rip-roaring "Space” Bass music listening experience. Throughout the EP, shuffling break-beats, manipulated, soulful to sexy vocals, high-octane electronics, distorted bass booms and lots of distortion display the duo’s diverse songwriting sensibilities. While each track is melodically appealing, "Apollo," "You Make Me" and "Move 4 U" are true gems and will shine brilliantly across Bass music’s fan base and critics alike.
—JOSEPH ARTHUR
—LEO WEAVER
126| Beatselector Magazine | Issue N° 15
Beatselector Magazine | Issue N° 12 | 163
[REVIEWS: SINGLES]
BAKERMAT PARTYSTARTER BE YOURSELF/SONY
CURRENT VALUE ISOTROPY METHLAB RECORDINGS
Bakermat has been on an experimental path as of late. His two previous singles, "Lion" and "Do Your Thing" paid homage to the vintage and classic electronica productions by The Basement Jaxx, The Chemical Brothers and Moby. Now the Dutch DJ and producer returns with what is described as his most experimental and ambitious track to date. "Partystarter" is a rollicking roller recorded in analogue that features a driving low-end bassline, super-slick guitars, underlying piano solos, bongos, handclaps, cowbells and very dope vocals. Upon listening you’ll hear similarities to Groove Armada ("I See You Baby") and Fatboy Slim’s ("Rockefeller Skank"), but what Bakermat does in contrast, is to put a fresh coat of modernism on the classic electronica sound. As the opening line goes, “I came to get this party jumpin’ as it can be. I came to get this party live, are you with me? I came to start the party, cause I’m the partystarter…“ It is and he is.
German producer and DJ Tim Eliot has a deep catalogue of recordings going back to 1997. For over twenty years, under the name of Current Value, dozens of recordings have been released documenting Eliot's evolution in DnB and Dubstep and many of its sub-genres. On the heels of MethLab’s recent //SENTINEL Tour and VA/ album, the burgeoning Techno, Drum and Bass and experimental music label/agency has released the first single of what we can hope will be many. Current Value’s contribution comes in the form of "Isotropy," which Eliot takes you on a supersonic ride powered by rapid DnB beats, shimmery synths, distorted electronics and slight tempo changes. "Isotropy" is the first single track to be released from the V/A LP and is a fine example of, not only Current Value’s musical creativeness, but also Methlab’s vision of releasing highly progressive, experimental electronic music through it’s roster of cutting edge producers.
—JOSEPH ARTHUR
—LEO WEAVER
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[REVIEWS: SINGLES]
DAVID GUETTA & ANNE-MARIE DON'T LEAVE ME ALONE (EDX REMIX) ATLANTIC RECORDS
DJs FROM MARS GAM GAM EGO MUSIC
Since the original release of David Guetta and Anne-Marie’s 2018 summertime hit "Don’t Leave Me Alone," the song has been streamed over a whopping 130 million times. So, how does one take the glorious future pop sounds of the original version and not necessarily improve it, but open it up to mixes that take it in a direction more conducive for the dancefloor? David Guetta figured it out by bringing in a Swiss producer that is currently in high demand and white-hot. That remix artist is EDX. EDX begins the song with gorgeous piano chords and arpeggios that re-introduces us to Anne-Marie's heavenly vocals. As "Don’t Leave Me Alone" progresses, intense synth work becomes more prominent and drops to the fantastic chorus section, deep bass, kicking beats, epic crescendos and lush breakdowns. Add in the beautiful melody and vocal cut-ups, you get a feel-good remix that is happy, positive and dancefloor worthy.
Mash-up phenoms DJs From Mars (Luca Emanuele Ventafridda and Massimiliano Garino) have gone from remixing pop and rock songs for their own shows to producing official remixes for Sean Paul, Pitbull, Coolio and Ennio Morricone. The duo's creations have been included in the sets of Tiësto, David Guetta and Carl Cox, spreading their music to the masses. Other accomplishments include DJ Mags heralded Top 100 DJ List (2013) and roles in an advertising campaign for Gillette. The duo’s latest offering is "Gam Gam." The backstory goes like this: “Gam Gam” is an original Jewish children chorus song written by Elie Botbol and is sung during Shabbat as a dedication to 1.5 million children imprisoned in Nazi concentration camps during WW2. Luca and Massimiliano’s version opens with a theatrical and dramatic entrance of chorus and synths followed by their trademark “alien” bass sound, claps, and lots of bounce-everything we DJs From Mars fans love.
—CATHERINE STRICKLAND
—JOSEPH WENSELL Beatselector Magazine | Issue N° 15 | 129
[REVIEWS: SINGLES]
HARRISON IN MY BLOODSTREAM OUTLAW RECORDS
JOHN O'CALLAGHAN & COLD BLUE SYMMETRIC SUBCULTURE
We said it before and we’ll say it again. We’re fans of Harrison. We’ve done interviews, reviewed a few of his previous releases and featured a Q&A with the UK DJ, producer and singer songwriter discussing the 2018 launch of his label Outlaw Records. Harrison’s imprint debut, the scorching "Blinding My Vision" featuring Kill The Buzz, the 2nd single "White Lies" featuring Leon Mallet and the third single "Been A Long Time" sets up the label on a rock solid foundation on which to build on. Harrison’s fourth and most recent single, "In My Bloodstream," was released in early November. The track shows the artist hitting his stride at becoming a formidable music producer. For the track, Harrison continues his vision of fusing Future Bass with pop sensibilities, builds a slow developing RnB flavored feel that is truly a dance floor filler with staccato build-ups, tight grooves, falsetto chorus sections against darker bass elements.
One definition of the word Symmetric is described as such: Characterized by or exhibiting symmetry; well proportioned, as a body or whole; regular in form or arrangement of corresponding parts. John O’Callaghan and fellow trance master Cold Blue have shared a high level of symmetry over the years, producing and mixing compilations together, finding homes and releasing individual projects on the same label, and rumor has it, they both see the same dentist. Having so much in common, the time has finally come for the two to do what seems to be a natural progression in their friendship—a collaborative piece of trance music. Appropriately titled "Symmetric," the highenergy track is precisionally synched with uplifting synthesizers, relentless driving basslines and drums that evolve into a theatric soundtrack. "Symmetric" is guaranteed to raise hands and move bodies. In fine form, both O’Callaghan and Cold Blue have expertly shown how symmetry fits the title.
—JOSEPH ARTHUR
—JOSEPH ARTHUR
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NICKY ROMERO BITTERSWEET (FEAT. QUARTERBACK) PROTOCOL RECORDINGS
SICK INDIVIDUALS SYMPHONY REVEALED RECORDINGS
Nicky Romero is one of the most prolific names in modern dance music. His iimpressive discography lists big time collaborations with artists including Avicii, Calvin Harris, NERVO and ZEDD among many others. Recently, Romero has been expanding his musical repertoire incorporating diverse musical influences into his electronic productions. At the beginning of November he released "Bittersweet." Working with Trilane, Kokaholla and Electric Sex Panther vocalist Quarterback, the track features Romero’s iconic progressive sounds complimented by a strong melody, bouncy basslines and vocals that tug at your heartstrings. "Bittersweet" follows the successful string of recent releases "Be Somebody," "Paradise," "Me On You" and "Where We Would Be" and certainly ranks right up there with his past classics, by which Nicky Romero fans will be drawn back to. Listen to the track multiple times and you’ll pick up the magical underpinnings of electronic wizardry Nicky Romero is famous for.
October 26th marked the continuation of Sick Individuals and Revealed Recordings successful partnership with the single release of "Symphony" featuring Nevve. SI's previous releases: "Reaction," "KODI" and "Get Low"—a collaboration with Hardwell, have all amassed millions of streams. Without a doubt, the duo’s latest single will follow suit. Ray and Jim enlisted Nevve, a talented vocalist in her own right with a monthly listenership of exceeding the 2 million mark on Spotify. The track opens with a beautiful melancholic piano melody and Nevve’s haunting vocals. Then the build up begins with traditional synth sounds, beats and drops giving Revealed Recordings a track that reflects what the label and the duo are all about— beautifully crafted songs that kick hard and elevate. Ray and Jim are one the most gifted duos on the scene today and "Symphony" illustrates that the Sick Individuals are on an upward trajectory to reach the forefront of dance music’s fandom.
—CATHERINE STRICKLAND
—LEO WEAVER Beatselector Magazine | Issue N° 15 | 131
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SNBRN & AUTOGRAF MOVE ALL NIGHT ULTRA MUSIC
XENIA GHALI DOTTED LINE BLANCO Y NEGRO
Kevin Chapman aka SNBRN’s rise as a big time producer and music maker is illuminated by the instant success of his previous tracks: 2014’s "Raindrops" (+25 million streams) and 2016’s "Gangsta Walk" (+24 million streams). For those that are not familiar with SNBRN’s music, his self-coined “Sunset House” songwriting style incorporates elements of deep house, indie dance and nu-disco. It’s quite a tasty recipe. Years in the making and after successful summer tours, house music makers, and longtime friends and travel mates, Chapman and future house trio Autograf (Jake Carpenter, Louis Kha and Mikul Wing) along with vocalist KOLE booked some studio time to crank out the track "Move All Night." The track features an instantly infectious melodic hook, deep bass grooves and a cornucopia of various electronic embellishments that lay a sunshine-soaked foundation for KOLE’s warm vocals. Cold days are coming. Thankfully, we have "Moving All Night" to keep us warm.
Xenia Ghali is a DJ, producer, songwriter aclassically trained musician and holds a Master's Degree from New York University in Film Scoring, Music Composition and Production. Xenia first broke out on the dance music scene in 2014 with her first major worldwide release single "Broken" featuring Katt Rockell on Pitbull's Mr. 305 Records. Her follow up, "Get Dirty," a hot collaboration with Grammy winning rapper Wyclef Jean, along with "Broken," make one thing certain, big names in the music industry were paying attention. For the last five years, Xenia has been creating a distinctive house style that is all her own. Add in touring all over the world and international press coverage, you can easily see a major global talent becoming high in demand. "Dotted Lines," released in late October, gives all the greatness fans have come to expect: soulful vocals, a great and catchy hook, pulsating and bouncy beats and a great drop. Again, everything fans have come to expect.
—JOSEPH ARTHUR
—CATHERINE STRICKLAND
BeatselectorMagazine Magazine| |Issue IssueN° N°15 12 132||Beatselector 160
Beatselector Magazine | Issue N° 12 | 161