BEATSELECTOR Magazine Issue N°6

DJ SHADOW 'S THE MOUNTAIN WILL FALL KICKS OFF THE NE W MUSIC RE VIE WS

FRESH OFF HIS RESIDENCY AT TOMORROWLAND, THE CURRENT #34 DJ GLOBALLY KNOWN AS GETS CHRONICLED & INTERVIEWED.

AUDIOJACK Pushing boundaries for years,they're back with a New EP + Q&A

BRO SAFARI The buzz behind the 'Bro-troversial' DJ and producer + Q&A

TIMO MAAS 30 years in and he's still cranking out the killer cuts + Q&A

ALAN WALKER DELTA HEAVY FATIMA HAJJI GHASTLY JASON MAEK & ZAENA KAISEN RECORDS NEWS & ICYMI

B EATSELECTOR Moving Electronic Music Forward

2016 / Issue N° 6

PUBLISHER

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

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inside ISSUE NUMBER 6 AUGUST 2016

COVER ARTIST Setting aside a professional career as a Physical Education and Morality Teacher, Yves Van Geertsom, better known as Yves V, turned to jet setting all over the world, turning massive outdoor crowds and club-goers alike into a happy driven frenzy of movement with his blissfully crafted music. He is now at a place, through his solid relationship with Tomorrowland, constant touring, and studio work, that affords him the peace of mind of knowing he made the right life decision.

64 Cover & Table of Contents Photography courtesy of Yves V

Features 38 BRO SAFARI This industry veteran has been shredding music lovers’ eardrums with independently released drum and bass, trap and dubstep tracks for over 15 years. Chloe Aiello gets the interview.

44 AUDIOJACK

Erik L. Richardson writes about AUDIOJACK's new release 'Turya' amd goes back and forth with the duo in an insightful Q&A session.

54 TIMO MAAS Charting hits, high profile collaborations, a grammy nomination and a 9 year journey of realizing a lofty pursuit, the brilliant reworking of the seminal closing track Nineteen Hundred and Eighty Five off Band on the Run with Sir Paul McCartney make Timo Maas a fascinating man.

Departments 08 ICYMI

RECENT NEWS, UPCOMING NEW RELEASES & MORE FROM AROUND THE WEB.

10 NEW MUSIC

THE ERISED, NOISIA, MARTIN TILLMAN

26 ARTIST PROFILES

ALAN WALKER, DELTA HEAVY, FATIMA HAJJI, GHASTLY, JASON MAEK & ZAENA

36 LABEL WATCH

DJ YUGA'S KAISEN RECORDS-HOUSE AND DEEP HOUSE CUTS BY CHASING THE PERFECT VIBE.

74 CD/EP/12" MUSIC REVIEWS

DJ SHADOW'S LATEST RELEASE "THE MOUNTAIN WILL FALL" ON MASS APPEAL RECORDS LEADS.

vOPENING NOTES Written by Joseph Wensell

It's a Hot One! Yves V, Audiojack, Timo Maas, and Bro Safari.

musical standards, and more.

These four exciting artists get the full-feature, multi-page with Q&A sessions, treatment.

Timo Maas history spans more than 30 years in the music business. He has had international smash hits, licensed music for the Gaming industry: FIFA and EA, plus work for Budweiser and Hollywood. Pretty much in constant movement with a busy tour schedule, 2016 has seen a slew of new music from the legendary DJ. Most notably, a killer remix project with cohort James Teej on a retake of Paul McCartney & Wings' Nineteen Hundred and Eight Five.

Our Cover Artist, Yves Van Geertsom, known as Yves V has been on a 10 year run as Tomorrowland’s Resident DJ, and has been instrumental in the growth of the event and its off shoot productions Tomorrow World and Tomorrowland Brasil. Leo Weaver delves in to Yves storied history and Karin Haslinger delivers an insightful, yet fun, interview with the currently ranked #34 DJ in the world.

Earlier in the Summer, we were approached

by Bro Safari’s PR Firm, Urban Rebel, for an interview opportunity a day before his appearance at this year’s EDC Las Vegas Festival. Written and interviewed by Chloe Aiello and published on our website in June, it is fitting to re-publish within the pages of this magazine, simply because of more high profile gigs, recent press coverage and his just launched 'Pretty Good Tour' stopping in more than 30 cities across the U.S. Out of Leeds is Audiojack. The DJs, producers and label owners have a new release out and Erik L. Richardson strips down the new music and gets the duo talking about influences,

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Profiles on Alan Walker, Delta Heavy, Fatima Hajji, Ghastly, and Jason Maek & Zaena, all of whom are enjoying success.

Leading off our Reviews is DJ Shadow, who really needs no introduction. He’s been a leader and influencer for many years and his records certainly back that up. He’s got a new full length album out and Cory Royster gives the review.

At 92 pages, we present our largest issue to date and it features our talented contributors as storytellers on the fascinating subjects herein.

To all involved, a big thank you. Read on!

vICYMI

news from around the web

Steve Aoki's 'I'll Sleep When I'm Dead' Documentary Picked Up by Netflix On August 19, 2016, I’ll Sleep When I’m Dead (The Steve Aoki Story), became available worldwide via Netflix Original.

Directed by Justin Krook, the film is a heart-pumping yet heart-wrenching documentary about one of the most eminent DJs working today: Steve Aoki.

Capturing the lead-up to Aoki’s biggest show of his career, this introspective documentary examines the driving force behind his passion: Rocky Aoki, daredevil showman, Benihana founder, and Steve’s looming father figure.

Aoki and company offically premiered the film to World at the Tribeca Film Festival earlier this year. According to the Tribeca folks, Aoki turned the Beacon Theater in to an EDM extravagnza with a raucous set, followed by a Q&A session which you can read here.

I'll Sleep When I'm Dead comes from producers David Gelb (Chef’s Table, Jiro Dreams of Sushi), Matthew Weaver (Rock of Ages), Matt Colon, Happy Walters, Executive Producer Michael Mailis and Co-Producer Susan Wrubel.

Watch the Official Trailer here.

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vICYMI

news from around the web

Giorgio Moroder Announces Return to Casablanca Records Several of his most famous releases came out on the label in the late ’70s — including his solo album, E=MC², and the Donna Summer records I Remember Yesterday and Bad Girls, which Giorgio Moroder helped to write and produce.

“Giorgio is one of music’s most important innovators,” Brett Alperowitz, General Manager of Casablanca Records says in a statement. “He ushered in a new era of dance music in 1977 with his groundbreaking production of Donna Summer’s ‘I Feel Love.’

It feels great to have him back with the label and we are looking forward to his next innovation!” There have been many phases to Moroder’s career. After a series of audacious collaborations with Summer swept dancefloors in the ’70s, he conquered the rest of the world in the '80s by soundtracking blockbusters—Top Gun, Scarface – and working with David Bowie, Janet Jackson, Blondie, and more.

Seemingly content with the breadth of his achievements, he took a long break in the ’90s and ’00s before returning with Déjà Vu in 2015.

His influence is difficult to contain in one genre. Another king of disco, Nile Rodgers, credits the Moroder/Summer collaboration “Love To Love You Baby” with changing his

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Disco legend heads back to the label that put out some of his most famous work. and Daft Punk used "Memories" album.

Others artists with more oblique connections to disco have also paid homage. Sia and Charli XCX contributed to Déjà Vu, while Shooter Jennings – son of the country legend Waylon Jennings – released a project that honored Moroder earlier this year. Moroder hopes to put out fresh material on the label this summer. “I am so excited to share new music with you and to work with the Casablanca family,” he noted in a statement, before making a pun based around one of his own album titles.

“Casablanca from here to eternity." "It just makes sense,” he added. “It feels like home.”

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vICYMI

news from around the web

Fremont Street Experience and World-Renowned DJ Tiësto Officially Premiere New Viva Vision Show Fremont Street Experience and Tiësto officially premiered the newest Viva Vision® show, Tiësto - A Town Called Paradise, on Thursday, June 16 during EDC Weekend in Las Vegas. The new light and sound show is built around the music of iconic Vegas DJ Tiësto.

The show title pays homage to his 2014 album 'A Town Called Paradise,' and features three songs handselected by the artist himself – "Secrets," "Red Lights" and "Wasted" – custom-synced to stunning graphics.

"There's nobody more synonymous with dance music than Tiësto," said Patrick Hughes, President at Fremont Street Experience. "It is a true honor to collaborate with one of the greatest DJ Producers of all time to create a show at Fremont Street Experience that transforms the four blocks underneath the Viva Vision canopy into the ultimate nightclub every night."

Tiësto visited Fremont Street Experience on July 16, just before EDC Weekend in Las Vegas kicked-off, for a special ceremony to introduce the new show.

Coinciding with EDC and the official world premiere, the new show was featured at 9 p.m. and 12 a.m.

June 16-19.

Beginning June 20, Tiësto – A Town Called Paradise airs nightly at midnight as part of the ongoing Viva Vision® show schedule.

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vICYMI

news from around the web

LiveXLive Begins Live Stream Partnership with Exchange Los Angeles Loton, Corp's (OTC: LIVX) LiveXLive subsidiary has entered into an agreement securing streaming and other digital rights for Exchange LA, the Premier nightlife and music venue. LiveXLive will produce and distribute HD digital broadcast experiences of the world's leading performers to any connected device.

LiveXLive will create and curate on going branded Exchange LA content including live-streamed concerts, DJ shows, and other lifestyle events from their colossal 4 story, 25,000 square foot venue, the former Los Angeles stock exchange building. LiveXLive and Exchange LA are going to build the ultimate experience for users worldwide of HD content that will include the greatest DJ performances all from one location.

"LiveXLive and Exchange LA are going to build the ultimate experience for users worldwide of HD content that will include the greatest DJ performances all from one location. Exchange LA continues to attract premier talent such as Skrillex, Zedd, Kaskade Krewella and Carl Cox just to name a few.

"Exchange LA is second to none as a venue and provides the premier experience for all fans of music and nightlife," said Adi McAbian, owner

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of Exchange LA. The agreement includes rights to stream Exchange LA events live across the globe on the LiveXLive website and mobile app in addition to select distribution partner platforms including web, mobile, radio, audio, television, virtual reality and other devices.

"With the Rock in Rio festival and other major festivalstoshortlybeannounced;theTAO,Saban and KOKO venues, and now the introduction of original programming, LiveXLive is on its way to realizing the company's vision to amass thousands of hours of premium live music and other exclusive curated content from across the globe," said Robert Ellin, LiveXLive Founder and Chairman. "LiveXLive is building the first independent global live music and lifestyle network providing fans access to experience music around the world like never before and all from the palm of their hand. " Exchange LA is a premier venue that will provide for edgy, underground content to be created. LiveXLive has streamed worldwide sensations Katy Perry, Rihanna, Avicii, Elton John, Rod Stewart, Metallica, Sam Smith, Bruce Springsteen, Maroon 5, John Legend, Fergie, The Script, One Republic, Charlie Puth and the Hollywood Vampires as well as other superstar musicians.

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vICYMI

news from around the web

Dosem Announces New Label Project Houstrike Dosem is a synonym for solid productions, deep, soulful House and Techno music, and DJ sets that connect with the audience on a primal level. As his reputation continues to grow, the natural choice is to create an outlet for his music that gives him total creative freedom and a meaning to express what makes him such a highly respected and revered artist. As a result, Dosem is proud to present the birth of his new label project Houstrike.

At its core, Houstrike is a label that will exclusively focus on releasing Dosem’s own work, as well as a place for others to collaborate with him and remix his own originals, creating something of a Dosemthemed music lab, exploring a wider spectrum of electronic music genres beyond club music.

What matters most to Dosem are the mantras and values of the label. Both soul and passion are key to the project, from the music itself, through all the visual layouts. The ascending line represents the connection between mental and emotional states, from preparation, to action. His first EP “Untold Stories” is the calling card to a label where the link between sound and image are the key of a soundtrack made to listen, feel and dance.

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vNEW MUSIC

A five-piece band isn’t something you’d expect to be linked to drum and bass label Med School but The Erised’s elegant approach adds yet another string to Med School’s forward-thinking bow.

A unique collective from Ukraine, The Erised includes drum & bass producers Detail and Hidden Element, dancer turned singer/songwriter Sonya together with a collective of jazz, rock and pop musicians.

The band’s impressive 2015 debut release, the “Desire” EP, included the supremely popular “Pray” and “It’s Over“, immediately capturing the attention of music fans across Europe and beyond.

Fast forward one year and The Erised are set to unveil their debut album, 'Room 414', a mature, impassioned creation that

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explores the band's vast emotional landscape. Sonya's voice is more absorbing than ever before, delicately crafting tales of sorrow and heartbreak before seducing the listener with her trademark, mesmerising choruses. The Erised's moody instrumental textures capture a fine balance between

tragic and euphoric, fire and water, spring and autumn. No track is the same, as every minute passes, a different part of the story is told. 'Room 414' is a landmark moment for both the band and the label, as all involved take a step into the unknown with this truly magnificent album.

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vNEW MUSIC

Dutch electronic music trio, Noisia, have released of their long awaited new album, ‘Outer Edges’ on their own label, Vision.

The 18 track album is their first in six years, and the band’s second in total.

The album announcement coincides with the release of ‘Collider’, the official music video and audio of which is available and follows the release of ‘Anomaly’, their first new solo material of 2016.

Further tracks from ‘Outer Edges’ will be available on iTunes, Spotify and the Vision Store (plus YouTube and SoundCloud) between now and 16th September, when the album will appear on Beatport, Google Play, and beyond. iTunes and the Vision Store will offer Instant Grats, where fans who’ve pre-ordered the album will get the

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tracks as they’re made available. A special, limited edition vinyl release will also be issued in September.

With a peerless reputation and countless awards under their belts, Noisia have transcended their genre and grown into a phenomenon in their own right.

Drum & bass is at the core of Noisia’s sound, but Nik, Martijn, and Thijs’s visceral brand of electronic music has always ventured further, and the trio have continuously pushed

boundaries through their own music and via collaborations with artists like Amon Tobin.

This attitude extends outside of the studio and into the curation of the Noisia Invites events and their DJ shows, where they share stages with the likes of Skrillex, Andy C, Gaslight Killer and Chase & Status. Expert sound design is inherent to all of Noisia's work and they use complex and intricate production techniques to create music that draws an unconstrained, palpable energy from dancefloors and festivals arenas alike.

In this respect, ‘Outer Edges’ pulls no punches, there are no concessions to daytime radio d&b, no singer-songwriter top-lines, and any vocal elements are twisted out of shape (the superb ‘Tentacles’ is testament to this). ‘Outer Edges’ shows Noisia in uncompromising form; ‘Collider’, ‘Anomaly’, ‘Mantra’, and ‘Get Deaded’ are four heavy dancefloor cuts alone on an album that moves from their signature neurofunk to the more experimental edges of their sound via tracks like ‘Stonewalled’, ‘Miniatures’, ‘Exavolt’, and ‘Sinkhole’.

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vNEW MUSIC

Internationally-renowned Swiss cellist and film composer Martin Tillman (Batman trilogy, Black Hawk Down, The Ring) breaks into electronic dance music territory on his latest solo album 'Superhuman.'

Costello, and Beck.

Tillman has always been passionate about EDM and now he has fused this high-energy style with rock 'n' roll grit, symphonic sweep, and the film soundtrack depth and finesse that he is known for.

It celebrates the courage and drive of those who must summon up the superhuman strength needed to battle against extraordinary challenges every day.

Superhuman is an exciting and uplifting cinematic journey from an accomplished artist who has contributed to over 120 film soundtracks (including upcoming Pirates of the Caribbean: Dead Men Tell No Tales), released a string of solo albums, toured around the world, and collaborated with legends Hans Zimmer, Harry GregsonWilliams, Sting, Elton John, B.B. King, Elvis

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Superhuman, which is dedicated to Tillman's wife Eva, is a reaffirmation of the power of the human spirit and a testament of love.

Tillman collaborated with several famed musicians on Superhuman including Michael Landau (Michael Jackson, Joni Mitchell), Davey Johnstone (Elton John), Graham Russell (Air Supply), Vinnie Colaiuta (Sting, Frank Zappa), Leeland Sklar (James Taylor, Phil Collins), Dee Lewis Clay (Peter Gabriel, Jamiroquai), David Paich (Toto), and the City of Prague Philharmonic Orchestra.

Superhuman takes flight in all its panoramic glory on 11 diverse tracks that includes the sublime "Zero Gravity" which tranquilly radiates an expansive and blissful ambience.

with wordless female croons gracing the gospel-rocker "Unlocking The Locks" and hymn-like sighs hovering over the shadowy "Involuntary Midnight".

Tillman merges classical Ravel with cuttingedge electronic dance music on the dynamic and relevant "Superhuman".

Superhuman showcases Tillman as a composer who can blend a multitude of musical genres into an absorbing and transporting album and a performer whose mesmerizing compositions are a means of exploration, connection, and celebration.

"The Invisible Shield Of Strings And Bows" unspools like a film reel filled with poignantly drawn cello lines. Shining washes of synths and a rapid dance tempo run through the EDM-immersed "Wonder".

"Cracked Diamonds" comes on with sleek, James Bond-like sexiness, while "Celluloid Spaces" segues from soulful gospel-blues to joyful EMD euphoria.

Tillman even adds a trace of human vocals to an otherwise all-instrumental record,

Superhuman is available now and be sure to catch Martin Tillman on tour in 2017.

For more new music news visit beatselectormagazine.com Beatselector Magazine | Issue N° 6 | 23

vON TOUR

Good Will Prevail Tour

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Funkmaster GRiZ presents his Good Will Previal Tour criss crossing across the U.S. in more than 30 cities with HAYWYRE, BRASSTRACKS, LOUIS FUTON, AND THE GEEK X VRV. The tour kicks off in Salt Lake City on October 5 and wraps up in Spokane on November 22.

Catch GRiZ and company at a city near you.

Get your tickets at http://goodwillprevailtour.com 10/5 SALT LAKE CITY, UT THE COMPLEX

10/20 HOUSTON, TX WHITE OAK MUSIC HALL

11/6 BOSTON, MA HOUSE OF BLUES

10/6 BOISE, ID REVOLUTION CENTER

10/21 NEW ORLEANS, LA MARDI GRAS WORLD

11/9 PITTSBURGH, PA STAGE AE

10/7 PORTLAND, OR ROSELAND THEATER

10/22 ATLANTA, GA TABERNACLE

11/10 COLUMBUS, OH EXPRESS LIVE

10/11 EUGENE, OR MCDONALD THEATRE

10/23 ATLANTA, GA TABERNACLE

11/11 INDIANAPOLIS, IN EGYPTIAN BALLROOM

10/12 ARCATA, CA ARCATA THEATRE

10/26 NASHVILLE, TN RYMAN AUDITORIUM

11/12 CHICAGO, IL NAVY PIER

10/13 SAN LUIS OBISPO, CA FREMONT THEATRE

10/27 MEMPHIS, TN MINGLEWOOD HALL

11/15 CINCINNATI, OH BOGARTS

10/14 LOS ANGELES, CA SHRINE

10/29 CHARLESTON, SC OMAR SHRINE TEMPLE

11/16 LOUISVILLE, KY MERCURY BALLROOM

10/15 SAN DIEGO, CA SOMA

11/2 PORTLAND, ME STATE THEATRE

11/17 ST. LOUIS, MO PAGEANT

10/16 PHOENIX, AZ MARQUEE THEATRE

11/3 & 4 NEW YORK, NY TERMINAL 5

11/19 MINNEAPOLIS, MN MYTH

10/19 AUSTIN, TX EMO'S

11/5 PHILADELPHIA, PA FILLMORE

11/22 SPOKANE, WA KNITTING FACTORY Beatselector Magazine | Issue N° 6 | 25

vARTIST PROFILE

Written by Joseph Arthur

ALAN WALKER

Norway has a rising star emerging in it's Progressive and Electro-house scene. His name is Alan Walker, an 18 year-old who has releasing consecutive global smash hits one right after another with ‘Faded’ and ‘Sing Me to Sleep’.

Walker initially was heading in the direction of Computer Programming and Graphic Design. He transitioned to making music primarily for the gaming industry after hearing a track on Youtube. Inspiration followed leading him to create and offer his original Progressive and Electro House music to gamers for usage of their on Youtube (UGC) video productions.

His popularity immediately blew up and his songs and music reaching millions and ultimately grabbing the attention of multiple record labels and that would be the just beginning for Walker. The success of breaking through over the course of the last few months is remarkable. His first single ‘Faded’, released in December 2015, is approaching 4 million units sold, has over 300 million Youtube views, ranked in single charts across 10 countries throughout Europe, reached #10 on the U.K. charts and #2 in Austrailia and peaked at #18 on Billboard’s Hot 100. The single would also remain at the top of the Global Shazam chart for 7 consecutive weeks and placed #1 on the European Radio chart for 6.

His latest single. ‘Sing Me To Sleep’, is on the same trajectory as ‘Faded’. In a very short span of time, the video for ‘Sing Me To Sleep’ is approaching 50 Million views and the single has charted on 17 international charts, including cracking the top 20 in Billboard Magazine’s Hot 100. Walker enlisted the talented Iselin Solheim to deliver dramatic vocals telling a story of longing for a safe place in a world of constant movement set through out various locations in Hong Kong. Check it out.

Follow alanwalkermusic.no C/alanwalkermusic M/@IAmAlanWalker 26 | Beatselector Magazine | Issue N° 6

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vARTIST PROFILE

Written by Chloe Aiello

DELTA HEAVY

Ben Hall and Simon James of DELTΔ HEΔVY released their debut album, 'Paradise Lost' to international acclaim in 2016, but the British duo have been making beats together for far longer.

Describing their genre as anything that falls between 110 and 174 BPM, Hall and James’ music falls into a category of its own—heavy on the industrial, drum and bass and dubstep with touches of jungle and moombahcore.

Those blanket terms alone fail to encompass their whole vibe. Take the name "Delta Heavy"—it’s taken from the 2001 tour of Sasha and Pigweed, but Delta IV Heavy is also a rocket, the same that launched Orion 6, 7, 8 and 9 satellites into space. The duo loves their sci-fi and frequently incorporates cinematic elements into their tracks.

"Our early stuff like 'Abort' and 'Space Time' was very much space-themed, about intergalactic travel and all the different aspects of space in that,” James said in a statement. "And then more recently with 'Apollo' that has continued." Their music provides a unique and textured soundscape.

First gentle and exploratory, cinematic elements weave an elaborate tease, replete with alien worlds and spacecraft, before breaking into fast-paced drum & bass and dirty dubstep. "I always describe our stuff as melodramatic," Hall said in a statement. "People respond to the grand, epic intros, and then when the track drops it has a lot more impact. What effect does it have? The crowd goes wild." Hall seems to be right. In 2016, DELTΔ HEΔVY has been touring extensively with their label, RAM Records, and booked major festivals like EDC, Glastonbury and Leeds—just to name a few. Despite their current success, James and Hall had modest

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beginnings. The pair met at Nottingham University in 2003. James had a background in instrumental music and Hall had a background in sound engineering and had been DJ-ing since the age of 14. Their taste was molded by London’s drum and bass scene, and later by American EDM. After graduation from Nottingham, they reconvened in London to make music.

Delta Heavy first signed to Viper Recordings in 2009. Their debut release, 'Galaxy,' came shortly thereafter. In 2010, they released Abort, gaining them recognition, and subsequently, a contract with Ram Records.

Ram is the label founded by drum and bass big shot, Andy C. It represents a handful of elite— and mostly UK-based drum and bass artists, such as Sub Focus, Wilkinson and Chase & Status, whose tracks they sometimes remix.

For Delta Heavy, the opportunity proved valuable. The year they were signed, they released 'Space Time.' which was nominated as Best Track at the 2010 Drum & Bass Arena Awards, but ultimately lost to Original Sin

'Therapy.' That same year James received a nomination for Best Producer and Hall for Best Newcomer DJ. They went on to remix Avicii, Rita Ora and Nero, among others, eventually releasing Hold Me, which achieved acclaim among fans and fellow DJs and producers.

The music video reached 1 million plays in just one week and the track earned plays from Scream & Benga, Mistaham and Kissy Sell Out. They’ve released more than 20 tracks, but Paradise Lost is their first album.

As for the future, Delta Heavy says they are ready to move into a new realm of production.

"We feel like we’ve taken the dancefloor tracks to the limit. The next step is to craft tunes that are more song-based," Hall said.

Follow

deltaheavy.co.uk

C/deltaheavyuk M/@deltaheavyuk

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vARTIST PROFILE

Written by Leo Weaver

FATIMA HAJJI

For 18 years, Fatima Hajji has been tearing up the Techno scene in her homeland of Spain and other European territories performing at big time festivals like Awakenings,Decibel and Tomorrowland, and at clubs such as Fabrik, Trésor and the list goes on…

Fatima's rising popularity is due to her energetic sets that feature her style of Hard Techno that is mixed up with Arabic, Salsa, and Groove sounds that create an environment conducive for moving bodies and happy faces. The vibe she creates with her musical choices and mixes is one of high energy, interconnectivity and frenzied-up audience, pretty much everywhere she performs. I encourage you to find one of her live sets on Youtube and watch it for yourself. It becomes quite clear how she’s building a very large fan base and audience throughout Europe and beyond.

So far this year, she has brought her 'Techno Set' to several locales throughout Spain, Ibiza, Mallorca, Portugal, Italy, Netherlands and Tunisa and it doesn’t appear that she’ll be slowing down.

When she’s not on the road, the young DJ, composer and entrepreneur can be found running her own platforms Taikatta – a record label and radio show exported to half of the world and Standbite Music.

Follow

fatimahajji.com C/fatimahajjidj M/@fatimahajji

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vARTIST PROFILE

Written by Joseph Arthur

GHASTLY

'Born to Die,' is the mantra by which David Lee Crow, better known as Ghastly, lives by. How does he live his life? He lives his life in chaos, according to his official biography. What’s his life’s pursuit? He wants to change the World. Let it be known, Ghastly isn’t your typical American artist. He’s a personality described with a dark sense of humor, being politely abominable and casually destructive.

Growing up in the Arizona desert on goat farm is where his roots are. He entered the music industry touring with metal bands and drew inspiration from those experiences to create his genre bending dance music that blend several styles like house, trap, bass, dubstep and to pursue a career as a professional DJ and producer.

Packing up a van and driving to Los Angeles was his calling and he didn’t waste time getting established in the scene. Shortly after arriving in Venice Beach he hooked himself up with a Bassrush Residency gig at Exchange LA. From there, he goes on to produce and release music for chart-topping labels via OWSLA, Buygore, and Dim Mak. His shows are described as high-energy, dance fests and sometimes he’ll even throw in some commentary on subjects that interest him from life to sex to food preparation. Imagine that for a second.

But it is his hard-hitting original music with big time collaborations such as 'Miami Connection' with Jauz and the single 'Crank It' with Mija & Lil Jon that put him on the radar eventually grabbing the attention of the International Press and some of the biggest names in the scene today including: Skrillex, Diplo, Dillon Francis, DJ Snake and Tchami to name a few. With support like that, Ghastly is an artist on the fast track to realizing his mission—to redefine dance music for all. Get onboard.

Follow IamGhastly.com C/IAmGhastly M/@Ghastly 32 | Beatselector Magazine | Issue N° 6

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vARTIST PROFILE

Written by Joseph Wensell

JASON MAEK & ZAENA

These days, artists are finding unique and creative new ways to break through the clutter to ensure their success. The duo act Jason Maek & Zaena exploded out of Chicago’s vibrant music scene this year and what they’ve done together to cut through that "so-called" clutter is to thoughtfully create and release two consecutive visual albums to wide reaching critical acclaim.

Many of the biggest media outlets such as VEVO, Rolling Stone, NME, the Chicago Sun-Times, MTV and dozens more have all given high praise to the music, video visuals, and the artistic direction these two have taken with their projects.

Using their Fashion Industry acumen and connections, Fashion Week: The Visual Album, which was released in February 2016, was shot, composed, engineered, edited and polished on the fly, jumping from one location to the next, ending with a product worthy of screenings at New York Fashion Week, London Fashion Week and Paris Fashion Week as well as being chosen as an Official Selection at CIMM Fest, Berlin Fashion Film Festival and the Brooklyn Film Festival.

Follow C/JasonMaek

ZaenaWorld

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M/@JasonMaek

@ZaenaWorld

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vLABEL WATCH

Written by Joseph Wensell

and relevent label in the Dance Music scene.

One of Kaisen's latest releases is a joint effort from RoyTson, one of Italy's leading Club House producers and a fixture in London's underground scene and Yuga, titled ‘Unz' described by Yuga and company as “the track goes back to the origins, featuring a distinctive bass line, a House production that is the “Back to the future” of music, that groovy sound that we all know will get your legs move unconsciously!”

Kaisen Records launched in 2015 and has had very ambitious and active first year carving out it's slice of the pie in the House music scene.

Angelo Paciotti, known as Tradelove and most recently as Yuga, is one of the coowners of Kaisen Records and a charting artist on Beatport and has trekked across the globe delivering his unique and distinctive sounds to audiences in the United States, the U.K., Spain, Eastern Europe, Hong Kong and the United Arab Emirates.

The fledgling label has to date signed up 9 talented and exciting artists from all across Europe, released 17 fantastic cuts of various styles of House music ranging from Deep to Progressive to Future to NuDisco and established itself instantly as a respectable

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Paciotti is also a friend of Candi Staton, an American multi-genre songtress who's had numerous charting singles off a whopping 30 albums spanning a career of 40 years.

One can deduce that the friendship is fruitful and mutually beneficial seeing that the two have produced collaborations that undoubtably helped establish the label right out of the gate. There's more on their friendship in the Q&A session.

To encapsulate the vision set forth by the label—"Perfection is not attainable. It is not even something we want to get, it is old fashioned and uncool. We hate perfection. We love mistakes. We enjoy them all at the highest level. By experiencing them, we discover a new concept of improvement, leaving space for something new. Perfect vibes don’t exist and never will exist, but only by chasing them, can we shape the sound of excellence."

Q&A

How, when, and why did you come to the realization of creating Kaisen Records?

AP: Hi Beatselector and thanks for having me. I have been producing music since I was 18 years old and after my moment of glory as Tradelove I felt something had to change and so I called my friend Simo and we set up Kaisen Records.

It has been a tough period after a lot of travelling around the world for my gigs, and quite intense reflective period around the changes in the music industry and the role of producers nowadays, so all we wanted to do was to start something new, that I could measure and control the success because I would be in charge, and here we are .

The label has had a pretty good first year. What would you say is the biggest surprise you’ve experienced so far?

AP: Many things surprised me as I have always been a producer, but when you own your own label there are so many things to take care of, not only music. The biggest thing I would say was the collaboration with Candi Staton and I was really surprised to see Gloria Gaynor enjoying our production and asking to do something together! (Stay tuned for something big).

So, you are friends with Candi Staton. Her classic vocal contributions to the label are a natural fit to the House music that is being produced by you and your roster of artists. How did your friendship with her begin?

AP: After I decided to remake her masterpiece “You Got The Love” my manager got in contact with hers to arrange the clearance and the other publishing affairs (thank god he loves these things and covers everything out ) and came out that Candi really loved our production and offered to re-sing for us. She was about to travel to the UK for her annual tour

and we met in studio for a few days of recording! She’s awesome! We’re in touch frequently to review our collaboration and open new things.

Tell us what the label looks for when considering adding an artist to its roster.

AP: First the music, that’s where everything starts if there is no emotions there is no reason to sign even the most talented producer. Then of course we evaluate the artistic side, the background. We have a table where we have to rate from 1 to 10 all these different aspect and we decide.

What does the future look like for Kaisen Records in the short and long term?

AP: Short term we are working on collaborations with close friends Djs Mark Ursa, Leandro Da Silva and many others plus we are working on a great collaboration with Gloria Gaynor.

We are constantly signing talented producers to enhance and enrich our roster. Long term we are working on our positioning in the market via the music genre we produce and we’re now exploring different sounds to make sure that our vision continues to improve and is always at the center of our decisions.

Year Established 2015

Home Base

London, ENGLAND

Website

kaisenrecords.com

Facebook

kaisenrecords

Twitter

@KaisenRecords

Soundcloud kaisen-records

Youtube

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A

Conversation with Bass,Trap & Dubstep Maestro

BRO SAFARI

This industry veteran has been shredding music lovers’ eardrums with independently released drum and bass, trap and dubstep tracks for over 15 years. And he isn’t done yet.

BEATSELECTOR Magazine was lucky to catch Weiller just before his EDC Las Vegas gig in a moment of rare calm to discuss his thoughts on inspiration, “Bro”-troversy and how YOU could win a lifetime of free Bro Safari shows.

INTERVIEW BY CHLOE AIELLO Beatselector Magazine | Issue N° 6 | 39

"I think they hear the name “Bro Safari” and think that I’m just some guy in a neon shirt that says “Rage” on it, acting like an asshole. That’s not me."

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CA: Hey thanks for joining us. First up, can you describe your music?

BS: I can go from being offensively in-your-face and aggressive to balancing a more melodic [sound]. I like to think I can handle the two: a pretty intro to a song that drops into something really hard and heavy and shocking.

CA: Who is your biggest electronic music influence?

BS: I can’t get out of the Radiohead thing because their producer Nigel Godrich is a god to me. To the EDM side of things, when I was doing drum and bass primarily, a couple acts really shaped how I viewed production of electronic music. Noisia and Pendulum, who went on to be Knife Party, reshaped dance music more than people give them credit for now. The way they produced and engineered their tracks, their drums, everything about it was just heavy in a way that we hadn’t heard before them. And to this day, people are still emulating the way that they make their tracks sound, their mix-downs, their sound design. They were a really big influence on me—and everybody.

But currently in dance music, I’m not really inspired by anyone.

CA: Why is the electronic scene uninspiring to you at the moment?

BS: I’m personally very picky about what I find to be innovative and I haven’t heard anything innovative in a while in this scene.

I think its natural to become kind of numb to everything you’ve been hearing on the road. If I go on tour for three months, I hear the same song every night for three months. Obviously you’re going to get kind of bored with it and its going to take something pretty drastic to catch your attention. It’s not that I’m not inspired in my studio, I’m just not inspired by other EDM artists necessarily.

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CA: What music do you have in the works?

BS: I had been sitting on a lot of songs for about two years, from around 2014, but I just got so caught up in touring that I just didn’t finish it. I never felt like the songs were good enough so I just stopped releasing stuff at that point, but I feel like I’ve finally tapped back into it. My most recent single, “Follow,” is more melodic. A deeper intro than some of my older material; a little more emotional, I guess. The album I’m working on right now for my next single is a vocal tune, also very melodic, heavy on the dreamy synth work and then it goes into crushing dubstep. And I may start a record label up this year, I’m just trying to come up with a name. Literally I’ve been thinking of starting this label for two years but cannot come up with a name…so if anybody’s reading this, send me name ideas for a record label. If it gets picked, you’ll get into shows for free for the rest of your life.

CA: What’s the future of Bro Safari?

BS: I’m going to continue Bro Safari until I just don’t feel like I have a place in the scene, I don’t wanna be the guy that fades out, I’d rather go out when I’m on top so to speak. Right now I need an outlet for that type of music and I don’t plan on stopping making that type of music, but I’m definitely interested in starting something new in 2017— I’ve been working with UFO! on a new project, its in its infant stage right now. And I do see some new projects on the horizon that are not dance music.

I’m trying to push to a whole new level, appeal to a whole new audience. I’d like to slowly evolve and move into the next phase, whatever that may be.

CA: Can you talk about your name, Bro Safari, and audience response to it?

BS: Lately I’ve been dealing with a little bit of a backlash over the name for the first time in five years. No one cared until I started playing shows like Lollapalooza and Coachella. Now people have a problem with my name and, coincidentally, it’s people who

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don’t know anything about the genre or more importantly don’t know anything about me. I think they hear the name “Bro Safari” and think that I’m just some guy in a neon shirt that says “Rage” on it, acting like an asshole. That’s not me. The name is tongue and cheek, it shouldn’t be taken seriously. I mean there’s nothing I can do now. What am I gonna do, change my name to, like, “Dad Safari?” There’s just no point in thinking about that stuff.

CA: I noticed on Twitter, you posted a picture of your son at Hang Out Fest.

BS: That was his first show! At Hang Out Fest, we were like, “Its on the beach, I have the weekend off. Let’s just go for the whole weekend and bring Elliot, my son.”We were going to take him to shows earlier on, but a nightclub is no place for a five-year-old.

[At Hang Out] my set was at 1:30 in the afternoon so it all just lined up. Now he’s older, easier to look after, but I still try to plan my tours with that in mind.

CA: Speaking of touring, what’s your favorite part?

BS: The actual performance for like the hour I’m playing is always fun. Aside from that, if you are on a tour bus, that type of tour, those are just so much fun. You are hanging out with your friends in a bus traveling the country, if you can complain about that, there’s something wrong with you. Aside from maybe the “Omg it smells like socks on here,” or something like that.

CA: Any interesting stories?

BS: The craziest story I have from being on the road. Period. One night I was on tour with Skrillex and Dave Chapelle showed up at the club. We went and hung out with Dave Chapelle for four or five hours at a private club and it was awesome.

Follow

brosafari.com C/BroSafari M/@brosafari Beatselector Magazine | Issue N° 6 | 43

SURF 'N' TURYA WITH

By Erik L. Richardson 44 | Beatselector Magazine | Issue N° 6

AUDIOJACK ARE back with a pulsating mix of Deep House, sprinkled with a dash of Techno on Turya

"We wanted to explore whether the hypnotic quality of the teacher’s words could work on the dance floor, allowing people to lose themselves in them and its evolving groove."

The duo Audiojack have a global following simply by being featured on some of music’s hottest House, Techno, and Drum and Bass compilations. Their remixes on labels including Moon Harbour, B-Pitch Control and Diynamic, are just a few of the labels to have enlisted Audiojack as remixers. Over the last ten years they’ve played in hundreds of cities, and over sixty countries. A few of their favorite locales include Fabric in London, Space in Ibiza, D-Edge in Sao Paulo, Watergate in Berlin, Rex in Paris, Fabrik in Madrid, Basics in Leeds, Harry Klein in Munich, B018 in Beirut, Electric Pickle in Miami, Spice in Sydney and Tanzhaus West in Frankfurt to name a few.

The idea for 'Turya' came from doing a guided meditation. "We wanted to explore whether the hypnotic quality of the teacher’s words could work on the dance floor, allowing people to lose themselves in them and its evolving groove."

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Like any artist, Audiojack knows their subjects intently. They are able to soothe the inner savages with a musical cocktail, blending elements of several dance genres. What separates them from being staid or predictable is the process through which they expel their talents. Pursuing deeper ranges of their own artistry. A part of their makeup as a group is one of exploration.

In today's fast paced, ever expanding landscape of electronic music. It can be a daunting task to maintain your relevance, credibility and integrity.

However, Audiojack stands proud as an example of how to do things the right way. One of the many reasons they have been able to remain in demand.

Everything the Island of Ibiza itself embodies and symbolizes. The easy nature of a culture steeped in the musical provinces of the Belaric beat. Liken it to a handsome, soothing, rhythm of life that isn’t rushed by cosmopolitan urgency. But, one that appreciates over the length of the track. 'Turya' is built for serious aficionados. Fusing subtle acid pads with soaring synths andsonorous spoken words. The opening track leads in subtly for the first 30 seconds. Before opening up in wavy bands of synthesized measured acceleration. The crux of the track is the fluid spoken word that weaves its sinewy prose through the snare of the drum patterns. The drone of the hushed tones mixed with the sparse, yet pointed production. Make for a combination that is relaxing and warm.

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It’s not a rapid dance track; it is more of a lull into a trance like state. Where you can imagine people dancing with their heads down and eyes closed is the perfect complement to this track. On the flip, 'Event Horizon' is a different beast altogether.

It comes from Audiojack experimenting with a heavy drum and bass vibe, a four four format, and a classic "amen" break beat style. It sits on a muted groove as hypnotic polyphonic keys fade in and out of play. The pulsating crash of the cymbals and middling wave of deep throbbing bassline, lay the groundwork for the haunting trail of “Touch the other side” being spoken as if on command.

Much of the EP feels like an amalgamation of the acronym, K.I.S.S. The acronym stands for Keep It Simple Stupid. Turya is a simplistic take on a tried formula. Not so much is Turya reinventing the wheel; more or less following the curve. The music is familiar, yet fresh enough to maintain relevance and listenability. Be it as Djs, producers or artists.

Gruuv Records for over five years has provided an alternative home for their original music. Looking all the way back to their debut ‘Radio’. The duo followed with a volley of bestselling EPs including ‘Get Serious’ and ‘No Equal Sides’. More recently Audiojack signed to Jamie Jones’ infamous Hot Creations label, debuting with the highly praised ‘Vibrate’ EP. It was Audiojack’s passion for DJ’ing which pushed them into production and label ownership in the first place. With many years behind the decks they craft their sets with energy and panache. To own an EP of this of quality is something rare and should not be missed.

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The Audiojack interview By Erik L. Richardson

ELR: What are some of the similarities and differences between the Electronic music scenes on a smaller costal scale (Ibiza), versus large metropolitan scale (Leeds)?

Audiojack: Ibiza is a seasonal mecca for electronic music and its venues are institutions. The events are mostly organized by mega promoters, with mindboggling budgets and teams of people behind each event. It’s big business. The Leeds scene tends to be more organic and small scale. Nights are often started by people who have arrived at university, found their musical selves and started small collective nights with their mates using their student loans to fund them.

They often promote them through their uni years before moving on to new cities, then the process starts again with a new batch of excited student promoters. Leeds has a huge influx of students every year which makes winter nightlife exciting. Ibiza has practically no nightlife in the winter. It’s an island of polar opposites between the two seasons, which suits islanders well as if it was summer all the time we’d all be burnt out.

ELR: As artists and Label owners, how has the business aspects of producing and retaining artist/talent helped to develop your business acumen?

Audiojack: The minute you start thinking about your record label or music as a business you’re screwed, your soul is sold. Decisions then begin to revolve around questions like ‘will this sell’ rather than ‘is this good music’. We try to be businesslike in the professional way we run the label and promote our releases, as that’s only fair on the artists and their music, but for A&R we operate purely on a musical level. Gruuv is a platform to show who we are and what

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we’re interested in musically through another medium to our own music and DJing.

ELR: With the definition of electronic music always blurring lines and infiltrating other genres of music, do you foresee a future with more mainstream artists (R&B, Hip-Hop, Pop)?

Audiojack: The difference between mainstream and underground artists often comes down to one word; ego.

Mainstream artists crave attention, success, money, status.

Often you can hear it in their safe and generic entry level music. Less egotistical artists tend to be less driven by these factors and more interested in making and playing the music they love and presenting something they are proud of inside, rather than seeking outside approval. For us the difference between mainstream and underground is maybe more an ego thing like this, the music which results is merely a reflection of these different mindsets… We actually did an April fools prank this year about collaborating with Kanye West, which is as far as we’d go with someone as ego driven as that. We’re not fussed about genre names. We’d be open to working with the right people from any genre or background, including lots of well-known indie artists such as LCD Soundsystem, Radiohead or Depeche Mode, but the motivation would be the opportunity to work with people who we’ve admired for so long.

ELR: The two of you obviously have a symbiotic working relationship. But, within your singular persona as artist, how do you craft more individuality in the music you create?

Audiojack: If you think of us as two circles in a ven diagram, the intersection is Audiojack. Of all of our creativity and

inspirations the ones that make the cut are the ones we’re both into. Sometimes the intersection is big and we agree on loads and at other times we barely agree on anything so in one case there’s more output and the other a small amount of focused material. As in any relationship you need compromise and respect for it to work.

ELR: Out of all the clubs, concerts and locations you have toured and performed in, what place or location had the best energy, space and acoustics for the deployment of your sound?

Audiojack: The two are independent of each other. Some of the best parties don’t have amazing sound or acoustics. Take DC10 for example; a big echoey place but with one of the best atmospheres and energies. The poor acoustics make the music sound different so it’s a unique experience. You can’t beat outdoor events for great acoustics because the sound can’t bounce off anything apart from ravers’ heads.

ELR: As you continue to push your boundaries musically, how do you avoid becoming stale stylistically?

Audiojack: Our musical output is driven by our taste in music which constantly evolves as we get bored of certain styles and discover new ones, or revisit old ones. We make the music we like and aren’t looking to see what’s trendy because by following trends you can’t be original or stand out. Music is perceptive too – we could make an EP and send it to one DJ who thinks it’s the stalest thing we’ve done, yet another might think it’s the best thing she’s heard all week.

It’s important that we have time away from the studio, immerse ourselves in life and listen to music from many perceived genres, with different instruments and sounds.

ELR: (To both): Who has influenced you the most? Both musically and business wise, and why?

Jamie: I don’t take much of an interest in business as I prefer a more cooperative style of business rather than corporate where groups of people come together to try and build

something together rather than fat cats and hierarchies.

My biggest musical influences come from great electronic acts such as Orbital, Underworld, The Chemical Brothers and bands like Little Dragon and LCD Soundsystem for their ability not only to write great music but to use unusual futuristic sounds to create something new. I also love the prog rock acts of the 70s like Pink Floyd and Emerson Lake and Palmer for their 6 minute drum solos and long soundscapes; music you can put in your headphones and get lost in.

Rich: What he said, pretty much. I also don’t support the ideal of corporate businesses that are focused on infinite growth, as we live on a finite planet with rapidly dwindling resources. Many of the businesspeople I used to respect I now realize are greedy megalomaniacs, trapped by their own shallow and materialistic egos, out for themselves and what they can take. I can’t really find much good in that. Check out a documentary called ‘Can We Do It Ourselves’ to see how a different way of operating businesses is possible…

My musical tastes change all the time, but some of the most played artists in my house this summer so far are Nils Frahm, Fela Kuti, Nightmares on Wax, Ludovico Einaudi, Duke Ellington and Bonobo…

ELR: I notice that you use a lot of spoken word and or poetry like phrasings/lyrics in your work. What is the reasoning/ meaning behind that?

Audiojack: There’s so much music out there so if you want yours to be remembered by someone whose half cut at 4am on a dance floor you need to include elements which stand out in people’s minds. Sometimes through a repetitive hook that complements the tribal mentality of people all dancing to the same beat. Other times a long spoken word track tells a story or sends a message to the listener which adds another dimension to the music and elevates it out of the club environment and into the collections of non-DJing music lovers for home listening.

ELR: What inspires you?

Audiojack: Anything that is pushing the boundaries of what's Beatselector Magazine | Issue N° 6 | 51

been done before to show us something we haven’t experienced before, be that music, art, food, technology etcetera.

ELR: How do your parents feel about your music? Are they supportive of your endeavors?

Jamie: My Dad has been a keyboard player in bands for 50 years now and has more gigs than we do but just around Yorkshire.

He did warn me that it’s a hard thing to do to make it in music but is proud now I’m able to sustain a livelihood from it. The rest of my family are all very supportive too, I actually don’t know a single person that isn’t to be fair.

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Rich: Growing up in the Yorkshire countryside where the standard protocol was leave school and get a job my Dad was skeptical at first, but a decade on (as I haven’t asked to borrow any money yet) I guess he’s cool with it! My mum always said just do what makes you happy and has always been supportive of my choices, even if she didn’t agree with them. Growing up she used to say ‘you can be whatever you want to be’ and with childish naivety I believed her. Then it came true. There’s probably a lesson in there…

Follow audiojack.com C/audiojackmusic M/@weareAudiojack Beatselector Magazine | Issue N° 6 | 53

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"Lifer"

&

his 3+decades of Connecting through music

charting hits, high profile collaborations, A grammy nomination and a 9 year journey of realizing a lOFTY pursuit, the reworking of the seminal closing track nineteen hundred and eighty five off Band on the run with sir Paul Mccartney make Timo maas a fascinating man.

Written by

Joseph Wensell Beatselector Magazine | Issue N° 6 | 55

“I come from DJing, For me it’s the connection to the world outside. It’s where I can experiment, where I hear about things, it’s just so important to what I do. How can you have a feeling for clubs when you are not going to them?"

—TIMO MAAS

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Timo Maas’s musical journey began over 30 years ago. From an early age of 13 in Bückeberg, Germany, he begins to influence his friends and schoolmates with his passionate fascination with music to overcome his childhood shyness. After years of building a successful career as a world class DJ and having worked with many the planet’s greatest music stars, Timo still exhibits that same deep desire to connect with people through his magical remix constructions and highly creative ideas and original compositions. A music lover and tape-recorder. This is where the Timo Maas story begins. In his early days, Maas developed his talent in DJ booths around Bückeberg’s local clubs and discotheques. A couple of years later the young DJ begins touring the international club circuit and gains Residency invitations from some very famous clubs.

Historically, Germany has had a very vibrant and exciting rave scene and as it began in Hannover, Timo was there. He was a primary architect of the movement while holding down a residency at the Men Factory. Maas recalls "the gay scene was still musically very upfront then." Men Factory among other clubs would provide Maas with the perfect setting—dark and mysterious, for the cool sounds by Underground Resistance and Steve Poindexter that Maas was playing at the time.

Then one evening, DJ Gary D approached Timo and invited him to Hamburg’s The Tunnel for Jagermeister shots and to extend an offer of a residency at the famed club. One week later, he would be side by side with DJ Gary D. His next move would be a three-year residency at Bristol’s Lakota Club sharing the stages with regulars Carl Cox, System 7 and Reprazent and ending up in 2000 with a residency with Deep Dish at Twilo in New York City.

This is where I’ll segue into his spectacular breakthrough to success.

2000 is the year that Timo became an over-night international star in mainstream dance music with his #8 UK Singles Chart remix hit 'Doom’s Night.' Originally released by Azzido Da Bass in 1999, the track missed the U.K.’s Top 40 twice. About a year later, Timo’s remix would grab the attention of the Garage scene, which Timo credits as a driving force of pushing it out there. The single would quickly spread and go on to be a global smash hit.

Doors opened. The opportunities provided from the success of 'Dooms Night' would be years of various music projects with dozens of world famous superstars that include Madonna, Depeche Mode, Fatboy Slim, Muse, and Tori Amos with whom he received a 2004 Grammy Nomination.

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His musical output includes three "required listening" albums in Loud (2002), Pictures (2005) and Lifer (2013). These recordings are sublime in the masterful musical make-up and his choices for guest collaborations fit perfectly with masterful soundscapes.

Listeners that know of Timo’s work know just how good his productions are.

His latest full length album Lifer (2013) has some brilliant vocalists spotlighted throughout such as Brighton’s songstress Katie Cruel, Mikll Pane, Placebo frontman Brian Molko, and James Lavelle, making a very rare appearance and delivering a vocal performance for ‘The Hunted’ that goes back to the sounds heard on his first album ‘Loud.’

Spring of 2016 saw the release of Paul McCartney & Wings VS Timo Maas & James Teej 'Nineteen Hundred and Eighty Five.' It’s been wildly successful in streams, well on the way to 1 million, as well as 120K+ video views. More on the single follows further along.

The Summer 2016 release cycle has seen additional music from Timo that include a remix project with James Teej for Kant & Leo Stannard’s single ‘Close To The Wire’ (Black Butter), contributions to Systematic Records ‘Systematic 77’ collection, and an EP—‘Once Upon A Time’ on The Last Night On Earth label.

Over the course of his career, Timo is also credited on dozens of singles, several of which have hit the international charts, contributions to compilations and mixes for labels Perfecto and Hope Recordings among others, and what I can only assume are lucrative music licensing deals with global corporate giants FIFA Football, EA, Budweiser, and Hollywood.

Performing in clubs, festivals, parties, etc…is the passion that drives much of Maas’ musical output. “I come from DJing,” he asserts. “For me it’s the connection to the world outside. It’s where I can experiment, where I hear about things, it’s just so important to what I do. How can you have a feeling for clubs when you are not going to them?”

You can catch Timo at Clubs and Festivals across the world beginning with some September and October gigs in: Ibiza, Spain; Arzachena, Italy; Karlsruhe, Germany; Zurich, Switzerland; Bali and Jakarta, Indonesia; Chintheche, Malwai and Liverpool, United Kingdom.

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On May 13, 2016, Virgin Records Germany officially released 'Nineteen Hundred and Eighty Five.' Two weeks prior, a test pressing of the remix single created an immediate buzz throughout the music industry.

The project was one of mystery since most of us out there did not know who was behind it, until it was revealed via Billboard Magazine on April 19th that it was Timo Maas and James Teej. It was a successful short-term campaign as it sky rocketed, selling out in hours and achieving top sales at retail and online.

It was 40 plus years ago, when the original song was released as B-side from Sir Paul McCartney & Wings’ iconic debut album 'Band on the Run.' Timo first heard it while in Switzerland in 2009 and was hooked by its freshness in relation to the music of the time.

9 years in the making, Maas and frequent collaborator James Teej got together and put a contemporary and edgy twist on the song, catching the attention and admiration of Sir Paul, and moving the project along.

The official video is really cool, it features snippets of McCartney and modern dance choreography behind a George Orwell 1984 backdrop. Watch it here.

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THE REMIXES On June 13, additional takes on the single from Kerri Chandler, Paul Woolford and Tim Green was released.

Kerri Chandler gives the track the sound he is known for—avantgarde and soulful, bringing a vintage and classic cut that is true to his roots. Take a listen here.

Paul Woolford's stellar remix will take you on a ten minute sound odyssey taking you to new heights with heightened frequencies. Take a listen here.

And finally, Tim Green's gives his sleek and emotive sounds to the song. Take a listen here.

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Q&A with TIMO MAAS

Let's start off talking a bit about your recent release Nineteen Hundred and Eighty Five.

BSM: You are now two months into its release. How has the reception been and is the community and industry embracing the track as expected?

TM: First of all, there was and is no expectations. That song was made for fun, not for a release. But yes, we got a lot of support from DJ`s, radio, press and industry too. The different mixes are doing very well at the moment.

BSM: One question I have to ask is, how was the decision made in choosing Band on the Run's Nineteen Hundred and Eighty Five as the track to rework?

TM: That was more accidentally really. My agent and friend David Levy played 1985 back in 2009 to me and I immediately got hooked and asked if it was possible to get the multiparts for that. It was a pure vibes decision!

BSM: The video for Nineteen Hundred and Eighty Five has an interesting concept, obviously influenced by Orwell's 1984. What do you think of it, and did you have any input in the creative direction and production of the video?

TM: We built and decided the whole thing as a team together with Virgin Records in Germany and our own team. Nikolay Seizov from my management team (Forward Thinking Music) was really taking care then in the further process of shooting and editing the video, and the outcome is very good. We are all very happy with that.

BSM: I recently read on your Facebook page that you had an opportunity to spend some time with Paul McCartney during a stop in DĂźssendorf. Do you have any stories that you would like to share?

TM: Apart from that being really one of my all time highlights in my musical life, I would rather keep it for myself what we talked about. But we did, and all I can say is, Sir Paul is a very nice person, and even in his age a fantastic performer still one of the biggest musical icons of all times.

BSM: How would you describe your evolution and successful rise as a producer, remix artist and DJ?

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TM: Well it`s not easy to sum up the majority of my life in a sentence. I started in the early 80`s - a totally different world really, also in the DJ world. I'm very happy and grateful to have been able to identify myself again and again on a different level/musical way over more than 30 years now. A career like this will never be the same. Life goes in cycles and so does this business. As long I keep the love and passion for the music i play and produce as i did over the past decades, it`s in my blood. I`m a lifer.

BSM: Being in the industry for over 30 years allows for many memorable moments and experiences. Is there one memory or experience that stands out as your most memorable?

TM: As a producer for sure being nominated for a Grammy in 2004 together with Martin Buttrich for our remix for Tori Amos as a DJ. OMG where to start and where to end. Also the stage dive with Tenaglia on DC10 terrace back in 2003 was surely one of those moments.

BSM: Do you have a favorite place that you just love to hang out in and take in the vibe, music, and people?

TM: Undoubtedly Ibiza, although it has changed and is constantly changing. There`s always special places, moments and situations, that only happen over there.

BSM: What album in your personal collection would most surprise your fans and peers?

TM: My friends are not very surprised at all, as they have known me so long. I listen to a very wide scale of music and I always did. Probably some bad oldschool 80`s pop albums would surprise some people.

BSM: What was the first electronic music (dance or otherwise) album you purchased and did it influence your music career direction?

TM: i mentioned it earlier on...surely the nomination for a Grammy.

BSM: And with the success you've enjoyed has the pressure to produce and write hits increased as a consequence?

TM: In a way it does, its part of the nervous excitement.

BUT with all my experiences, its easier to calm down and concentrate on WHY this was a success, and what is important to create next. I am pretty grounded and I know all levels of the business from very low to very high. Lets say, me and my partners like the challenge too ;).

BSM: You have several dates lined up for the rest of the summer and in to the fall season. Any one place in particular that you are looking forward to playing at?

TM: I really love djing, so i kind of look forward to all of them. Quite special is a music and arts festival in Malawi/ Africa end of September. I have never been there, and i am very much looking forward to bring my sound as musical ambassador.

BSM: What's next for Timo Maas?

TM: There's a few EP`s coming out over the next months for example on Sasha`s LNOE label. James Teej and I did a few remixes and actually are in the middle of new music and mixes too. A single with long term partner Martin Buttrich is also out soon, my label Rockets & Ponies scoming with a proper bang soon and I`m happy to tour/ produce and "spread my message." Ah yes IÂ will start a new project too and and I`m busy, and that makes me happy :).

TM: T hat was "Lost In Space" by the Jonzun Crew, the second album on Tommy Boy Records and yes, that influenced me heavily for my love for electro/breaks kind of style.

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BSM: Aside from meeting and collaborating with Sir Paul McCartney, what is the one pinnacle highlight of your career?

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BEHOLD THE KING OF

BOOM! E

DM fans love him. Labels love him. Club owners and Event Presenters love him. Radio personalities love him. The biggest hit makers working today love him. And the people behind the one of the world’s most spectacular festivals—Tomorrowland (and its offshoot productions) obviously love him. Here's why.

Written by LEO WEAVER

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Photography courtesy of Yves V Beatselector Magazine | Issue N° 6 | 65

S

etting aside a professional career as a Physical Education and Morality Teacher, Yves Van Geertsom, better known as Yves V, turned to jet setting all over the world, turning massive outdoor crowds and club-goers alike into a happy driven frenzy of movement with his blissfully crafted music. He’s now at a place, through constant touring and studio work, that affords him the peace of mind of knowing he made the right life decision.

So far, his journey has taken him to the stages of some of the most prestigious gatherings and events EDM has to offer, those being Tomorrowland, Mysteryland, Sensation, Miami Music Week, Green Valley, Pacha, Nikki Beach and with multiple tours throughout Indonesia, Malaysia, Cyprus, Spain, France, Finland, Italy, India, his homeland of Belgium and most recently a debut trip to Beijing, all under his belt, it’s apparent that he is a high demand talent worthy of these world class presentations of live electronic dance music. But let’s not neglect Yves’s hard work, perseverance, enthusiasm, personality, and his ability to connect with crowds, along with the right business connections, which have all played major roles in his achievement of success and his meteoric ascent to inclusion of the elite group of DJs and producers on the planet.

Chances are you’ve probably heard Yves’ music, not only dished out by the rising star, but also via the set lists of "Marquee" names, those being the likes of David Guetta, Afrojack, Martin Garrix, Armin van Buuren, Radio 1’s Danny Howard and Pete Tong. With support and a collective fan base like that, it’s no wonder that his popularity among his fans and peers continue to skyrocket.

Let's examine that for a moment. In

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2014, Yves entered the heralded fan and peer based poll collated by DJ Magazine’s annual ranking of the top 100 DJs on the scene, landing at number 55 and one year later he climbs 21 spots to number 34. To further illustrate the significance of this on the collective consciousness of the dance music community, on that same list, there are only two other artists that had larger gains in the polls, their names are Don Diablo and Oliver Heldens.

Additional 2015 highlights that are worth mentioning include 'Lets Unite' a curated event by Yves and presented by his friends at Tomorrowland, leaving a lasting impression on thousands that filled Antwerp’s Lotto Arena. For that show, Yves invited friends and collaborators Dimitri Vegas & Like Mike, Regi, Wolfpack and Sidney Samson to join in and deliver music that turned the evening into a spectacular music event. And two, widening the footprint of his brand V-Sessions on the island of Ibiza with multiple performances at Priviledge, 'House of Madness' at Amnesia and Ushaia.

Like many others out there working hard to carve out a piece of the pie, Yves started with producing underground hits and diving into the remix side of music making. Noteably, his big remix projects for Timbaland, Missy Elliott and Ginuwine clearly demonstrate the ability to appeal to Hip-hop audiences and expanding his creativity beyond the ‘boxed in’ dance club genres. But it is his 'Insane Pressure' remix that caught the attention of the biggest players and labels in the business moving him in a direction of producing numerous top 10 Beatport tracks for Armada, Dirty Dutch, Spinnin’, and Doorn Records.

His most recent releases are gems and come byway of Mixmash Records with 'To The Beat' featuring Laidback Luke and Hawkboy and Spinnin' Records

Photography courtesy of Yves V

"... I love what I do, meeting new people from all over the world and being able to live from my music is a dream coming true." —Yves V

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'Daylight (With You)', a collaboration with Dimitri Vangelis & Wyman.

The Yves V/Tomorrowland connection goes back to 2006 when Yves stepped on to the main stage for the first time. The invitation began as a “one-off” opportunity and Yves took full advantage to showcase his talents and enthusiasm, making such a positive impression that his presence at Tomorrowland has turned into a annual booking, 10 years in row, more than any other DJ on the circuit. He has secured his position within the Tomorrowland team as an official Resident DJ and Brand Ambassador for the event and offshoots TomorrowWorld in Atlanta (USA) and Tomorrowland Brasil.

On the following pages, Yves writes and shares his personal reflections on his history with Tomorrowland describing memorable highlights (past and present) and gives us, and you, a glimpse of what he does when he's not on tour or in the studio with a great Q&A session.

YVES V UPCOMING SHOWS September 03 Supermartxé Ibiza, SPAIN September 17 Wake Up Mondovi, ITALY September 18 Amnesia Ibiza, SPAIN September 24 White Party Sao Paulo, BRASIL October 01 Supermartxé Ibiza, SPAIN

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Photography by Rudgr Beatselector Magazine | Issue N° 6 | 69

REFLECTIONS ON TOMORROWLAND PAST AND PRESENT

A

By Yves V

decade ago, I joined the Tomorrowland family and it is a magical family to be a part of. When my breakthrough track 'Cloudbreaker’ with Basto was being played out at its peak around 2012, by people like David Guetta, Sander Van Doorn and others, I had already been taking my live sound to Tomorrowland for years.

Along with Dimitri Vegas & Like Mike, I am also one of the official festival residents, making me lucky enough to travel and play to crowds not only in Belgium, but also in the USA for TomorrowWorld and Brasil for the Sao Paulo edition. It is the biggest event in my calendar all year and it’s also one of my favorites. I’ve been playing every year since the second edition back in 2006, so it feels like we all share a bond as a team together.

This year, I played my mainstage solo slot, as well as hosting my V Sessions stage and playing alongside the Smash The House family - myself, Dimitri Vegas & Like Mike, Nervo, Regi and a lot of others - all played out that stage with a huge B2B2B, lots of fireworks to finish. It really felt like something special.

When the Tomorrowland team invited me to curate a stage in 2012, it was only going to be a one-time thing that evolved bigger than we thought.

Being able to invite friends and colleagues that I admire to the stage, is still an amazing feeling. This year, Quintino joined me for a B2B set which allowed us to play out our collab ‘Unbroken.' We also had Sidney Samson and R3hab come along for the party, but a highlight has to be a few years back when Eric Prydz closed out the stage for me – he’s one of the best producers on the planet in my opinion.

The energy and enthusiasm on all levels is unmatched. It’s unlike anything I’ve ever been a part of before. From the Tomorrowland team, to the fans that travel from all over the world to be together and united with the music, the festival is something magical that everyone should experience at least once in their lives.

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Photography courtesy of Yves V Beatselector Magazine | Issue N° 6 | 71

THE

Q&A Interview by

KARIN HASLINGER

KH: How does one go from being a Physical Education & Morality Teacher to producing hits and taking the stage at some of the world’s biggest dance music events?

YV: Hum… Actually, I was always being a DJ. I bought my first record when I was fifteen, so for me it was very natural. I tried to combine it as long as I could with my job as a teacher, but I think four or five years ago I just had to make a decision, because I got many offers from abroad. I couldn't combine it anymore. And of course, I chose the music, which is my first passion.

KH: Well, now you don't need the physical education job anymore, I guess ?

YV: Well, actually with the tour schedule I have, I think some physical education would be good. So, I try to spend as much time as I can in the gym.

KH: Now that you are a globally recognized and ranked DJ and Producer, when did you first experience the successes of your professional career change? How did that feel?

YV: The thing is for me, I didn't have the feeling that it was like from one day to another. For me, it was like an evolution, that went very slow. Like I said, I bought my first record, when I was fifteen. I was playing in Belgium, in small clubs, bars. Yeah, and then I went to bigger clubs, to festivals, had my first show abroad. So now, I m like twenty years later and I m still DJing, still doing my passion. I never had the feeling, that everything changed from one day to the other like bam, it went very slowly for me.

KH: What was your very first paying gig? Was it good? Was it bad?

Photography courtesy of Yves V

YV: I think it was in a local bar/club in Antwerpe. I had to play all kinds of music. It went from Pop music to Rock music, Hip Hop, every style actually. So, I have to say that made me as a DJ. I learned a lot over there. But, if I compare the appreciation I got back then from the crowd then to what I get back now, there is a big change.

KH: Over the course of your musical career, have you had any disappointments or experiences that did not meet your expectations?

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YV: Yeah, probably, but the thing is, I try not to focus on the negative experiences. Overall, I'm doing what I like to do, what I was always dreaming about. In everything in life, I try to be positive and just to enjoy. I think, overall, all my experiences are quite good. I'm lucky (laughter).

KH: Do you have any formal music training or is producing and making music something that you picked up through experimentation and self-education?

YV: Actually, when I was ten, I played the violin. So, I have some music schooling, then I switched to DJing and I started producing quite late, too late actually. For now, I can do like 60% - 70% of the production part by myself, but to really reach the next level, I work together with a friend of mine, who is my studio partner. I still learn every day from him. So, it's a long process and it will never stop I guess.

KH: You said that you learned to play the violin. do you still play any acoustic instruments?

YV: No, not anymore. But I think, it probably helped me a bit in my musical career.

KH: On a lighter note, are you a Dog person or a Cat person?

YV: I'm a cat person, definitely.

KH: Do you have a cat yourself ?

YV: I have a cat myself. I grew up with cats. Yeah, it's my best friend. It might sound a bit strange, but I totally love cats.

KH: How are you in the kitchen? Do you enjoy cooking? What is your favorite food to eat after a performance?

YV: I love to spend time in the kitchen, when I have time… and that's the thing! Sometimes I don't have that much time to cook myself. Other than that, I like all kinds of food, mostly southern food, like Mexican, Italian, Spanish…Mhh, and after a performance, in Belgium, I'd probably eat something like French fries, more like the unhealthy stuff…

KH: What is the craziest or the most insane thing that you’ve witnessed at a show?

YV: I saw people go crazy at my shows, but it's very difficult to name one particular example now. I'd have to think about that one… For example, I saw people standing on other people in front of me, falling down into the crowd and I never saw them again. So, I don't know what happened with them… All kinds of people. There are people with a flag saying "Please marry me", "Have a child with me". There are all kinds of things you can see in the crowd.

KH: Out of all the venues, cities, and countries that you have performed in, is there one place that remains your favorite?

Why? YV: I think Brazil in general is for sure one of my favorite countries to play in. I've made friends there, I love the food.

They have a lot of energy during the shows as well. They are into music. So, Brazil is my favorite one. And besides that, I think Japan - also for the food, which is very refined. I like the culture there as well.

KH: Are there any secrets or things that you would like to share or promote?

YV: Secrets… Hm, I don't have that many secrets I think.

The only thing is, when I do something, I always try to think about the crowd and to have a good connection with them.

Besides that, I m working every day and I'll have a lot of new stuff coming up. I m traveling the whole time.

KH: So, if you are traveling around all the time, are you still able to have a regular personal life with friends, family ..?

YV: Yeah, for sure. I also try to bring a lot of friends along with me on my tours, when they have time. And besides the heavy touring, when I'm home, I try to be social and not to spend the days in my bed. But of course, it's different than a normal life, with a "normal" job. But I love what I do, meeting new people from all over the world and being able to live from my music is a dream coming true.

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Beatselector Magazine | Issue N° 6 | 73

vCD/EP/12" REVIEWS Masterpiece  Excellent  Good  Fair  Poor 

DJ Shadow The Mountain Will Fall Mass Appeal Records 

DJ Shadow is considered by some to be one of the most influential and innovative trip hop and turntablism producers over the last two decades. His 1996 release, Entroducing … set the standard for trip-hop and experimental hip-hop production. There’s a very good chance that signature sound that Shadow’s (aka Josh Davis) debut album pioneered and fueled the imaginations of a lion share of modern producers.

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Davis’ latest venture, The Mountain Will Fall looks to explore new realms of sound while borrowing sounds and production technique from his contemporaries.

Twenty years has passed since DJ Shadow’s groundbreaking debut and he’s had his fair share of critics after setting such a high bar. His masterful use of loops and pounding beats set a standard that has not been matched in his other offerings. That’s not to say that 2002’s The Private Press wasn’t good because that album had its fair share of bangers, but 2006’s hyphy inspired The Outsider rubbed a lot of fans the wrong way. The Less You Know, The Better had several flashes of that melodic magnificence, but Shadow’s experimentation with sound was hit and miss for some and it was ultimately tossed aside by others because it did not live up to his landmark work.

The Mountain Will Fall, released 5 years after The Less You Know, The Better, features beats, melodies and live sampled instruments to create soundscapes using Ableton software to craft beats, as opposed to dusty samples and vinyl that characterized DJ Shadow’s sound.

As I mentioned earlier, this album features sounds and rhythms that borrows elements that are often associated with trap, glitch hop and future bass. Couple these new elements with Davis’ knack for using the perfect bassline or break sample and one would think it’s a sure-fire hit.

Right? The Mountain Will Fall mirrors The Less You Know, The Better in like manner where it has pieces and elements that are what you expect to hear from DJ Shadow and then there are some that just fall short.

This album starts off very strong with its title track "The Mountain Will Fall." The track starts with droning synths backed by disjointed beats that filled me with a bit of 80s sci-fi soundtrack nostalgia. That was most certainly a high point and an unexpected surprise. 'Nobody Speak' features El-P and Killer Mike (aka Run the Jewels) laying down vocals over jazz guitar and saxophone samples.

Run the Jewels gritty verses are on point and are well complimented by the rhythm guitar, steady bassline and colorful use of bleeps. My only criticism would be that the track sounds tame in comparison to what you’d hear from El-P’s production that you hear normally accompanying a RTJ track. Davis dabbles in minimal EDM with 'Bergschrund' Beatselector Magazine | Issue N° 6 | 75

to create an overall pleasing groove while other efforts such as, 'Mambo' and 'Suicide Pact' really didn’t really charm me as much.

Both tracks feature rattle-like beats and composition of that are fundamental to what you would hear in trap, but it just did not fit.

However when the elements of trap were featured with Shadow’s hallmark samples in 'Three Ralphs,' it makes for a really interesting piece. More than halfway through you hear there’s a muffled, scratchy old piano sample that creates that chilling melody.

'Depth Charge' features an arrangement of crunchy percussion and flaring guitar riff that has just enough to keep you interested.

Davis’ sampling prowess really shines on tracks like the bouncy 'Pitter Patter' and 'The Sideshow.' Where this album really doesn’t quite nail it for me is on tracks like 'California.' There are bass heavy sections with rising drums that sound very similar to what one would experience with a Hudson Mohawke track, but not as appealing. Much like the remaining tracks, there are some moments of audio bliss only to be followed up by a less than stellar harmony.

Ultimately, The Mountain Will Fall will leave you feeling as frustrated as his last two efforts. Songs have hints of what made DJ Shadow’s first two albums magical but for every moment of exceptional music is also met with large forgettable sections of his compositions. One could say that it’s unfair because Davis is being judged on the innovation of works that were completed more than over 10 years ago. While I do applaud his willingness to continue to expand and perfect his craft, it just does not hit with the same impact. This album is worth a listen especially for fans, but expect it to be a frustrating affair.

—Cory Royster

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DJ Pippi Bocadillos Variados (LP) Music For Dreams  Now this is what I call a listening escape, lush with breezy light acoustic guitars, strings laid on top of soft atmospheric chord changes, you simply melt into the sound of Giuseppe Nuzzo, aka Dj Pippi. The breath-taking landscape of Ibiza, with its multi-national position between Spain and northern Africa gives the small island nation a unique musical heritage and perspective.

There is a great cross-cultural synthesis residing within its confines that are tucked away from the super clubs and the scantily clad rave scene. Ibiza remains a remarkably rural island in the present tense. Although its former allure is far from absent. The color of life, olive groves, almond trees, and beaches is reflective in the Belaric beats the country is synonymous with originating.

Many of House’s, Drum & Bass’s greatest DJ talents have made Ibiza their home. It’s an intoxicating nightlife that can be a mix of

the obtuse and the sublime. Bocadillos Variados is definitely a snack (translated from Spanish)” of simple pleasures deftly displayed on a silver platter served up by DJ Pippi.

Feeling like a Smooth Jazz album, Bocadillos Variados is truly an intercontinental listen. Saturating himself with all the influences of his musical heritage. He migrated to Germany to further explore and progress his opportunities. DJ Pippi who is of Italian decent himself, was noted early on by the management of the super club Pacha.

They heard one of his early mixtapes and were immediately taken by his style and flair for sound design.

DJ Pippi’s first residency came in 1984, followed by additional stints in 1987 and 1991. He has such a high profile that he still commits to extended sets at Pacha, Jockey Club, and Santos.

The album is 12 tracks of Pippi’s simmering cauldron of high quality global house music and deep soulful Balearic grooves. It includes the track 'La Serenata' with Kenneth Bager, and 'So Beautiful' featuring Barbara Tucker.

The album also features contributions from producers and musicians Tuccinelli, J.L., Victor Martin (Eurythmics), Cesar De Melero, Paul Powell & Tracy.

The album is somewhat of a journey, a long walk, with little to care for anything other than leisure. Just think about the breeze and the sun glistening across your skin. Listening to Bocadillos Variados is like kissing your eardrums with the many flavors of the Mediterranean, Middle East, and Southern Europe cultures. Who wouldn’t want to experience that?

—Erik L. Richardson

Easy Kid Lenai (LP) Depaart Records  Guillermo Marraco and Pablo Sainz make up the duo Easy Kid, and in June 2016 they released their first full length album 'Lenai' on Madrid's Depaart Records.

Both come from many years of study in music, abroad and locally, privately and in conservatories, and are responsible for organizing some of Madrid's most successful parties and events. Formed in 2011, evovimg fro; a pre-existing Gargae Rock outfit, the two changed directions to electro-rock and finally to elctronic music soley. The two are well known for their unique sound of house music, synth work, basslines, vocals with feelings and a touch of classical music, all mixed together giving the listener a good dose of U.K. inspired deep house music. The debut, produced by the duo contains 11 original compositions and according to the album notes "...is not an entirely transcendental affair; there are Beatselector Magazine | Issue N° 6 | 77

muscle flexing grooves, acid patterns and gnarly machinations as well." That's a pretty good description.

The two demonstrate that they are masters of their sound machines and exhibit a high imaginatiion in the compostion of their songs, that in some instances, are very well suited towards the cinema & film.

Highlights of the album are the title track, 'Lenai' which leans towards a rhythmic vibe with shuffling drum rhythms, deep bass tones, sweet counter rhythms and melodies with an expertly placed vocal delivery that is both dark and atmospheric.

'Growl' also made me take notice as there is a lot going on in the track. Lots of clicking sounds with a steady beat, dream like chordal work that compliments a simple acoustic guitar loop. Pretty interesting.

'Everyone' also features acoustic guitar in the forefront with odd rhythms and a steady kick drum beat behind electronic and acoustic keys.

Throughout the rest of the album, the duo give you a taste of their vision of progressive house music that is both bright and dark, slow and quick tempoed, weird and yet beautiful.

The closing track, 'Perfect Disorder' is also a highlight, with building intensity and vocals dropping to a 'walking bassline' and really good melodic structure and nifty electronics.

'Lenai' starts and finishes strong and everything in between will surprise you and should make you take notice. Overall, it is a pretty good debut effort by Easy Kid and it will interesting to hear what comes next.

—Joseph Arthur

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Fred V & Grafix Oxygen (LP) Hospital Records  'Oxygen', brings a sometimes tired ‘90s genre into the future.

The British duo may be fresh-faced, but there is nothing sophomoric about their tracks. At 26 and 25, Fred Vahrman and Josh “Grafix” Jackson are signed to drum and bass-dominant Hospital Records, home to the likes of Danny Byrd, Maduk and Netsky.

The pair have guested on BBC1’s Annie Mac and Forest Fires from their first album, 'Recognise,' made it to 77 on the UK singles chart. And 'Oxygen' demonstrates a stylistic shift for Vahrman and Jackson.

The 15-track LP departs significantly from 'Recognise’s' experimental but pleasingly diverse mix of tracks. As the name might suggest, 'Oxygen' dives into a dreamy, fluid, pop-synth soundscape, venturing out of club tracks and into almost into songwriter territory. The drum and bass speed is still there, no doubt, but it’s gentler—euphoric,

yet subdued. For this LP, the duo paired with a surprising variety of artists, from household name Kele of Bloc Party, to songwriters Tudor Davies and Amy J. Pryce.

Each artist contributes some unique flair to their respective track, but the sound does not deviate from 'Oxygen’s' signature lushness. Crisp, clear vocals nest in a celestial shimmer. Listening feels like dunking your head onto a feather pillow, shrouded in dryice.

I applaud the choice of contributors on Oxygen. Amy J. Pryce’s vocals, featured on 'Ignite', 'Altitude' and 'Electrify', are compelling and soulful, without sounding overdone.

The same goes for Tudor Davies— though, to be honest, 'One of a Kind' is not my favorite track. 'UltraViolet' and 'Oxygen' tied for first for me—the first features clear, rich vocals and an undeniably uplifting message.

'Oxygen' is more future than drum and bass, providing syncopated and sophisticated relief from the signature hard bass line.

Vahrman and Jackson’s shift is hardly risky—not to say it isn’t appealing—but the LP seems to travel the path of other popular artists. (Think JackU and Zedd.) 'Oxygen' is different, of course, due to the persistent drum and bass rhythm and unique vocals that help differentiate it from other popelectronic hits, but the sound is not particularly original.

So to review: Original? No. Well-made?

Yes. Enjoyable? Absolutely.

—Chloe Aiello

Jackmaster DJ Kicks (LP) !K7 Records  Scottish DJ Jackmaster, or Jack Revill, clings unapologetically to his DJ identity. He is not a producer, nor does he claim to be, but mixes genres and eras with a dexterous precision. For his episode of DJ Kicks, the acclaimed mix series from !K7 Records, he made a masterful tribute to his formative influences, the music of Berlin, Chicago, Deroit and Galsgow.

The record takes LNRDCROY and builds for a full eight minutes before launching into “MSNJ,” an exclusive from fellow Glasgownative Denis Sulta. He slides through Sulta’s sultry vocal track into “Centre Of The World,” a tribal beat by New York-based Phil Moffa.

Throughout the next hour, he transitions from the obscure to the famous, from one side of the globe to another. He features two additional, current exclusives "Ode To Frankfurt," by Alcatraz Harry, and "Yeah that Lush" by Tessera. He ignores the linear rules.

Beatselector Magazine | Issue N° 6 | 79

rules of time and travels back to when it all began—to the “90s in Detroit and Chicago.

He samples the classic "A Groove" by Mike Dunn, and “Convulsions,” by Detroitbased Overmow. He finishes with an sample from the mysterious Pom Pom—the identityless Berlin artist toiling in rare obscurity to create clunky, reverb-heavy techno. "I try not to be too purposely idiosyncratic when selecting music. It’s kind of contrived. I want to educate people but never compromise my vision. I just want to play good music and tell my own story." The story he told pays homage to his roots in electronic, as well as his upbringing in Glasgow. Revill started spinning as a teen and said he used music to escape tough times.

More even than an ode to the masters of electronic, Jackmaster DJ’s album is a testament to Revill’s talent and craftsmanship.

Revill lost his initial track picks for DJ Kicks and said he remade the mix four or five times before he was satisfied. While his picks certainly were unique, he pulled off transitions seamlessly, making for a diverse and surprising aural feast.

—Chloe Aiello

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Kenneth Bager Experience Premiere Classé (LP) Music For Dreams  Kenneth Bager has proven himself as a tastemaker standing at the front of his class as a leading voice of the Balearic and Chill/ Electronic scene for years. It's been a long six years since his last full-length offering 'Fragments of a Space Cadet 2' and now he's back with a brand new album titled 'Premiere Classé.'

I'll start off by confessing that I am biased when it comes to Kenneth Bager and anything he is associated with. In my opinion, he's the tops. So, the following words on his latest will be glowing and for those who love Baleraric and Chill, buy the album, now.

It kicks off with title track 'Premiere Classé (Beat Mix)' that sets the tone immediately with a red hot disco feel. It was a great way to kick off the collection of new tunes from the Denmark legend. It's followed by 'Sunshine Stereo' featuring Damon C. Scott, the first of two appearances, right away the Bass, Synths, and Guitar works magic in the way it morphs into a healthy dose of electropop complete with choice vocals delivered

by Damon C. Scott in various stylings.

On the next two tracks, Bager really mixes it up. 'Biological Bread' has heavy hints of African rhythms and vocal chants while 'Sunset Over Hobro' is an acoustic guitar soundscape that features amazingly good finger and fret work. Halfway through, you'll come to 'What's My Name,' a song filled with disco tinged guitars, phat bass and super vocal deliveries by vocalist Sofie Gråbøl.

Fellow label mate DJ Pippi joins in with some tropical bliss on 'La Serenata' and I'm certain you'll love the accordian work on this track. Bossa Nova rules on the track 'I Wish I Could Be Happy' features lovely and bubbly vocals and traditional acoustic and electric instumentation with subtle electronicsand sweeping soundscapes and and searing sax solo at the bridge. Very nice. Closing out the album with 'Fat Bottom Penguins' is a bass and synth groove with just a touch of chill and some electric guitar melody to counter the deep walking bass and drum fills. And finally, the title track, 'Premiere Classé.' At the beginning of this album Bager opens with a remix of this track. There are differences, first, the remix is dripping with disco vibe, The closer is not. It is flavored with a simple electronic piano melody, various countermelodic synth sounds, tamborine, steel drums, a squeeking sax bit, and electric guitars. It starts at a slow chilled pace and builds into a beauty. Like in the beginning, Bager was masterful in determining how to open and close out this new collection of songs. Bravo!, Mr. Bager.

—Joseph Arthur

Krakota Strange System (LP) Hospital Records  Based out of the coastal town of Bournemouth, England Sebastian Inwood is just one of the new wave of producers who has made a steady rise up the Drum-n-Bass charts. Krakota as he is known by his stage name, began his journey into production as a youth playing the drums and Piano. I would bet that his time spent learning the drums at 15 years old has helped him appreciate just how important they are to rhythms and song structure.

Throughout his DJ’ing time he is known to spend hours and hours sharpening his skills. You can rest assured that there is no escaping his signature staple of bass heavy, break laden productions any time soon.

Having your own home studio tends to bring out the hermit in we artists. All of that sound is very apparent and purposefully designed with his latest, 'Strange System.'

It’s very choppy and reminiscent of airline flight patterns visually. This album is a very strong offering from Krakota.‘North Winds’ featuring Karina Rampage is the perfect tone setter for the silken hues of electronic, and polyphonic machinations of Drum & Bass.

This album is awash with lively color and titillating bass lines. The production here is exquisite in that it isn’t overly obtrusive as it is an accompaniment to the talents of Krakota. 'Colour Of The Past' brings a melodic and tugging delicacy of vocals by English songwriter Karina Ramage.

Ironically, Krakota usually doesn’t dabble much in collaborations. But he made Beatselector Magazine | Issue N° 6 | 81

an exception with 'Ramage,' and showed out. The combination of the enchanting vocals, coupled with the steady strum of the underlying drumlines.

It's a shining example of what the possibilities can be when their powers combine as heard earlier on 'North Winds.'

Coming in at a solid 14 tracks, there is a lot to digest as far as the precision of the production. Krakota really uses the space well throughout. A highlight of this deployment is the song 'Carmine.'

The track begins slowly before opening into a full bore of digital effects, and spacey synthesized chord progressions.

There’s a bit of a Space Invaders type of feel due to the inclusion of the 8-bit sample.

He really knows how to complement the pacing of his sound. He gives the listener a break from the frantic speed of the main body of each track. A place where the inclusion of some blended keyboards, or a nice stanza of rap lines from Illaman is welcomed.

This is a release you should definitely check out.

Being a supreme fan of more sublime and downtempo sounds. Strange System isn’t a downtempo record, it is the clear cut opposite.

But, the way the songs are blended together as a cohesive album is very impressive.

The pacing and the rush of hyperactive drum patterns gives the long play, listening satisfaction.

It does have a very animated Anime/ Manga like flow from song to song. But it is still, at its core, a Drum & Bass album.

—Erik L. Richardson

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Mark Barrott Sketches From An Island 2 (LP) International Feel  Sketches From An Island is an ongoing series of music that is designed as healing music that expresses Spirituality in Balearic form. Sketches From An Island 2 follows in the footsteps and direction of Sketches From An Island, a brilliant album in its own right.

With the second installment, SFAI 2 takes you on medatative trip filled with recorded nature sounds, birdsong, African rhythms and guitar, all behind soothing electronic soundscapes. Standing out among the nine tracks is the lead off, 'Brunch With Suki' featuring lots of disco inflected strings, guitar effects, killer bass and a fleeting flute line, all the makings for classic song.

Further on in the album, you'll be taken on a musical journey with each song sending you along to peaceful feelings, especially the tracks 'Driving to Cap Negret' and 'Distant Storms at Sea’ both showing and highlighting Barrott's evolution in composition. The there's 'Circus & Cumulus.'

This song presents his idiosyncratic aural oddities, giving us a glimpse at a composer comfortable in his own skin and happy with life.

Now, one might think and associate this music to the New Age genre, well, kind-asort-a. It does have moments of New Age, but it is more than that. It is the elements of Balearic that differeniate the two and besides, it's Mark Barrott.

—Leo Weaver

Ólafur Arnalds Ólafur Arnalds (LP) Late Night Tales  I love this. So much. Did I say that I love this yet? Because I do.

Now I can already tell Olafur Arnalds’s 'Late Night Tales' may not be everyone’s top choice. It’s exquisite—at times exquisitely beautiful and at others exquisitely strange (Say My Name, what?)—but I loved every damn moment of it. Olafur Arnalds goes where other producers are too afraid, or maybe not invested enough, to go.

It’s honestly difficult to put 'Late Night

Tales' into words. Each song is its own genredefying creation. I suppose the name 'Late Night Tales' really is the best description. The songs are always mellow, but sometimes melancholic and sometimes euphoric. I could float into a blissful sleep to 'Forever,' featuring Julianna Barwick—on a completely different note, listening with your eyes closed is like feeling the sunshine warm your skin.

Arnald's combines classical music with pop, folk, techno, glitch and poetry. Góða Tungl, featuring Icelandic electronic group, Samaris, sounds, to way overgeneralize, like a Bjork song. Four Tet’s Lion, a Jamie xx Remix, mixes dark techno with bright and classical melodies. New producer Koreless’s 'Last Remants' shares likeness to virtuosic producer Shigeto. One of the tracks is an Anam Sufi poem, read by David Tennant.

Once through, you can tell, Arnalds put all of himself and his friends into this album.

If his history in music says anything, he’s got plenty of incredibly talented contributors to choose from.

At only 29, Iceland-native Arnalds is a remarkably prolific musician. He is a British Academy of Film and Television Arts Award winning multi-instrumentalist and producer.

He got his start in 2004 as a hardcore and metal percussionist and has experimented with most genres since. He delved into electronic in 2009 with a side project called Kiasmos. That same year he toured with Sigur Ros and contributed to his first of nine cinematic soundtracks, including the Hunger Games. He also worked with Alice Sara Ott to create an exciting spin on Chopin with The Chopin Project in 2015.

Although his background speaks to his virtuosity and the complexity of Late Night Tales. The album seems to speak to his soul.

“This is the soundtrack of my life. I included songs from many of my friends and collaborators Beatselector Magazine | Issue N° 6 | 83

and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically,” Arnalds said in a statement.

If you’re thinking about taking a listen—stop. Don’t think, feel.

—Chloe Aiello

Philly Blunt The Album (LP) Philly Blunt Records  'The Album' combines a frenetic pacing of dub step, drum-n-bass, Jungle, mixed with a little Ska. I’ve always felt that tracks like this always are pulsating subconscious experiments. The sound is a scattershot, Just like the ever present changing of musical tastes and styles. Jungle music and to a larger extend Drum-n-Bass have been written off numerous times. Only to have the punching power to go the distance. Fans across the globe have ensured its place among the annals of electronic music. Spanning over 19 the Philly Blunt collective has developed a

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rather large roster of talented musicians, DJs, and producers. Long before the internet, and plug in and play music production apps.

They banged the drum for Jungle music, gathering new followers rave after rave, town after town, and country to country.

Philly Blunt Records One such label which contributed to this musical revolution was The Little Brother to V Recordings came about from the musings of DJ’s Bryan Gee & Jumpin’ Jack Frost. 1994 was a great year musically. Hip-Hop had just released Nas’ 'Illmatic' to critical and (later) commercial acclaim. Selena was taking Tejano music beyond her wildest dreams. Kurt Cobain commits suicide. Nelson Mandela becomes President of South Africa. Of course the precursor to the Trial of The Century, the OJ Simpson Freeway chase in the White Bronco.

All of this had a great effect on the artistry and consciousness of music. How information was relayed, disseminated, and processed.

The speed of things grew exponentially, especially when it came to electronics in general. The world of electronic music was being pushed to the forefront with a bevy of seminal releases from the Broken Beat, Drum-n-Bass, and Nu Jazz genres. Bubbling under the surface was the rhythm of Jungle too. 'The Album' is a dizzying 20 tracks of of pure energy and pulsating production effects. Take the track True Grit. It just races the entire time span of the track.

There are no real soft landing spots to just groove out. The closest you’ll get is the very LTJ Bukem like, 'Lets Go' by Firefox.It’s a constant push of staccato drum patters, and trippy, hyper drum loops. There are a few familiar inclusions of more reggae influenced sampling. The tracks 'Red Eyes' The tracks 'Red Eyes' featuring Inja, and the Firefox & 4-Tree, 'Warning' (Serum Remix) have a bit of a spoken word, (Serum Remix)

rapping in them to inject some much needed vocal brevity into the production. Like that found in the latter half of the disc. There seems to be more of a focus in integrating the two.

Most of the tracks always have the fervent stutter of high bpm, and specific use of various production effects. Still the sound overall is that of waves and waves of drum tracks crashing and clashing with the tonal chords and through the endless loops of fanatical drums, sprinkled with lively Reggae musings. 'The Album' is very much worth a listen, to put it Bluntly.

—Erik L. Richardson

CFCF On Vacation (Remixes) (EP) International Feel  'On Vacation' marks the second in a series of mini-albums for Ibiza-based International Feel. Canadian musician and vocalist Michael Silver, a.k.a. CFCF—the man behind those synth heavy, seductive tracks,

channels sound from the far reaches of the world.

Though the album didn’t come with a specific concept, Silver manages to capture the sound of sweet, hot sounds of some unnamed and exotic locale.The tempo throughout remains chilled despite sometimes fast-paced reverb.

'Chasing' feels at once melancholy and satisfying. The Spanish-sounding guitar riffs pair too well with sparkling digital reverb and a surprise accordion. Listening, I wondered where exactly in the world I was—though the track is so balmy, it didn't really matter.

'Fleure laisses dans un taxi' is unapologetically seductive. But in that way that soap operas are—in an over-the-top swanky kind of way. There’s electric guitar, jazzy ambient almost-vocals, the works. But it didn't make me want to change the song.

Silver manipulates the texture of sound so well I found myself needing to know what would come next.

For me, 'Pleasure Centre' was the standout of 'On Vacation.' In it, Silver creates a luxurious, beachy atmosphere complete with bongos, triangle, and flute—all contrasted with sparkly ‘80s synth. Throughout the song runs the suggestion of a frothy ocean tide or the call of a distant seagull call. It’s literally a beach. In song-form.

Silver is quite prolific, having released five albums, six EPs and a selection of singles and mixtapes since 2009. He is currently signed to indie-label Paper Bag Records, which has, in the past, represented artists as diverse as Broken Social Scene and Tokyo Police Club.

And although CFCF identifies as a songwriter, he’s been recognized as an atmospheric producer. 'On Vacation' shows off the Montreal-native’s years of experience in electronic music. The EP is simple but Beatselector Magazine | Issue N° 6 | 85

sophisticated. It demonstrates Silver’s skill with sound pairing and he fully pulls it off. From the soap opera seduction scene to the first Spanish then French melancholic ambience, Silver has rescued some of the sounds previously considered abominable to current music. He sucks his audience into an experience. And he does it well. This may be one of his most sophisticated albums yet.

—Chloe Aiello

Chaim Nineties (EP) Culprit  Chaim Avital (aka Chaim) came out the same scene that produced prominent DJs and producers Guy Gerber, Gel Abril, Shlomi Aber and Guy J. Now into ten years of recordings for labels such as Guy Gerber's Supplemental Facts, BPitch Control, Visionquest and Rumors. Now it's Los Angeles' Culprit Records turn to dish out the new music. The middle of July 2016 marked

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the EP release of 'Nineties.'

The title track, 'Nineties,' gets its six minute House-inspired groove on right from the beginning with hypnotic percussive rhythms, shuffling drum beats and soft whisper like voicings that takes you to the release of a deep deep bass line. For the remix, Chaim brought in one of Israel's hottest commodities, Red Axes, to re-interpret the original title track and the end result is a slowed down remix with a clever use of electronics, claps, and a wildly imaginative rhythm. The second song offering is 'Members.' On the track, the beats build, build, and build, leading to some trippy vocals and a sensuous groove. Good stuff. Enter Shahar and Motum. These two take 'Members' in a different direction with a slightly toned down mix while keeping true to the orginal idea. They utilize the vocals sparingly and effectively and really focus on the driving rhythms as the core of the production. This EP is good and the ideas behind the tracks showcase Chaim's and his mates musical imaginations and talents.

—Catherine Strickland

Felix Da Housecat Touch Your Body (Single) Crosstown Rebels  Felix was deeply influenced and affected

by Frankie Knuckles and Jamie Principle.

After Knuckles passed away in 2014, Felix felt an urgency to not only commemorate him, but, to also breathe life into his own emotional state artistically. Growing up as a shy kid from the south side of Chicago, he was more or less indoctrinated into music very early by his father. A Saxophonist, Felix's father encouraged him to play the Clarinet. During his youth music was more of a tutelage than a passion. It wasn't until House hit in the mid-80's that the proverbial Cat was let out of the bag. This is where Felix dug in, and began to experiment with his own sound. At the tender age of 14, Felix made his first record 'Fantasy Girl,' with DJ Pierre. Throughout that time he always had an admiration for Principle's work as well.

He always wanted to work together.

But as in life, timing is everything. Gathering all the separate pieces together back in Chicago.

It may have taken 15 years, but it happened. With the help of Crosstown Rebels, we are the beneficiaries of this union.

Only 3 tracks long, the 'Touch Your Body' expands it's breath across all 3 singles. Shining separately to give the listener enough of a body to touch on the dancefloor. Each track gives a contrast to the other in temperate measures. The songs flow in a sauna like slow burn. The background vocals feel more like a conversation with the listener. Begging and pleading to have the desire of touching your body. Very seductive lyrics. Both Moodyman mixes are really one in the same. Both are a

subliminal lull. Bands of synthesized, erotic tumbling chord riffs. A very cold and icy type of vapid lustful singing.

The opening track is a dizzy array of 8-bit synthesizers and keys that lay the ground work for the overall pristine production.

Having laid claim to over 20 years of putting in work, Felix Da Housecat is a Legend in the realms of D-n-B, House, and dubstep.

The various mixes of 'Touch Your Body' are like the chime of fine crystal. The mastering and mixing down of the tracks is masterful. Felix saturates you with bands of synthesizers, punchy drum patters, and a dash of lustful vocal accompanyment.

Matching the talents of Jamie Principle, and Vince Lawrence gives this release a collaborative feel without sacrificing quality.

All three of the 312 trio have very strong ties to the establishment of house music. By representing the actual area code 312 of inner city Chicago in the group alias. These men design their sound with a lively purpose that is the culmination of years and years of artistry, experimentation, production, and volume.

—Erik L. Richardson

Looking for that new sound?

We have it!

New music premieres, interviews, and more with developing artists are just a click away. www.beatselectormagazine.com/mcpr

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Beatselector Magazine | Issue N° 6 | 87

FOMO Featuring Chaka Khan House Of Love Remixes (Single) Shaboom Records  Anything Chaka Khan touches is almost always gold. Her velvety, smooth voice has blessed countless releases. Spanning over 40 years of being in the business. She has helped to transform the musical landscape of several genres of music. Funk, Pop, Jazz, Disco, Soul and even electronica. She has a special connection to the people. An allure and mystique that only a legend of her talents could command. A lot of her appeal is that unmistakable voice and vibrant imagery. Everything from her title as ‘Queen of Funk’, to her attire, and her numerous music videos.

Chaka Khan has always stood out. The one thing that has always shone brightest were her powerful vocals. But during her later years, she has also sung with a delicacy and intimacy often heard from many of Jazz’s

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greatest singers. But this EP is so much more than just her. This time around though, she she made it a family affair. Her lesser known, yet equally vibrant siblings, sister Taka Boom and, brother, Mark Stevens add their own flair to the mixture of vocals on House Of Love. Ironically the three siblings had never thought of working together. Until now.

FOMO is comprised of producers Jamie Petrie (JP) and Mark Bell. The duo was first introduced in the mid-1990s when Bell was already enjoying some moderate success with his band M People. While JP was humming along to his own initial charting topping successes. He also at that time was working with the likes of Womack & Womack and, Jean Michel Jarre. All FOMO members felt similarly. That they wanted to bring back that live instrumentation jam session feeling to the project.

Taken as a whole the variations of the singles on House Of Love (EP) are less of a get together and, more of an injection of life into the songs. Khan having a great vantage point to opine from. She feels as though too much of today’s dance music lacks, feeling and that human touch. The overall effect is that all of the separate parts make the whole greater. Punchy horns, shimmering crescendos of chorus speak to the chemistry of the siblings. But, also the ability of Petrie and Bell to produce a cohesive sound. The group simmers and bubbles with great efficiency and dexterity. Like the old Prego commercial slogan, FOMO have cooked up that homemade flavor. Trust me, “It’s in there.”

—Erik L. Richardson

Joe Ford Let It Out (EP) Shogun Records  British producer Joe Ford brings me back. Back to that rare stretch of time between night and morning—still dancing— as the grey light illuminates an impersonal warehouse in Detroit. It’s been home for the past six hours.

Ford’s new EP, 'Let it Out,' channels that dark, dirty drum and bass, mixing garage and grime elements for a fast-paced, experimental trip. Ford seems to reconnect with his roots in the first three tracks.

From the moment the album’s namesake track begins, its clear this is standard-format DnB, albeit with unique sounds and almost inaudibly low vocals.

The rushed, panicky, robotic baseline builds quickly to the drop. For me, this track delivers too soon. I need a little more of a tease. 'Ionize' feels similar to 'Let It Out,' but the end definitely gets me. A calm fade out with some tweeting birds. Interesting choice.

Ford’s third track, 'Caution,' features

London-based hip hop artist, linguistics. It’s so grimy, it has elements of speed garage with some industrial dubstep mixed in. And, of course, vocals by Linguistic.

The last track is by far my favorite, but an almost confusion addition to the otherwise homogenous EP. The intro to 'Transpose' has a lighter, dreamier quality.

It is still undoubtedly fast-paced, but softer, albeit just as weird as the other three tracks. Ford shifts reverts from his signature drum and bass beat tp mellow, almost Odesza-like interludes.

For this album, Ford said in an interview that he stepped up production value to make higher quality tunes suitable for DJ sets as well as passive listening. Ford hasn’t been mixing for too long, but demonstrates a zeal evident in his artistic development.

Some of his influences include Spor, Noisia, Four Tet, Bonobo and Animals as Leaders.

I’ll be real with you, this isn’t my favorite Joe Ford release. I prefer his more experimental tracks, though I do appreciate his dedication to his genre and his sharp, clear craftsmanship. And the man’s definitely earned some recognition for it.

After some early releases on Bad Taste and Med School, UK-based drum and bass label Shogun Audio picked up the 24-yearold, along the side of names like Friction and K-Tee. He supported Noisia on the I Am Legion Tour and then released his debut Shogun track, 'Stride.' By the end of 2014, he mixed a track for Datsik—maybe kind of a big deal. In 2015, he landed a radio show on Kiss Fresh and kicked off an Australian tour.

In 2016, Ford’s been tearing it up, booking gigs across the globe.

—Chloe Aiello Beatselector Magazine | Issue N° 6 | 89

connections held between traditional and and electronic music and expertly show how to incorporate the two. As an added treat, Nesta called on his Grandfather as a connection to Wadih El Safi, a respected and loved, world famous oriental music legend and Nesta's Grandfather's best friend. You can hear Wadih El Safi's famous voice via samples throughout the recording. 'Cedar Trees' is available now through Crosstown Rebels and for those that want to experience the trio's take on Lebanon's music applied for the electronic music community, you'll not be disappointed.

—Catherine Strickland

Nesta & Silky Raven Cedar Trees (EP) Rebellion Records  Nabih Esta known as Nesta, Jakob Seidensticker and Henrik Raabe (aka Silky Raven) originally met in Barcelona and through that meeting an invitation was extended for his two new friends to accompany him to Beruit, Lebanon. This is where 'Cedar Trees' was born.

The EP's concept comes from the visual and aural experiences had while the three were traveling around in Lebanon's mountain region just outside Berui, specifically the oriental sound coming out of Fairuz and Ziad El Rahbani. The music delivered on the six track EP is a healthy portion of Lebanon's rich traditional musical culture, instrumentation, sampled vocals and other influences, with dance rhythms and other works of digital magic provided by the producers bridging the gap in World and Dance music. It's deep, mysterious, spiritual, adventureous and diverse in the make up of each track.

All three musicians have embaced the

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NTEIBINT Featuring Stella Hide In (Single) Eskimo Records  Greek producer and radio host George Bakalakos aka NTEIBINT along with Greece's Stella Chronopoulou are back with a great new single 'with Hide In,' the follow up on their original single' Hide.' 'Hide In' is a real gem of a pop song, memorable, sing-alongable, plush and bright. There are three remixes

of the track, two of which feature the acclaimed Ewan Pearson behind the scenes giving us an extended version of the original with distinct electronic effects, blips, and noises and placing the emphasis on the music versus the vocals. For his Instrumental, Pearson provides a straight out of the eighties cut by using heavy, low, mid, and high range synths, orchestral strings, electric bass and various wood block sounds. This is a track well suited for the dance floor without a doubt. The third remix is brought to us by the Mexican duo Zombies in Miami and the treatment they apply to the track is totally unique to what is previously heard. It is loud, dramatic, filled with drum crashes and booms, driving guitars, sweeping background soundscapes and stacatto synths accompanied with Stella's voice expertly featured throughout.

—Catherine Strickland

Soul Clap feat. Nona Hendryx Shine (This Is It) (Single) !K7 Records / Crew Love 

'Shine (This Is It)' is the first single to drop from Soul Clap's upcoming new full length album and it is right on time, as they'll undoubtably be taking the track on the road throughout Europe, U.S. and Canada for three months of dates (beginning at end of September through November). Bottomlining it here for you folks. Get it. Having listened to Soul Clap's previous releases, I've always been impressed. But, with this new project, that took four years to come to release, they have put such a polish on the track with a cast of high caliber live musicians and let's not forget the featured artist, Nona Hendryx giving the song it's voice.

Working out of George Clinton's What?

Studios, recording of a new Soul Clap album began and gave us this new single. There is so much soulful groove in this production, hot and sexy in rhythms, and the use of live musicians is simply perfect. Featured on the track are Midnight Magic's Morgan Wiley with some great keyboard work and solo and and very fine horn playing from Carter Yasutake and Greg Paulus. Nona sings a message of strength and empowerment in the way only way Nona knows, iconically and powerfully.

Collaborating on the 2 remixes are Erodicotique: Dimitri from Paris and DJ Rocca. Both cuts are dance floor fillers and overflowing with sounds reminescent of the classic 90s period. Piano drives the beat and the use of samples, horns and flutes and interspersed vocals all feature prominently.

'Shine (This Is It)' is a fantastic first single from their forthcoming full length. I can't wait to hear what's next.

—Joseph Wensell Beatselector Magazine | Issue N° 6 | 91