BEATSELECTOR Magazine Issue N°3

GIORGIO MORODER'S DÉJA VU LEADS OFF 20 NEW MUSIC REVIEWS

RUF DUG + ISLAND TALK

Q&A + NEW ALBUM REVIEW

OLIVIER GIACOMOTTO BLACK HOLE RECORDINGS JOHN VERMONT CRIZZLY VINAI M.A.N.D.Y. DIMOND SAINTS

B EATSELECTOR Moving Electronic Music Forward

2015 / Issue N째 3

PUBLISHER

JOSEPH WENSELL CONTRIBUTORS Caitlin Cline Cory Royster Erik L. Richardson Fred Lee Joseph Arthur Karin Haslinger Payton Gerencir Stephanie Hernandez Tyler Quick

EDITORIAL REQUESTS

editor@beatselectormagazine.com

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GENERAL INQUIRIES

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f@ beatselectormagazine t@ beatselector beatselectormagazine.com

Floorplan aka Robert Hood Weather Festival June 2015 Paris, France Photography Š 2015 Karin Haslinger

inside ISSUE NUMBER 3 OC TOBER 2015

Features 34 OLIVIER GIACOMOTTO

BEATSELECTOR Magazine is a huge fan of the Parisian producer and worked hard be able to get the attention of this mega-artist.

Don’t judge us when we say that we had a complete “fan girl” reaction when we heard back from him willing to be a featured artist! #score. We jumped at the opportunity and found out from a true artist, just what it takes to make it to the top.

40 RUF DUG For our Fall Issue Cover Feature we reached out to RUF DUG about what it was like recording a new album for Kenneth Bager's Music For Dreams, where he draws his inspiration from, and what's different about this this album sound wise. Naked chics covered in whipped cream? WTF you may ask? It's in the interview! After spending 12 weeks in Guadeloupe comes Island, a superb new release in the style that only RUF DUG could create. Caitlin Cline asks a few questions about the experience and the new album and Erik L. Richardson writes up a review.

Cover & Table of Contents Photography courtesy of RUF DUG

Departments 08 ICYMI

Recent news, upcoming new releases, events & more...

14 ARTIST PROFILES

John Vermont, Crizzly, VINAI, M.A.N.D.Y., Dimond Saints

32 LABEL WATCH

Black Hole Recordings

46 CD/EP MUSIC REVIEWS

Fred Lee leads off the reviews with Giorgio Moroder's latest release DĂŠja Vu.

vOPENING NOTES Earlier this summer when the planning started for this issue of BEATSELECTOR, a good bit of time was spent doing research on artists that are deserving of wider recognition.

When we received notification of RUF DUG's new release Island on Kenneth Bager's label Music for Dreams, we immediately decided to feature him as our Cover Artist with a Q&A and album review. Caitlin Cline and Erik L. Richardson team up on this interesting piece.

Olivier Giacomotto is another artist that has caught our attention and the feature article by Stephanie Hernandez shines a light on why you should too take notice.

John Vermont, CRIZZLY, VINAI—whom incidently has been in the news recently, M.A.N.D.Y., and Dimond Saints get profiled.

Black Hole Recordings, this issue's Label Watch, has been around for almost 20 years and has grown into a major Independent label releasing some of the best electronic music from around the world.

And finally, we review 20 new music releases starting with Fred Lee's take on Giorgio Moroder's latest full length album Déja Vu. Read on!

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AN INTERVIEW WITH

ASTR COSMIC GATE VEERUS & MAXI DEVINE EMIL GERM HUDSON MOHAWKE CHRISTINE & THE QUEENS FOOL'S GOLD RECORDS THE FEMME FATALES DJs of 2015 DJ HELLBLAZER + 15 CD/EP REVIEWS

f @beatselectormagazine New Music Live Events Artist Profiles Industry News and more...

v Like us today!

vICYMI

REGISTRATIONS NOW OPEN FOR CROATIA'S HIDEOUT 2016 Having sold out every year, Hideout expects to do much of the same in 2016, with a limited number of tickets already snapped up expect Hideout to sell out within a matter of days. Still jubilant after it'srecordbreaking fifth anniversary year, Hideout has now opened registration for its sixth year. Based on the stunning Zrce Beach in Croatia, Hideout has firmly found it's place within the global festival market. Being able to stand out as one of the finest electronic festivals going, this young and finely tuned event has been sold out year-after-year and doesn't see any signs of slowing down. Due to the continued demand for tickets and with 2015's event selling out in less than 10 days, eager fans can register for tickets in just three simple steps. Registration is open until 26th October via the Hideout

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Festival website. 2016's event will see the return of a few familiar favorites, although no headlines have currently been announced, you can sleep easy knowing the team behind Hideout have big ideas for the future. Last year saw the likes of Jamie Jones, Duke Dumont, Nina Kraviz, Gorgon City and Seth Troxler take to the booths to create an unmissable festival. Esteemed partners and world class bookings make Hideout one not to be missed, stay tuned for the first wave of acts to be announced. Now fully established as the leading European electronic music festival, Hideout 6 promises to be a once in a lifetime experience. Known globally to provide a truly unique adventure in a stunning location, Hideout is a world respected festival which always out performs itself. Register at http:// hideout2016.eventgenius.co.uk.

BLACK COFFEE, CLAPTONE, ARTHUR BAKER, HARDWELL, HOT SINCE 82, LUCIANO, FAITHLESS & CARL COX, AMONGST THE WINNERS AT THE 18TH EDITION DJ AWARDS The 18th edition of the DJ Awards was held at the end of September at Pacha Ibiza with Lucy Horobin and Des Paul handing out awards across 10 categories as voted on by the public.

Winners were Solomun: Deep House, Carl Cox: Techno, Hardwell: Electro/ Progressive & International DJ, Black Coffee: for Breakthrough Year, DJ Quatro : Newcomer of the Year and Hannah Watts for the Bass award. The award for the top international festival went to FSTVL and Life and Death was named Record Label of the Year.

Additionally, 11 Special Awards were

presented including Producer of the Year going to Claptone, Arthur Baker: Electronic Music Pioneer, rekordbox: Cutting Edge, Faithless at BBC Radio 1-20 Ibiza Rocks , 'Acamar' by Frankie & Sandrino: Track of the Season, and South Africa receiving the Dance Nation of the Year honors.

Highlights of the event were Pacha Ibiza resident and Seamless Recordings Graham Sahara providing the sounds and Martin Wilson giving a show stopping performance of one the Ibiza 2015 anthems, 'Marvinello'.

Visit djawards.com for the complete list of winners, photos and more details.

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ST. GERMAIN MARRIES PERCUSSIVE GROOVES WITH TRADITIONAL MALIAN MUSIC ON NEW RELEASE St. Germain (aka Ludovic Navarre), whose albums Boulevard (1995) and Tourist (2000) originated a genre of French electronic music that later included artists like Air, has returned with his first new album in 15 years.

On October 9th, Navarre released St. Germain, on the Nonesuch label, a work that marries percussive grooves, which have always been central to St. Germain’s sound, with a brand new element—traditional Malian music.

Recorded with the participation of African musicians, the album features traditional Malian instruments like the Kora, the Balafon, the N'Goni that all mingle with electric guitars, pianos, saxophones and electronic loops. The first single "Real Blues" sets Blues legend Lightning Hopkins' voice to the beat of wild, fiery drums and percussion. stgermain-music.com St. Germain photographed by Benoit-Peverelli

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GORILLAZ IN THE STUDIO NEW ALBUM COMING SEPTEMBER 2016

The announcement has already sparked a conversation that AEG will threaten The Governor's Ball event which is being held two weeks ahead of Panorama.

CALVIN HARRIS TO RING IN THE NEW YEAR AT OMNIA NIGHTCLUB LAS VEGAS

Way back in October of 2014, Damon Albarn annouced a new Gorillaz project for a 2016 release. It's now official. According to what's out there on the web, the band went into the studio in September to begin working the new album. Look for it sometime in September 2016. gorillaz.com

AEG LIVE TO PRESENT PANORAMA IN NYC JUNE 2016

AEG Live is making plans to present 'Panorama'- "a so-called" Coachella spinoff for a June 2016 event at Flushing Meadows Corona Park in Queens, New York.

Scottish by birth, Grammy and Ivor Novello award winning Calvin Harris stands as the figurehead for modern dance music and is listed by Forbes magazine as the world's top-earning DJ for the second consecutive year. His record-breaking career includes being the first British solo artist to reach one billion streams and having the most number one hits from a studio album, surpassing even Michael Jackson's Thriller.

Catch him live at Omnia Las Vegas December 31, 2015.

Tickets at http://omnianightclub.com/ events/new-years-eve-12-31-15/ Beatselector Magazine | Issue N째 3 | 11

vON TOUR NERO are a three piece band from London

comprising of producers Daniel Stephens and Joe Ray and vocalist Alana Watson.

NERO have worked with Baz Luhrmann on the soundtrack for The Great Gatsby, Muse, Skrillex and — as the first of its kind —a Dubstep Symphony performed by the BBC Philharmonic Orchestra broadcast live on Radio 1. Hot off their new release, Between II Worlds, NERO is currently on their North American tour. Highly recommended.

October 21 October 24 Royal Oak Music Theatre Electric Factory Royal Oak, MI Philadelphia, PA

October 29 The Warfield San Francisco, CA

October 22 House of Blues Cleveland, OH

October 27 Union Hall Edmonton, CANADA

October 30 FreakNight Seatlle, WA

October 23 Skyway Theatre Minneapolis, MN

October 28 Flames Central Calagary, CANADA

October 31 HARD Day of the Dead Pomoma, CA

Visit thisisnero.com for more dates.

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vARTIST PROFILE

Written by Stephanie Hernandez

JOHN VERMONT

John Vermont is a singer/music producer and DJ from Andalusia in Southern Spain. Growing up with soulful music influences such as Marvin Gaye, Curtis Mayfield, Aaron Neville and Isaac Hayes, these artists had such a large impact on John's sound and you can hear homage in his mixes to the artists that really resonated with him while he was in the creation process, so his beats and voice are a mash up of smooth soul, contemporary pop with an overall filter of deep, house, and garage electronic influence. Recently, John was able to sign onto Spanish record label, Seven Villas, to create his first ever solo recorded song “Evanescence.”

Although this is John Vermont's first EP, he is not new to the scene. He has been producing and recording for quite some time now in past groups such as Driving Blind and Cue & Caution. He learned a lot about performing and what it takes to make a good quality song a hit with his time in these groups, but ultimately, John needed to move on and work on his own vision. To break the mold and create his own path, John has taken certain risks that most producers in his field don’t do.

While performing live he does not use his pre-recorded vocals, he performs all of his melodic vocals, keyboards and drum patters live and he kills it! This is definitely a risk most producers would shy away from. It is risks like this that set upcoming artists like John apart and sky rocket them to the top of the charts. For the past five years John has been in the studio, working and raising his sound, figuring out and pursing the direction he wants to go with his music. It is hard work and dedication like John’s that will set apart the true artists from the stand ins. This new comer won’t hold the “new” title for very long, he is putting in the hours to get his name and brand out there, performing at Ibiza’s hottest clubs, which is a gig some artists can only hope to attain, meanwhile John has already become a house hold name. If he keeps his momentum he will continue to push boundaries and break molds the higher up the charts that he climbs. Lookout for this Spanish producer, he is on his way to being one of the top in his field.

Follow C/JohnVermontOfficial

M/@JohnVermont1

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vARTIST PROFILE

Written by Stephanie Hernandez

CRIZZLY As the electronic music scene progresses further into the future, it seems as though a new style of the genre pops up each day and each day it gets more difficult to categorize the artist that you listen to. “ They play more of a Euro-electro-disco style, but not really”, is a common phrase electro goers use these days. The style of music for this artist on the rise is no different. This DJ calls himself the “King of Crunkstep”, mixing the always bumpin’ hip hop beats with electro-womps; Christopher Lee Marshall, otherwise known as Crizzly, has cultivated the two, putting his own spin on the genre.

Word around town is that anytime you hear “Crizzly on tha BEAT”, you know that you are going to be losing all control and dancing along to his perfectly timed drops.

Crizzly, hails from the music capitol of the world, Austin, where he concauts remixes and hits to share with the world on his many tours such as his current Low Dough Pizza Show Tour, where he drops the beat in over 20 different cities.

This Texas guy has mastered his spin on the crunkstyle, dubstep, electro house sound, using his incredibly skilled ear for what works, creating a large library of party anthems.

Having been to one of Crizzly’s performances, I was able to experience first hand how intoxicating his music is. The entire crowd lost all chill in a set that can best be described as an hypnotic twerk fest (the good kind).

Although he has only been on the scene for a few years, he already has quite an impressive resume of hard to land gigs such as, the always coveted Electric Daisy Carnival, (Las Vegas, Orlando and Brazil), Lollapalooza, Escape From Wonderland and Warped Tour. With his growing accomplishments, we

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consider Christopher Marshall an artist to watch.

Crizzly has taken many risks in the hopes of putting his music in the hands of big named artists that would be able to help spread the word.

Due to him taking those risks, Diplo, Skrillex, Datsik and many others added his mixes to their set; proving that there is no reward without risk.

This 21 year old has come quite a ways since his teenage days of pushing carts at a local Walmart. He headlines “Lifted Tuesdays” every Tuesday at The Nook on 6th Street in Austin, Texas where he packs the house for free to everyone wanting to “bullshit and party”.

Crizzly’s work ethic and drive is definitely paying off, he recently played to a sold out show in Vegas on his Low Down Pizza Show tour.

Whether hip hop is your cup of tea or you prefer to fist bump to house music with your squad at the club, Crizzly infusion of the two will unite lovers of all styles and have you dancing all night.

His goal for you is to get crunk and make bad choices while he delivers beats.

Keep on spinning Crizzly, you’re going places.

Follow C/iamcrizzly

M/@CRIZZLY

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vARTIST PROFILE

Written by Caitlin Cline

VINAI

I guess you can say talent runs in the family when it comes to the Vinai boys.

Although the Italian brothers originally began producing separately, in 2011, they decided to join forces and become what we know today as, VINAI. Known for their, “big room bounce music”, the second you press play on a track you’ll know exactly why they’ve proclaimed their music into said genre. Their timeless, upbeat, “get up and dance”, sounds make the perfect tune to get the crowd going.

In just a few short years VINAI has made a huge name for itself by playing festivals and venues worldwide. With new tracks being released regularly we can’t wait for them to keep the techno-bounce scene thriving. Just two years after first hitting the studio in 2011, the duo signed with Time Records to release the banger, “Hands Up”, which immediately gained support from huge artists worldwide such as Tiësto, Showtek, DVBBS, MAKJ, Nari & Milani, Deorro, Quintino, Deniz Koyu, and Danny Avila. Soon after came their remix for Don Diablo, the Axtone release, “Starlight”, which also gained immense

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popularity and has been played by big names like Slander Van Doorn, Pete Tong, MAKJ, and La Fuente. With their pulsating, fist pumping drops it was inevitable their releases and collabs would become infectiously popular. In 2014 VINAI signed with the prestigious Dutch label, Spinnin’ Records, joining other acclaimed electro-house artists such as Martin Garrix, Oliver Heldens, Hardwell, and R3hab.

Soon after joining Spinnin’ Records, VINAI collaborated with Canadian duo DVBBS to release the track, “RAVEOLOGY”. Originally released as a “track ID”, the song was unimaginably popular and being played at festivals and clubs across the world before even being revealed as a DVBBS/VINAI production. The track was their biggest success to date and immediately became a rave anthem everywhere.

It received a tremendous amount of feedback from an impressive group of DJ’s including, Martin Garrix, Afrojack, Hardwell, David Guetta, Diplo, Showtek, Nervo, Dimitri Vegas & Like Mike, with plenty more where that came from. In less than one week of “RAVEOLOGY”’s initial release on one of the world’s most highly acclaimed music website, Billboard, it hit #1 on the prestigious Beatport chart.

“RAVEOLOGY”, was bound for success with it’s fast paced techno rhythm and nonstop bounce beats, it was just the track DJ’s were looking for to really get the rave in full swing.

Their careers skyrocketed and soon after released, “Bounce Generation”, with TJR, which also gained the #1 spot on Beatport within just five days. Staying true to their “big room bounce” theme, the song eventually takes the beat a little deeper, showing their ability mash up many types of electro-house, while still giving the crowd something to get up off their feet to. It was the most played track at both WMC and Ultra Music Festival.

They’re currently ranked 62nd on DJ’s Top 100 list and with good reason. Recently in 2014 the brothers released, “How We Party”, with DJ R3HAB. Within just six days the track yet again reached #1 on Beatport, giving the duo an admirable record of three #1 tracks on Beatport in less than eight months.

VINAI has since been busting out party anthems that are sure to be music to any raver’s ears. They are currently playing at venues spanning from China to Los Angeles, and we’re impatiently awaiting the release of “Techno”, dropping October 5th. VINAI, never stop the rave!

Follow C/vinai.official

M/@VINAIofficial Beatselector Magazine | Issue N° 3 | 23

vARTIST PROFILE

Written by Caitlin Cline

M.A.N.D.Y.

Hailing from Germany come the dynamic duo, M.A.N.D.Y. Patrick Bodmer and Phillip Jung are the musical talents behind the acronym which itself has an air of mystery behind it. Many entertain the possibilities behind the meaning of M.A.N.D.Y., but Bodmer and Jung don’t seem to be revealing the secret behind the letters anytime in the near future, so we’ll keep guessing. What we can expect from the group is a uniquely fresh and almost hypnotic sound. In 2002, M.A.N.D.Y. and the Berlin-based electro-house duo Booka Shade, teamed up with DJ T. to make their mark on the EDM scene. First in Frankfurt and then relocating to Berlin, the renowned dance label “Get Physical”, was born. The combination of the artistic, entrepreneurial, and music melding talents of the five men set the label up to be wildly successful. The energy they created through their musical expertise was felt throughout the EDM community. Just three years after the label’s creation, “Body Language”, was released and was without a doubt a huge success. It won the 2005 “DJ Award”, for track of the season. It was infectious, new, ethereal, and exactly what M.A.N.D.Y. needed to propel their careers to the next level. Three years later M.A.N.D.Y.’s Fabric Series further solidified their position as one of the most talented and alluring groups in the business. Their most recent success was a compilation for Renaissance, released in 2009, received massive popular support and an array of accolades.

Resident Advisor described it as, “maturity, smarts, and cohesion... that is rare these days." In 2011 M.A.N.D.Y. took time from their hectic world tour to, as they said, “compose new elaborations”, with Booka Shade, and released Body Language Vol. 10. With a label name like "Get Physical", you would expect nothing less than music that makes

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you want to get up and shake everything you’ve got, which is exactly what Bodmer and Jung want from the audience.

They don’t play for people to simply hear the music; they want an immersive, mind, body, soul experience, which is exactly what you can expect from the duo.

With an upcoming single release that is the first Booka Shade vs. M.A.N.D.Y. heard in years, we don’t see them slowing down anytime soon. In addition to that, they have discovered another way to enhance the entire somatic experience at their live shows through revolutionary technology that “utilizes infrared technology and a new mapping technique to project inverted video effects onto their Physical form as they perform”.

This never before seen visual component will give their shows a completely new edge. M.A.N.D.Y. continues to fully encompass the total sensory experience through their new visuals and a sound that we can’t get enough of.

M.A.N.D.Y. is “On The Road”, again, currently grooving their way through the U.S. and Europe.

Check out their Facebook page for tour dates! This is a group that you do not want to miss!

Follow

C/getmandy M/@dj_m_a_n_d_y Beatselector Magazine | Issue N° 3 | 27

vARTIST PROFILE

Written by Payton Gerencier

DIMOND SAINTS

Hailing out of Oakland, California, these two DJs create quite possibly the most unique and original sounding electronic music to date. This duo is composed of An-ten-nae and Releese. An-tennae calls his style "acid crunk" - mixing trappy beats and heavy bass.

Releese approaches his music with more relaxed beats and melodic sounds. Together, they make the Dimond Saints. Both styles are evident while listening to their work. Their Lorde remix- with over 1.2 million plays on SoundCloud- creates a near haunting sound, present in many Dimond Saints songs. Along with Lorde, they have remixes and reworks of LAYLA and Florence + the Machine. The Dimond Saints rework of LAYLA- SmokeStacks reached No. 1 on Hypem. This was their 5th song to reach top 10 on Hypem in just a mere 4 months.

The Saints have not let the success in the time allotted go to their heads. When listening to each track, it is apparent that they don’t rush their work. Each melody and each beat is produced to nothing shy of perfection. The passion that comes from each song is a trait that some new names in electronic music lack and is something that cannot be taught. These two are natural born artists with an ear for the right sounds and the knowledge of what listeners want.

The media is keeping a watchful eye on the Dimond Saints as the duo has received nearly two thousand write ups in total and counting from online publications, blogs, and even the global press.

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Their sound has been compared to names such as Flume and Cashmere Cat. The duo knows no limitations when it comes to opportunity. The Saints have released a handful of singles and remixes, but have yet to come out with their full length album. "We Diamonds", a single released in 2014, is intended to be a prologue to their anxiously awaited debut album "Shingetsu" is being released in three chapters. Two chapters, both of which are available on the Dimond Saints' SoundCloud, have already been dropped. "The Rising" (Chapter One), is a 5 track free download. "Hunters Moon" (Chapter Two), is an EP featuring 7 more songs from the Saints.

"Shingetsu" is the Japanese term for "full moon," and after listening to the last track off of "Hunters Moon," the name could not be more fitting. "Howler," track number 7 on "Hunters Moon," mixes deep 808s with the melancholy howl of a wolf. The howl is synthesized into a heavy beat as the song progresses, not only creating a hot and unique track, but a song that creates imagery and ignites passion. This new duo has nothing but exponential success mapped out in their future. Shows in San Francisco and Los Angeles have already been sold out with one thousand plus attendees.

The mysterious sound the Dimond Saints bring to the world of electronic music is progressive and innovative. An-ten-nae and Releese have made a name for themselves in the competitive world of EDM and aren't stopping till they make it to the top.

Follow C/dimondsaints

M/@DimondSaints

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vLABEL WATCH

Written by Joseph Arthur

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A little back history—for nearly 20 years, Black Hole Recordings has positioned itself as one of the premier indie EDM labels worldwide by continuing to live by their credo—"Captivate, Communicate and Celebrate."

Launched in 1997 by Tiësto and Arny Bink to exclusively release Tiësto's productions, beginning with Magic One: First Flight and Space Age 1.0, instantly established the artist and the label as important and major players in the electronic dance scene.

During the early years of the label's operation, and under the direction of Tiësto, DJ Mix albums featuring the work of artists including DJ Stigma, Ferry Corsten, Armin van Buuren, Johan Gielen, Cor Fijneman, DJ Montana and Ton TB were set upon the masses. Tiësto is also the creator of the "In Trance We Trust' series, one of the leaders under the Trance genre. To date, over a million copies of the DJ Mix Compilation Series have been sold worldwide. In August 2009 Tiësto decided to part ways with Black Hole Recordings, creating a new label Musical Freedom with [PIAS] Entertainment Group. Now jumping forward to the present, Black Hole Recordings fans can still expect tons of Trance, but they've diversified a bit to cater to an audience that can now enjoy releases that cover a wider spectrum of the electronic dance genres.

The Black Hole Recordings catalogue of today represents progressive house, tech trance, progressive and electro house and continues to grow its very impressive catalogue featuring releases from Paul Oakenfold, Cosmic Gate, Dennis Sheperd, Deadmau5, Daniel Wanrooy, Ferry Corsten

and dozens more.

Here's something you most likely don't know, Black Hole also operates a distribution arm, releasing Pop, Reggae, Blues and Classical music, as well as handling several 'in-house' labels and imprints.

The label's Social Media footprint is also quite large with over 200,000 page likes on Facebook, 245,000 followers on Twitter and a dedicated Youtube channel with over 137,000 subscribers, featuring a weekly podcast that airs in over 23 countries.

Black Hole Recordings has their own portal and now sells digital downloads, vinyl records, CDs, DVDs and official merchandise and look for their new app for Smart Phone users.

Year Established 1997

Home Base The Netherlands Website blackholerecordings.com Facebook blackholerecordings Twitter @BlackHoleRec Soundcloud blackholerecordings Youtube blackholerecordings Instagram blackholerecordings Spotify blackholerecordings Beatselector Magazine | Issue N° 3 | 33

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Jumpin'

on the OG Train

OLIVIER GIACOMOTTO is known by the masses for his tech-house supremacy, but this kingdom was not built over night. Born in France, Olivier began building his legacy by working round the clock to create his sound. He moved to London and began working as a producer assistant at Townhouse Studios in ’99, where he began to really perfect his skills enough for him to pack up and head back to the city of lights. By the time he got settled back in to living in Paris, word was already beginning to spread of his talents, and he was able to jump start his career as a music producer.

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Over the past decade of Olivier’s career, he has worked tirelessly to set the bar high within the deep house, techno, house genre, but it is his love for every style of music that has helped to sky rocket him towards success. Olivier composed several mainstream hits that have helped him tackle a different side of the music world; video games and Hollywood silver screen films. Olivier was able to get four of his hit tracks licensed by developer and publisher Rockstar Games for their racing game, Midnight Club Los Angeles. Olivier’s song “Stone” that he worked on with Terry Lynn was featured in the popular film Date Night. His song “Give Me That Love” that he co-produced with Tom Frager on the globally renowned Universal label, sold thousands of copies while it was on the French Top 50 list.

Other than his mainstream success, Olivier has toured all over Europe playing shows at famous venues that electronic artists can only dream of spinning in.

Giacomotto used his skills in the booth to earn the trust of these elusive venues which helped him to land a headlining spot in leading socialite clubs that we probably wouldn’t even be able to get access into, such as, Privilege in Ibiza, Rex Club in Paris, Ministry of Sound in London, Womb in Tokyo, Fabric in Madrid, Pacha in Sao Paulo, Weekend in Berlin, X2 in Jakarta, Zona in Moscow, Sensation White in Cali, and countless others, (talk about an extensive resume, jet-setter much?). It is his eclectic mind and ear for what works in the DJ booth that has provided him the opportunity to be able to play his music in amazingly beautiful places such as these.

Early on in his career Olivier and his friend John Acquaviva launched a segment of their own record label called Definitive Records. With the launch of their label, John and Olivier began to establish a prominent house and electronic empire within Northern America, playing at after parties and raves in every area code. Soon after, the duo decided to take a hiatus to work on solo projects but recently John Acquaviva relaunched Definitive and are now going at it

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full force with Olivier as not only his partner, but the main artist on the roster.

If you have not heard any of Olivier's music I have two questions for you; what the hell is wrong with you? And, what the hell are you waiting for? GET ON IT. If the saying, practice makes perfect is true, well you can bet that over the past decade Olivier has been able practice and perfect his sound and he has had plenty of time to focus on what he feels makes a song a hit. He has seasoned his mixing skills, creating an intoxicating deep house, techno vibe that will instantly make you run for the dance floor. Having started his portfolio in the late nineties it is obvious that he has more songs than we can count, so we took a look at his more recent track timeline and have laid out what we think of his newer mix and EP. His most recent release is his mix, "Together," which is the opening track for Suara Records compilation called “Kitties On Trance.” His song is the perfect opener and sets the bar high for the following musicians on the mix. Additionally, Giacomotto's other recent hit has established over two hundred thousand views on YouTube, "Bipolar Star" from his 2015 EP, Postgalactic with Nior Music, is an upbeat party mix that takes you for an intense flight. He starts it off with smooth vocals and adds in a techno beat. Olivier then begins to press harder on the gas by picking up the pace of the song, which resembles that of a European car chase.

Postgalictic is Olivier’s four track EP that dropped in January of this year. It includes "Bipolar Star," "Interplanetary," "Worldology" and "Postgalactic." "Worldology" provides us with a robotic jam that is very trance-like. It begins with what sounds like alien communication and drifts off into a melodic vocal ensemble, and then it’s back to the alien conversation. The title track, "Postgalactic," is a creepy electronic mix that features deep, slow motion voices that may not be suitable if you’re chicken sh*! like me and you're in your room, alone, at 10 pm trying to write an article, but you keep getting distracted because this song makes you think that there is someone else in

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the room with you. *quickly runs to turn on all of the lights*. With that being said, the final track on his EP, Interplanetary is the complete opposite of an eerie track, it dives in and goes full deep house for four straight minutes. These four songs, along with the rest of his mixes, have established hundreds of thousands of plays on YouTube and SoundCloud, and many artists who are working hard to get their music out in the world, know just how difficult it is to achieve exposure like that. With numbers that high, it is no wonder Olivier is headlining in the most elite clubs worldwide. If you don't believe me or if you want to experience Olivier's exceptional and if you happen to be wondering around Europe or Latin America), you can have your chance! Olivier has gigs lined up throughout the months of October and November

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in places like the Netherlands, Dubai, Chile, Ecuador, Russia, Germany and Lithuania, and even in the US. If you decide to grab your friends and take a music trip across the globe, you won’t be disappointed and will definitely have amazing stories to tell your friends, giving them serious #FOMO. If you haven’t already caught on, BEATSELECTOR Magazine is a huge fan of the Parisian producer and worked hard be able to get the attention of this mega-artist. Don’t judge us when we say that we had a complete “fan girl” reaction when we heard back from him willing to participate in the interview! #score. We jumped at the opportunity and found out from a true artist, just what it takes to make it to the top.

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oliviergiacomotto.com Beatselector Magazine | Issue N° 3 | 39

RUF DUG IS A BIT OLD SCHOOL

when creating his music. He relies on heavy

sampling and vocals in his music and harkens back to the days before digital conversion and mastering and still likes the feeling and sounds recorded on reels and tapes. But, he also is a willing collaborator and mentor as well. With his newest release, Island, off the Music For Dreams label, RUF DUG finds himself in a comfortable place to work his magic. In a Q&A session, we get down to influences & inspiration, gear, daily rituals, what's next, tour dates, his 'Dancers Wanted' residency in Manchester and few more subjects.

Written by Erik L. Richardson

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Beatselector Magazine | Issue N째 3 | 41

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THE INTERVIEW

By Caitlin Cline

CAITLIN CLINE: Besides being SO SWEET, born in a volcano and raised by wolves, please tell us a bit about yourself and what drives you to create your sound and music.

RUF DUG: I like painting pictures with sound. All the bits of it, finding the colors and spaces and rhythms and sometimes words.

CC: What early influences and inspirations do you draw upon in your creative process?

RD: Early influences are computers and arcade game soundtracks, movie soundtracks, the sound of Transvision Vamp on my Walkman while I did my paper round.

CC: Your new album Island on Kenneth Bager's Music for Dreams has an intersting back-story. How did it all come together and how did you feel upon given the opportunity to record for Music for Dreams?

RD: My wife was working in the Caribbean for the BBC and I had the opportunity to spend some months out there with her. At the same time Kenneth from MFD asked me to make an album for him and so the two opportunities came along at the same time - it felt right for them to make each other work!

CC: Why did you choose Guadeloupe as the location to create and record the album?

Take us through a typical day and what was your most memorable experience during those 12 weeks?

Beatselector Magazine | Issue N째 3 | 43

RD: Guadeloupe chose me - it was where my wife was working. Typical day - wake up 8am, morning swim, some melon & pineapple for breakfast. Big pot of coffee, emails out on the veranda and then into the studio for 4 hours while hitting the coffee hard. Walk into the village for lunch then back home for a swim and the afternoon session. Down to the beach for sunset then drive to set to pick up my wife and then a spot of dinner, movie and bed.

CC: What kind of new sounds did you incorporate in your new album versus your past recordings?

RD: I bought 2 synths specifically for this album, portable ones that I could take on the plane with me.

A Yamaha FB-01 and a Korg 05R/W - very good new age type synths!

CC: Island is really unique, chill, really the perfect tropical music. It ‘s obvious that was the end result you were looking to achieve.

What feelings do you hope to provoke when people listen to this album?

RD: Deep equanimity, a melancholy of reminiscence, dazed insouciance.

CC: What sets ‘Island’ apart from some of your previous releases? For instance, the Guybrush & Joanna EP on Cosmic Pint Glass? Which, by

the way, is an outstanding release in it’s own right.

Quite a difference in musical styling’s wouldn’t you say?

RD: Well perhaps I’m stating the obvious but the key difference is the format - it’s an album, all the tracks are meant to sit with each other and none is really intended for the dance floor unlike most of my previous releases which are usually made with the club in mind.

CC: Any plans to take ‘Island’ on the road? DJ Set Tour dates?

RD: From time to time I do a live dub version of the album using the master 4-track tapes but this is a rare occurrence; DJ wise I have a residency, ‘Dancers Wanted’ in my hometown of Manchester, I’m in London and overseas regularly - upcoming I’ve a couple of EU tours and another trip to Australia before Christmas.

CC: What’s next for you musically? Any upcoming exciting collaborations you’d like to elaborate on?

RD: I’ve been recording with Ryan aka Horsebeach on a new project; we have some tracks almost finished and ready to send out. I’ve also been working on a follow-up Cherry Garcia record for Golf Channel and I’m starting to plan another album for Music For Dreams.

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CC: What is the “craziest” thing you’ve ever seen while performing?

RD: I saw a naked woman covered in cream being carried across the dancefloor on a silver platter and put down on a table where a bunch of other women proceeded to tuck in.

CC: Do you have a “Bucketlist” of venues to play and why?

RD: Surely everyone has places they really really want to play? I’ve been lucky enough to cross a bunch of places off the list but then new ones keep getting added.

CC: What do you love most about being a DJ? RD: Finding new music.

Eating food at 5 in the morning.

CC: When you aren’t busy making music, what do you like to do in your spare time?

RD: Hanging out with my wife.

CC: Bicycle or car?

RD: Bicycle.

CC: Astrological sign?

RD: Scorpion Tiger.

CC: Dog or Cat? RD: Both!

NEW ALBUM

SIDEBAR

I

sland’s lo-fidelity sound is composed mainly of a singular sparse drum, or synth pattern, overlaid

with varying chords of advancing speed. There is a very earthy feel to many of the tracks on Island and it’s a major nod to the 12 weeks he spent in the captivating embrace of Guadeloupe. Absorbing the sights, sounds and scene, all had great effect on what he wanted to create as an album. All this came about because of Kenneth Bager’s diligence and RUF DUG’s prodigious talents as a producer and mixer. The two came to an agreement and RUF DUG was allowed the space and setting to create a masterfully blended work of art.

Armed with a suitcase, two half rack synthesizers, beat maker, 4 track cassette recorder and his laptop, RUF DUG set off into the island life of the French Caribbean island. The pacing of the album is very reminiscent of the sun rising and setting as you gaze from the beachhead. There are the small claps and polyphonic keyboard notes and the placid nature of the synthesized waves of rhythm on the track Shoreline flows with a natural advancing and receding type of sound. The single drum beats coalesce into mechanized waves of vocal samplings by Nev Cottee. He sings like, the breezy feel of a warm summer wind across your face. The measured synth tones are modified on Le Rayon Vert when Cottee breaks form and begins to speak more conversationally than sing. It’s like a long walk on the beach at night. This isn’t a break a sweat type of album.

It’s something that sits with you and wraps itself around you. It's apparent Island was inspired by being on location and the end result is an album full of imaginative celebrations of color and experimentation.

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—Erik L. Richardson Beatselector Magazine | Issue N° 3 | 45

vCD/EP REVIEWS

Giorgio Moroder Déja Vu RCA Records

Déjà Vu - the feeling that you have already experienced something that is actually happening for the first time. Giorgio Moroder released his first self titled album in 30 years on June 12, earlier this year. This twelve track album features pop/dance collaborations with Kylie Minogue, Sia, Britney Spears and Charli XCX to name a few and has seen mixed reviews from various critics. After listening to this album a few times, I can say there's not one track that has inclined me to skip over to the next. All twelve tracks echo the musical and production genius of a man, who I feel, is the father of Electronic Dance Music as we know it today.

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As with most albums released these days, all twelve tracks are single edit and awaiting the remix talents of the powerful remix artists so popular in Electronic Dance culture these days.

With "Right Here, Right Now" featuring Kylie Minogue, "Déjà Vu" ft. Sia and "74 Is The New 24" being released and remixed prior to the album release, the remaining nine tracks await. Of the remaining nine tracks on the album, I can hear seven of them being remixed and quite possibly making it to a top 40 dance chart near you.

"Tom's Diner featuring Britney Spears" is my top pick for making it to Billboards top 10 on the Dance/ Club play chart. This remake of Suzanne Vega's 1987 hit is quite similar to the original recording.

Giorgio made use of the Vocoder in this track, which is all too familiar as being used on his "From Here to Eternity" album of the mid seventies. Throw in some orchestral loops and a driving beat, sounds like a hit.

"Diamonds featuring Charli XCX" will also make its way onto the Billboard Dance/Club Play charts, although I don't hear it reaching a chart position higher than 20. I can also hear "Tempted featuring Matthew Koma" as a remix. Of all tracks on the album, this track echo's the late great Donna Summer.

Photography by Kathryna Hancock

In my humble opinion, Déjà Vu is a good collection of danceable tracks yearning for a remix. I can't say it's an excellent collection because there's nothing new to be heard. It's all been heard before.

What makes this album special is the collaborations with the various artists. A clever way to reintroduce yourself to another generation. A clever way to make you feel you've experienced this before, when it's actually happening for the first time.

—Fred Lee Beatselector Magazine | Issue N° 3 | 47

Cora Novoa Fight Love Faith (CD) Seeking The Velvet Cora Novoa is no stranger to the music industry. With 10 years of experience she builds a beautifully constructed bridge between the Indie and Techno worlds. In her newest album, “Fight Love Faith”, the Galacian artist delves away from her usual sound and expertly demonstrates an ability to bring together sounds from all ends of the musical spectrum. Novoa says she spent the last 4 years locked up in her studio with “unexpected sounds”. The album brings us the most synth pop and new age sound of Novoa yet, melding into what she calls, “Black music with a techno heart.” Novoa accredits much of her inspiration behind the album to, “the complexity of mythology and occult science”, which we can see strewn throughout it’s tracks. The title of the album, “Fight Love Faith”, Novoa notes, “refers to the three elements that I have leaned on during this time: fight, love, and faith. Because the album is about fighting, having faith, and

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loving what you do". The release has a earthy, raw, and underground vibe surrounding it that will have you up on your feet swaying with the rhythm of every track.

I really can’t say enough wonderful things about this album, it’s the kind of music that makes you feel things, which is the kind we love here. It’s boldly experimental and so different than the mainstream techno we’re used to; it’s artistic. Novoa tells a captivating narrative in, “Fight Love Faith”. She takes us through other worlds, labyrinths, myths, giving a symbolic weight to each song. It’s grounding, mesmerizing, and artistically mastered with no loose ends. Now it’s our turn to ride along with Cora and discover the meaning behind it.

Novoa begins our journey with, “Janua Inferni”, and it’s like slowly lifting the front cover of a mythological epic. It’s the perfect introductory track that mixes symphonic choir vocals with powerful instrumentals.

Next up is, “Transmutation”, which is a captivating and airy track that picks up the pace. It’s the perfect song to drive with the windows down to on a hot summer day; it embodies the free spirit. I really love the next track, “Over & Done”, it demonstrates upbeat and clean techno beats that begin to pick up and meld together with haunting and echoing lyrics. It’s dark, yet calming and romantic. Novoa brings a funky and infectious beat with, “XIV”, and keeps true to the symbolic nature of the album, this sets the scene for, “Thracian Heroes”, a perfect mix of bubble pop and disco-tech that takes us back into another time of magic and mystery, while giving the perfect beat to groove to all night long. “Astro”, takes us a layer deeper.

Down-tempo and futuristic beats make us feel like we’re floating through the stars of EDM heaven. My personal favorite track is, “Golden Apples ft. Sam Tucker”. Tucker’s vocals are symphonic and spellbinding and

tell a story of temptation and immortality that is perfectly accompanied by Novoa's mesmerizing and romantic beats. The album speaks for itself; it pushes boundaries and has a level of depth that pulls listeners in. It’s the perfect album to ease your mind, but really makes the listener take a step back and appreciate the creative aspects that went into it's production.

—Caitlin Cline

Inhmost Dragbacks on Dockweiler State Beach (CD) Greta Cottage Woodpile Beyond the other wordly introduction.

The opening of Inhmost’s latest salvo, Dragbacks on Dockweiler State Beach (Greta Cottage Woodpile) is a deep space exploration of tonal ambiguity. The serenity of the entire album is relaxing. Easy to feel and get comfortable with. Edge of Space, quickly sets the tone for how this album should be recieved. It’s about the pace and space of the music. Nothing is rushed and

each tracks blends seamlessly with the other. The lowly hush of the D&B rhthym provides the slightes bit of stimulation as you are carried into the outter limits of this fantasy. Much of Dragbacks on Dockweiler State Beach feels so much more like the early forrays of Brian Eno. More atmospheric experimentation with perefedctly placed strips of electonic Drum & Bass, and House weaved in. This could easily be a soundtrack for any upcoming sci-fi, or space exploration film. Everything about the sound is so delicate, yet precisce and detailed. Just as space itself is wide open, the expanses of the audio spectrum Inhmost produces are very robust. Although the sound isn’t technically advanced or steeped in the hallmarks of electronica. Each tracks is given just enough leeway to build the electronica into it.

Adding to the length of the release is that each track is at least 5 minutes in play length. This not only extends the length of album. But it plays right into how each composition is composed. On I don’t Know the drawn out, lethargic, wavy bands of mushed sythesizers and muted basslines are often heard in compliation albums or Yoga studios. It is that peaceful of an album.

The stylization of and overall production make up the entire listening experience.

The second half of the album starting with "Sinsa Spaced" brings things a little more uptempo. There is more texture added, with various programmed flourishes. Also there is more of a connection to D&B with the subtle drum tracks. What I like about Drabacks on Dockweiler State Beach, is that it is a stark break from the norm. It’s electronica that strives to push the listener into uncharted territory. You don't have to be a fan of electronic music to appreciate this release.

You can zone out, on the train, in the car, reading, exercising. Whatever your fancy is, there is the space within to accomplish that peace of mind. If you are nice enough Beatselector Magazine | Issue N° 3 | 49

to purchase the actual CD, you will get a collectors item for your purchase. Hand stamped custom recycled card sleeve, held together with 1970's Post Office paper clips and brown string. The artwork featuring stamp of the artist & the label man. Created and assembled by said fellas on stamp. A limited edition run of of 50 is all that will be made. So get it while the getting's good.

—Erik L. Richardson

Kelpe The Curved Line (LP) DRUT Recordings Kel McKeown aka Kelpe over the last decade has carved himself a nice little niche.

Among the UK’s burgeoning underground electronic scene, he has expanded his production and DJ’ing profile through various releases, EP’s and remix projects.

He is considered a savant in his influential forays into Generation Warp, and Krautrock.

This has given him the platform to establish his sound and himself as one of the earliest stylistic progeny to LA’s beat scene. Like his contemporaries Prefuse 73 and Dimlite,

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Kelpe keeps one foot firmly planted on the bassline. On his latest release, off his Drut Recordings, Kelpe returns to his basics. The Curved Line is an album that expands on the texture of tones of its celebrated predecessor Fourth: The Golden Eagle. The Curved Line begins with very melodic chirps of banded keyboard structures, and chord loops. This is a highly developed programming exercise.

Songs like "Calumet" and "Chirpsichord" carry sonic bursts of digitized piano samples and progressive layers of drum programs to great heights. Many of the songs are then turned on themselves as Kelpe breaks down their technical structure 1 step at a time. There is an organic tinge that gives this album its color. Sprawling chords run about with overly swollen drum patterns that trickle down into a frenetic sort of minimalism. There are pauses throughout the album. "Red Caps of Waves" is an edgy, wave of chord loops over a tumbling bassline.

Framed by the drone like occurrences of vocal distortion and speech. This maturity of sound is very prevalent in that Kelpe does just enough to keep you interested in the music. Still pushing the sound of his success to new reaches. "Valerian" is a pulsating Congo driven track, that switches format completely towards the end of its running time. It’s these little instances where we see Kelpe’s true mastery and genius of production. He is able to craft, loop, stream, a myriad of whirring and whizzing sounds into his mixes that feel totally at home. They help bring to a close the culmination of the delicately exotic phrases he deploys on The Curved Line.

Ohh, there are more analogue synths, cagey touches and ambient noise to be heard – but his signature sound still remains.

—Erik L. Richardson

Little Boots Working Girl (LP) Dim Mak Victoria Christina Hesketh better known as Little Boots hails from Thornton, Lacashire England. Having spent time as a fronting the all girl group Dead Disco. She has been able to garner acclaim and praise through her solo releases, and her DJ sets. She is a highly educated and cerebral musician. Helping to form Dead Disco during her colligate years in Leeds. She has successfully developed and expressed her style in various formats. From film and television to late night talk shows.

Little Boots has been a “working girl” for some time. Victoria has been in and around music all of her life. She was given her nickname because of her tiny feet. But also, she shares it with the ancient Roman emperor Julius Caesar Augustus Germanicus. Better known by his nickname Caligula (Latin for "Little Boots). On Working Girl though, she sings with influences of Kylie Minogue, Si*Sé, Dirty Vegas and Britney Spears in her supple soprano. Little Boots has taken inspiration

from both the Brit-pop and electronica movements of the mid-'90s.

Working Girl is the result of an artist willing to take risks. To look outside in search of the unknown where the new discoveries and ideas are prevalent. Incorporating these influences and experiences into Working Girl has created flirty, light and breathy vocals that float effortlessly over the rhythm current. Working Girl combines the rush of trendy electronica with the vulnerability in songwriting of Indie pop. Working Girl is an album that constantly surprises you with the amount of creativity and sensibility it displays. The entire album is easy to listen to and digest, a satisfyingly efficient album. The track "Heroine" is just the type of angelic song that defines Little Boots. Her faint, trailing singing accompanied with the feather like usage of staccato drums, and middling synthesizer effects. It’s so hypnotizing very reminiscent of the Sirens calling to Odysseus from the cliffs. The synthesized melodies create great interplay between the autotuned vocals and the beats deployed.

"Business Pleasure" is one such track. Her mechanized singing is robotic, but organic in its presentation. Yet the song is a classic take on an 80’s theme of musical style.

"Better in the Morning" is a classic low-key pop song. It’s a simple track that has punchy programmed sound effects of synthpop. It’s a catchy tune because of the cartoonish soundtrack, chirpy pointed lyrics and the rhythm of the tune itself.

All in all, I feel like Working Girl is going to be a huge success for Little Boots. She has a unique voice and staying power to breakthrough into real stardom.

—Erik L. Richardson Beatselector Magazine | Issue N° 3 | 51

tracks like 'Pack n Rollin' and 'Going Back' strike back to Popof's roots as a former member of the free­ party underground collective ‘Heretik System’ in Paris. ‘Words Gone’ has already found great attention through remix treatment from Luciano, Marc Houle and Jamie Jones and the second single ‘Going Back’ features remixes from Eats Everything, Lee Foss, Oxia & Miss Kittin and Luca Donzelli & Mar T. —Payton Gerencir

POPOF Love Somebody (LP) Hot Creations Hot Creations label was just launched in 2010, but have already gained immediate success. They have taken artists such as Patrick Topping, Richy Ahmed, Annabel Englund, and Miguel Campbell. Their own Hot Natured brand played live at Coachella this summer.

The fourth artist to be released under the name of Hot Creations, Alexandre Paounov (aka Popof ) sets the right tone for what’s expected of this relatively new name label. Jamie Lee Jones and Lee Foss came together to create Hot Creations and successfully closed the gap between house and techno music.

Popof released an eleven track album entitled Love Somebody that synthesizes the rolling melodies of house music to even new heights. ‘Your Eyes” and “Liddle Girl” are fresh new sounds that the listener is hit with right off the bat.

Maintaining a grasp on the dancefloor,

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Bambook The Storm (EP) Culprit This Swedish duo has been under the watchful eye of critics everywhere since their debut last summer. Consisting of Eiad Sayegh and Hannes Netzell, the sound produced is tight and controlled.

Since their first release of 'Hearts & Roads' they have been kept busy with remixes and releases for Noir, Fayer, and Jeudi.' The Storm' is an EP released that was released on August 24th, 2015 with three

reworks of the original song featuring Jennie A, a frequent collaborator. Along with the original track is a Kalimda version and The Drifter remix. The fourth song on the EP is called 'Dance With Me.' The original song, 'The Storm' starts off with a deep, pulsating bass line. It begins to work in whimsical vocals and a sharper, almost snare-like sound. After a minute in to the intro, the boys unleash a heavy house drop. It’s evident they’re mainly focused on the Deep House genre with the original work of this song. The Drifter is an Irish producer that put his own twist on the track. The Drifter remix mixes suspension in, eliminating the initial introduction of the vocals. It’s a spacey sound and more forceful, but still true to the original’s roots. It’s a more relaxed track and nearing the end, the vocals come in to play in the faint distance. The mysterious sound leaves it a track that’s going to make the listener replay it.

Kalimba version of 'The Storm' starts off louder and more intense than both the original and Drifter remix. The vocals are the most prominent in this version, which leaves a bit of something for every type of audience.

With each remix, the mysterious and enduring sound is not lost. Bambook is consistent and precise with each beat produced. The fourth track is not much different in style. The vocals are soft, but not overpowered by the beat. The beat is a more indie sound than the others, which mixes up the vibes given off by the other remixes. These boys know how to keep things interesting and is no doubt why they are being put on the map.

—Payton Gerencir

Cassio Kohl Let It Be Me (EP) Futureboogie Futureboogie Recordings, Cassie Khols EP delivers house beats filled with jazzy undertones. In his song “Come Together” he combines the sounds of the deep garage house genre as well as drums and bass harks which help make up a large part of the song.

While the beat flows on smooth, he adds in 90’s style hip hop vocals in the mix; of the three tracks on this EP, this is by far the best one if you are looking for a dance mix.

“Hear Me” has the Saturday Night Fever feel, with throw back disco drums and lounge style chords. This song adds the yuppie feeling of a night out at an upscale cocktail bar, (where the drinks are always a stab to the wallet). To give this track even more of a sophisticated sound Cassio adds in vocal skats and string melodies which only add to the jaz theme of the EP. All of these strategic details mixed together in “Hear Me” make for an upscale night out at a lounge, not a dance party.

“Let It Be Me” is the title track for the EP, Beatselector Magazine | Issue N° 3 | 53

Cassio put all of his deep house skills to use when making this song. He uses 909 drum patters and rhythmic keys to cultivate his disco/jaz throwback theme. He creates yet another “lounge” style song to round out his EP’s sophisticated vibe. If you are interested in more of a smooth upscale sound, instead of an all out rager, for your next party or night out, Cassio Kohl’s debut EP is the track to pick up.

—Stephanie Hernandez

DJ Pippi & Kenneth Bager featuring Lilly Wright La Seranata (Dream of You) (EP) 3 Beat The renowned Ibiza DJ, DJ Pippi, has done it yet again with his latest release, “La Seranata (Dream Of You)”. The Italian born DJ also known as Giueppe Nuzzo is one of the founding fathers of the Balearic/Ibiza house movement and also a great purveyor.

His music captures the sunny, tropical, Ibizan vibe yet he perfectly mixes in enough techno beats and undertones for it to be

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the perfect club jam. He first started out in Germany, first owning a record store and then got behind the turntables of a disco in 1976.

DJ Pippi saw a potential career in the works in the islands of Ibiza and went for it, a move that changed his life forever.

The Mediterranean paradise proved to be the perfect setting for DJ Pippi to craft his unique genre of music. His career really kicked off when he started spinning for “Pacha”, a very popular venue in the disco world. DJ Pippi has been playing tracks there for more than 20 years now. He’s basically a summertime staple for the Ibiza club scene, and travels around the world in winter months. He accredits his success to his hard work and perseverance. He says Ibiza is the perfect scene to play around with different styles of music, but his personal favorite is the “House”, genre, in recent years he’s even started delving into the production side.

This track, a collaboration between him and Kenneth Bager stays true to the deep house/disco scene he is so well known for.

It’s already an anthem in Pacha, Space which is another popular venue and is gaining popularity at clubs from all corners of the world. With company like Kenneth Bager in the mix the track was bound for success.

It’s the perfect trance mix that will have you discoing like it’s ’76 again.

DJ Pippi does a great job of staying true to his style and twisting it with a modern edge. The track is funky, pulsating, and we can’t stop grooving along, but also has hits of ambient house that help level it out. The song is full of so many layers of so different elements, styles, and beats; it never gets old.

Sandro S, takes the track even deeper with his “Dub Mix”. I love this remix; it slows things down a bit and takes you a level deeper into the trance. It’s alluring and has an underground feel to it with haunting rhythms

and womping beats you’ll be shaking your hips to. Both tracks are great to get the dance floor up and moving!

We can’t wait to see these tracks taking on club scenes everywhere!

—Caitlin Cline

Dolman Flight 22 (EP) Inflextion Point Dolman the group is comprised of the duo of Scott Hendy and Ben Salisbury. Both men have made their marks as DJ’s, and producers for a myriad of artists and labels.

Coming from Bristol, England the group is grounded in a distinct way of producing their music. Both Hendy and Salisbury are separate right brain, left brain thinkers and composers. Together they are able to birth their compositions through a symbiosis of comfort and trust. Having worked together for years helps in the process.

This time the listening experience comes way of their collaborative production efforts on Flight 22 via the Inflexion Point label.

These mixes are like the B sides of their LP counterparts. Giving the listener something more and extending the Flight for a nice listenover.

Flight 22, sounds like an expressive confluence of sensory overload. On the J. Wiltshire remix of Flight 22., there is an airy, atmospheric element of backing sounds that carries the melodic keyboard chords upward with the overall bassline structure. You feel like you’re floating on top of the mix of laser sounds and flushing waves of synthesized keys. This is an EP that you get a feel for first. I It’s a danceable album if you allow it to flow through you. I really enjoyed the breaks in the music where Dolman drops in a few nice little measured chord changes. On first take, the appeal of Flight is in the air and space of how the tracks are mastered. Take for instance the Flight 22 (Original Version feat.

Alison Garner) track. Dolman has taken great detail to how the perception of the human voice can be transformed into something angelic. This is not a new technique of singing or engineering. But, when used together with the pacing of electronic music, it can transform your auditory senses. There isn’t the usual frenetic pacing of standard electronica. Here the slow, steady, rhythmic undulation gives the music the ability to breathe alongside the vocals.

"The Rainbow" (Hypersync Remix feat.

Adele Emmas) is a darker, more cinematically themed composition. The tone is deeper, and the drum tracks, tumble along with the wavy bands of digitized keyboards.

The voice of Adele Emmas is a powerful tool in conveying a message of vulnerability.

Overall Flight 22 stands as break from the norm of what electronica can be when handled properly. With Dolman, your ears are always in good hands. So sit back, relax and have a good listen.

—Erik L. Richardson Beatselector Magazine | Issue N° 3 | 55

Jeffery Scott Down To Art (EP) Sheik 'N' Beik Newcomer Jeffery Scott and Sheik ‘N’ Beik –both based out of NYC- come together to release this new installment released July 31, 2015. Down To Art features tracks that Xamiga, Derek Marin, Voiski, and Peter Corvai have put their works into.

It’s no surprise that Jeffery Scott is a long-term friend of the Sheik ‘N’ Beik team.

His style is methodical, but also free flowing.

Scott relies on warps and twists that have an oddity of a sound behind them. These sounds together make him a perfect match to the Sheik ‘N’ Beik team name.

This debut album kicks off with ‘Under Aqua’ that drives flat, whetted kicks through flexing metallic tones and clicks and snaps.

Distant, reverberated signals are gently pushed in and out of the mix, slightly in the background, as percussion pushes momentum forwards. Spoken words hop between languages which, alongside a soft chord change lays down a nice medium between soft and hard sound.

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‘Down To Art’then opens up with layered Boards synth tones sat atop a buoyant pulse. Passages of twisted spoken word and clever sound design builds a tension that never subsides whilst keeping the listener intrigued and attentive.

‘Drum Morphing’ then sets sheets of glacial synth tones atop clipped drums. The sound is natural in its progression. Pitch bending and panning caps off a daring debut from Scott and another fine addition to the Sheik ‘N’ Beik series.

The three-track album leaves everyone waiting for the next production from Scott and Sheik ‘N’ Beik. The sounds are impressive and forceful. The sound makes you want to listen to each beat and decipher the sound.

—Payton Gerencir

Josa Peit Constellation (EP) The Gym/OYO Records Sounding much like the portions of Plantlife, Platinum Pied Pipers, SA-RA Creative Partners and Build an Ark bands,

Josa Peit establishes her unique sound through the subtle yet contrasting ways in which her consciousness emanates from her creative soul. She ebraces both the analog and digital world in her musical output.

Relying on both to convey the austere messages that she creates. Having spent time with the song writing team Carlos Niño and Miguel Atwood-Ferguson with Build An Ark. Peit takes simplistic elements of life and weaves them into a chorus of colorful splashes. There is a naive, unbridled passion for explorative production when listening. The entire album on the whole has a piece meal vibe. One where the bubble of the compositions are left open for the artist to "pop" in her own way. Within the structure of the songs there is still the presence of the electronica. The juxstaposition of such a colorful singer and many non-traditional samples is very interesting. A few of the tracks ("Confession Room") sound like album filler, or dazzle with Josa's Lo-fi vocals. The title represents the idea of a platform where artists could share music anonymously, and release their creatives through unfiltered avenues.

Experimenting with vocal effects and beat loops is a perfect backdrop for some of Peit's work.

While other tracks ("Constellation") feel disjoineted and disconnected from what we know as electronica. It begins with a brooding organ sample, a church choir, and other technical elements that that blend into a delightful rhythm-shifting housy piece, driven by cymbals and bass science. More Psychedelic and trancic than any true genre of electronica, artists like Sia, Björk, and Duffy could take a page or two out of Josa’s songbook. There is so much sound to immerse yourself in. The ending track ("Out") has a smooth mellow guitar chord, followed by a few raspy wails of vocalization. It feels

like the opening sequence of awakening in an alternative universe. The Yin and Yang are at play as you are taken to the point where you can get a feel for what makes this artist, this music so special. The openness of living in the moment creatively, while maintaining a firm grasp on the future. Constellation like the stars above may be above the clouds. But, it is distinctly grounded in its listenability.

—Erik L. Richardson

José Padilla Lollipop (EP) International Feel On August 28th, 2015, Spanish DJ, Jose Padilla, released four remixes of his track, 'Lollipop.' via International Feel. There are four different remixes of the song on the single. I:Cube, Dream2Science, and 12 inch all put their own twist on the song. This is not a track that would be played on the dance floor at the hottest nightclub.These remixes are beyond relaxed and joyful. The beats are steady and controlled, with no extreme drops or change of pace. I:Cube’s mix is the “toughest” track of the remixes, but not Beatselector Magazine | Issue N° 3 | 57

something with the deep, dance sound.

I:Cube is featured twice on the album, the second time with a Casiotone Reprise Mix. This remix features the melodies of the original alongside a drumming beat.

Dream2Science kept it simple, the beats not too extreme, but produced with utmost perfection.

While listening to the tracks, there’s almost a feeling of bliss. It’s reminiscent of a warm, sunny summer day. The tracks paint a colorful picture in the listener’s mind.

The sound is ambient, to an extent, which makes it a background noise that could be on repeat for hours.Padilla knew just which artists to choose to make something that left a mark on the listeners’ minds. You could say it’s a record to get lost in. In gloomy weather, these tracks will bring you back to a summer state of mind.

—Payton Gerencir

JYNX Mean Look (EP) Tricks 58 | Beatselector Magazine | Issue N° 3

Hailing from London, the male duo Jynx lays out some pretty groovy beats that immediately gets you dancing.

Their new EP, which released on the new label “TRICKS Recordings”, is titled Mean Look and hosts three unique songs that are fun dance tracks.

Their song “Rain Dance” is a seven and a half minute cultivation of adrenaline inspired build ups with gradually growing background melodies to round it out that are the focal point of the song around the five minute mark, which then die off and being to grow again. This track is a nice club mix that will make you want to move.

The title track, “Mean Look” starts off with menacing vibe that he then switches into a bumping master piece that will almost have you fist pumping, (if that is your thing).

This song mixes in upbeat drum beats to get the party moving even further.

Jynx has a way with the mix and an ear for what will make the crowd dance. The third and final mix on this EP is titled “Mirror Move” which is yet another fun and upbeat club track. The entire track is filled with short and airy vocals and beats which give it a very disco-esque sound. I would say that this electronic duo is on the rise and definitely one to watch. They have perfectly trained ears and skills for knowing what it takes to make a killer dance beat and are going to be soon leading the pack, creating a sound all their own.

—Stephanie Hernandez

Luke Solomon Everything In Reverse (EP) VIVa Music Luke Solomon is a UK DJ is no stranger to the dance scene. He made a name for himself in the underground scene, is the front man and creator of “Classic Recordings”, and is now bringing us his debut EP, “Everything In Reverse”. He’s been featured on the UK Top 10 and other international charts with his band “Freaks”, and has been traveling the world djing since his kickoff at Middlesex University in the early 90’s.

“Everything in Reverse” is just that, it’s a completely new spin on the edm scene.

Featuring alluring vocals by Sam Lynham, the two compose a deeply psychedelic sound that has next level energy. It’s hugely creative and unlinke anything we’ve heard before. The tracks are upbeat enough to get you in the groove yet are mesmerizing enough to bring us a cut deeper into our minds.

The title track sets the scene with an acidtechno vibe. It’s upbeat and Sam Lynham’s

haunting vocals are a great compliment to it's upbeat retro rhythm. “Rhythm Control, Control remix” keeps the same retro-disco feel, but goes even darker. As the album goes on it continues to pull us in deeper, I don’t know what’s more entrancing. The Adam Shelton remix of the track stays true to it’s maleficent feel, but takes things up a notch. It gives the track more of a futuristic feel, it packs a punch and keeps you up on your toes. The closing track “That New Thing” is sure to be a dancefloor hit everywhere.

It’s high energy, bringing us as close to the state of ecstasy possible. Solomon’s sound is funky, fascinating, and is making it’s name in the EDM scene. He really is taking everything we know by storm, throwing it in reverse.

—Caitlin Cline

Mark Barrott Sketches from an Island 3 (EP) International Feel Mark Barrott, an English DJ and record producer, has dabbled with many different genres since his start in the mid 90’s.

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He received a plethora of attention for his ambient, house, and drum’n’bass tracks, released under multiple aliases, one of the best-known being, “Future Loop Foundation”. But, a move to the islands of Ibiza in the late 2000s soon inspired a transition from his former techno-rave sounds to a very unique tropical vibe, which he began to produce under his own name.

“International Feel Recordings”, in Uruguay. Barrott mentions the label was created for “open minded music heads, who, like us, are driven by 100% passion and perfection in everything we do”. The label is driven by sounds of the retro Balearic house style, which originated from “beach raves” on the Balearic island of Ibiza.

Barrott’s move to the utopian beaches of Ibiza became the driving inspiration behind his “Sketches From An Island” series.

His recent release, “Sketches From An Island 3” is a perfectly assembled successor to his past releases, staying true to the carefree islander spirit it so well portrays.

Barrott takes us on a trip through the tropics in this harmonious album. It’s symphonic and blissful, yet groovy enough to get you up and dancing. Barrott’s creativity oozes through his music, he takes sounds and inspiration from all parts of the world and brings them together beautifully in his newest installment of the series.

From his carefully constructed tracks to the nautical cover art, the care Barrott put into the creation of this is evident.

Barrott takes us to a paradise we can only dream of through this 4 track album. I

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love the psychedelic and mystic air around this album, the music really draws you in. It’s tropical, yet unique compared to much of the tropical house that has been flourishing in the edm scene. “Sketches From An Island 3”, has a much more native feel to it’s sound, we feel like we’re in a summertime utopia; without a care in the world.

The album opens with, “Right 4 Me”, cheerful, breezy, and full of that “good vibe”, energy.

The next track is deeply alluring, “The Mysterious Island Of Dr Nimm”, features chimes of indigenous instrumentals, animal calls, and takes us deep into the dark foliage of a far away jungle.

“Cirrus & Cumulus”, is a tune as light and airy as it’s name might suggest, melding sweet birdcalls with upbeat instrumentals and calming synth.

The final track, “Der Stern, Der Nie Vergeht”, puts our minds at ease. The strumming of a sitar balances beautifully with the electronic beats Barrott meshes in and creates the perfect meditative track.

If by the end of this album you have the urge to pack up everything and buy a one-way ticket to the tropics, we really can’t blame you.

Barrott artfully paints a picture of paradise throughout this release; it’s chill, tranquil, natural. It is the embodiment of island life, the perfect album to put on, kick back, and escape reality.

Or, if you’d rather, stick your toes in the sand and sip on a cold drink to.

—Caitlin Cline

Mix that with their alluring vocals and “that’s a hit right thur!”

Each remix had a certain techno, robotic, “Night at the Roxbury” flare to it (Emiliooooo!) and were each done really well, the only remix that I had a hard time sitting through was the DC Salas remix, the constant repetition of the “I can’t” vocals annoyed me to no end. This is not to say that the mix wasn’t good, it was, I am just not one for five minute long repetitions of two words; if you are then this is the version for you!

—Stephanie Hernandez

Mugwump After They Fall (RMX EP) K!7 Mugwump is a group that resides in Brussels, so they are bringing the Euro house disco sound in their new EP “After They Fall.”

This four track EP is a collection of remixes from a large group of DJs and producers from all around the EU and UK area, which sculpts their sound into a unique genre all its own. If you happen to listen to their new album, what you will realize is that it is 4 different remixes of the song “After They Fall,” which seems kind of repetitive don’t ya think? Anyway, aside from Mugwump redoing the song until it can’t possibly be redone any more, each version actually is quite different. Rather than confuse you by trying to differentiate the same titled song, I will just do one blanket summary of the good and the not as good renditions of the track. For me, the best remix of After They Fall was the one by the Eskimo Twins. It was the most interesting with the diverse beats and techno swirls, making you feel like you were going on a space mission in the 80s.

SBRC & Adversaries Vol. 2 (EP) Dim Mak With SBCR (Sir Bob Cornelius Rifo) you have to expect the unexpected as much as the norm. With a huge track listing and cult following, SBCR really has the credibility as one of the world’s most diverse DJ talents.

Always creating his chaotic tapestry of sounds through his globally expansive experiences. Having a very fortuitous and Beatselector Magazine | Issue N° 3 | 61

lucrative partnership with Dim Mak Records only help to further the creative process.

Having toured and produced under several names and monikers. SBCR further stimulates the mystery of his legacy by the usage of masks and a bit of costume to veil his true identity. Not that any of those diversions make a difference when listening to SBCR & Adversaries Vol. 2.

Earlier this year SBCR released the highly anticipated SBCR & Friends Vol.1. Not even 6 months later we get the extra treat of another offering from Dim Mak and SBCR. The 6 track EP is set as a frantic, bubbling stream of Electro-House, Dubstep and New Rave flourishes. The “adversaries” portion of the album title, I assume are referencing the guest appearances on a few of the mixes. As with his overall outlook on life and his craft.

SBCR & Adversaries Vol.2 is the evolution of the shift in sounds from The Bloody Beetroots to SBCR. Here SBCR utilizes the inclusive talents of Razihel on the frenetic "Pizza House Party." The deep and dark industrious effects combined with the programmed muffled vocals really immerses you.

Though much of the compositions are a crescendo of high volume forays of banking drum patterns. Balanced delicately with the trail of digitized synthesizers and compressed waves of punchy basslines.

There are tracks like "Black New York Tee" that really give the entire album a cohesive sounds that translates well on any dancefloor or party. The blending of melodic keyboard loops and the innovative use of the single note blips ties in with the rest of the more expressive offerings on Adversaries. "Krack" is a minimalist, prodding industrial track that has crisp snapping fingers, laid alongside much heavier distorted production effects.

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Trying to gauge where SBCR will lead you next is a journey unto itself. He has a way of taking you on a rollercoaster ride through the highs and lows of pace and tempo via his production. "Rise & Fall" is that soft landing for you to settle into at the end of the ride.

The wash of sound and the layers of technical elements here are so interesting to hear laid out together on one track. The resulting is fulfillment in the dedication of constantly improving through change.

Something SBCR & Adversaries does to great effect. But, it is distinctly grounded in its listenability.

—Erik L. Richardson

Timo Maas & James Teej Thingzz (EP) Rebellion Timo Maas was born in Bückeburg, West Germany. Has been honing his craft for quite some time and didn't come to prominence as far as name recognition and DJ fame until later in his creative life. Starting out in his

formative DJ career he was just another fan, playing top 40 records where ever he could get booking, ever so often throwing in a few Techno records to spice things up on the dance floor.

A proponent of the Rave scene and a place where he was able to cut his teeth and earn his keep. Maas has collaborated with producers and other guest artist with a very high profile globally. Where James Teej comes in at, is a bit serendipitous. They met while swapping tracks from each other to remix.

Both have spent plenty of time sharing and cultivating a musical relationship based not only on like mindedness. But, also the desire to push the boundaries of progressive House through collaboration.

Teej, real name Thomas Mathers grew up in the outs of western Canada. He began Djing, and producing in high schooland coming into his own prominence when he made a move to Toronto as a sort of Master of Ceremonies. Teej began to record and experiment with his own vocals, deep House beats and darker melodies. It became a signature sound of his calling. Together with Maas, the duo created a distinctly sophisticated and flexible array of sound on the forthcoming Thingzz EP off the Rebellion label.

The opening track "Thingzz," is a spacey minimalist approach to beat making. The slight stutter of the drum programming, and constant chatter of the cymbal trails underneath the overlay of the heavy synthesized chords. The interspersing of electronic bleeps, transistor sounds and

digitized vocal sample only further stretches the boundary of this stark dance track. It’s kind of beautifully disorienting when given the full breadth of the composition. You transition into the second track of the EP, "Shadows of Your Suns." Admittedly more explorative and catchy, it still conveys a feeling of discovery and curiosity. The sound here is progressing along at a good pace.

The enhanced production of the keyboards, stretches out the spaces within the track.

It all presses together to create a vapid framework of cohesion.

Both tracks complement each other in that they share many of the same production values that establish the groundwork for Maas and Teej. It’s a sampling, of just enough sustenance to whet your appetite for the full release. Soon to come.

—Erik L. Richardson

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