BEATSELECTOR Magazine Winter 2024 by BEATSELECTOR Magazine

B A ET SE LE CT

PUBLISHER/EDITOR-IN-CHIEF

JOSEPH WENSELL

CONTRIBUTORS AT LARGE

Catherine Strickland, Cory Royster, Craig Wharton

Desirae L. Benson, Erik L. Richardson, James Arena

Shon Murdock, Joseph Arthur, Karin Haslinger

Courtney Johnson, Leo Weaver, Matthew Washington

Tim Stark, Vladimir Jean-Philippe, Zach Miller

EDITORIAL REQUESTS

Joseph Wensell editor@beatselectormagazine.com

BRANDING PARTNERSHIP & SPONSORSHIP

Shon Murdock shon@beatselectormagazine.com

ADVERTISING & MARKETING editor@beatselectormagazine.com

GENERAL INQUIRIES editor@beatselectormagazine.com

issuu.com/beatselectormagazine

INSIDE

FEATURES

32 MARC FALCÓ a/k/a IKARI

The architect of emotions thrives on crafting atmospheres that leave a lasting impression on the audience as the rhythms evolve. Guided by distinct and intentional beats, his vision is sharply aimed at the dancefloor, drawing inspiration from both abstract and percussive elements.

24 MICHAEL CANITROT

36 BRETT SCHALFF

Brett Schlaff, also known as MADLAD, is a 21-year-old electronic dance music artist and DJ from Michigan. With 13 years of music production experience, Schlaff’s journey into electronic dance music began in 5th grade, is now poised with his breakthrough release "Psycho."

62 WAVES SPACE RIDER PLUGIN

Embark on an extraordinary auditory adventure with the groundbreaking Waves Space Rider plugin, a true avant-garde gem that has not only captured but elevated the imaginations of Grammy-winning engineers. This exclusive feature with BEATSELECTOR Magazine will immerse you in the compelling testimonials of industry giants.

INDUSTRY NEWS

INSOMNIAC MUSIC GROUP LAUNCHES NEW INTERNAL PUBLISHING VERTICAL

Insomniac Music

Group has announced the launch of its new vertical, Insomniac Publishing, marking a significant expansion in the company’s mission to create impactful music for its label, community, and sync. Through this exciting new venture, Insomniac is committed to investing in and advancing the careers of its exceptional

songwriters and emerging talent within the dance music world, ensuring they have the tools and opportunities to make a lasting impact.

The Insomniac Publishing team boasts a core roster of writers who have been making waves in recent months through writing camps held at Insomniac HQ. The roster includes 2Night Management (Matroda, San Pacho, Bruno Furlan), Aryay, Avi Snow, Benni Ola, Jasper, Joris Mur, Mattilo, Nuala, Omer Horovitz and Rami Jrade.

The writing camps have taken place at the newly completed Insomniac Studios at Insomniac HQ, which features two state-ofthe-art writing and recording rooms.

Insomniac HQ has hosted over 100 unique artist sessions, averaging five weekly sessions

in the studios. The “Mainstage” studio is equipped with all the essential outboard gear for top-notch production and vocal recording.

The Dolby Atmos room is a premier space for writing, mixing, and recording, offering an immersive audio experience.

Additionally, the Insomniac Publishing catalog includes more than 1,000 one-stop songs and tracks from all subgenres of electronic and dance music. Their aim is to make licensing quick and easy. They proudly work with licensing partners, including Amazon MGM Studios, Best Buy, Fortnite, NETFLIX, Paramount, Peacock, 7-Eleven, and more. Recent placements include songs in Mayor of Kingstown on Paramount + and The Lake on Amazon Prime.

INDUSTRY NEWS

SAVE THE MUSIC AND SWEETWATER TEAM TO INCREASE ACCESS TO MUSIC EDUCATION IN SCHOOLS

A new collaboration between Save The Music Foundation and Sweetwater, the No. 1 online retailer for music makers, includes $25,000 toward grants to help historically under-resourced public schools promote music learning through innovative tech tools and curriculum. Save The Music Foundation, a 501(c)(3) nonprofit, helps students, schools, and communities reach their full potential through the power of making music.

Save The Music's J Dilla Music Technology Grant program reflects how music is made today, bringing integrated 21st-century training techniques to local communities and school districts.

the fundamentals of electronic music creation, recording, and production.

In concert with resources from Sweetwater, Save The Music's J Dilla Music Tech Grants were recently

awarded to 42 schools nationwide. The criteria include school districts that demonstrate a profound commitment to music education. Many of the grant recipients are Title I schools, where a boost

The goal is to bring out students' inner creativity, talent, and confidence by teaching them

in music education can further enhance students' academic and creative growth. "Given the current and historic challenges public schools face in securing resources for music programs, we see the opportunity and

responsibility to address those needs," explained Danielle Zalaznick, Deputy Executive Director

& Chief Development

Officer at Save The Music. "With Sweetwater as our preferred retail partner for our J Dilla Music Tech Grants, we

were able to get our schools all the gear they needed within a very tight back-to-school timeframe—something that historically has been a challenge for our organization."

Visit

Student at a J Dilla Music Tech Grant-awarded high school in Atlanta explores music making with a new, stand-alone music production center. Photo credit: Save The Music Foundation.

INDUSTRY NEWS

PLAYY . MEDIA ACQUIRES

YOUREDM.COM

YourEDM.com has been acquired by PLAYY. Media. Founded in 2012, YourEDM has emerged as a premier online publication, shaping the pulse of the Electronic Dance Music landscape. Renowned for its timely news on artists, the industry, trends, and deep cultural insights, it covers everything from exclusive music releases and artist interviews to festival highlights and critical reviews. Celebrated for its swift coverage and authoritative voice, YourEDM collaborated with iconic brands like Insomniac, Coachella, Ultra Music Festival, OWSLA, and more, solidifying its status as one of the most respected and influential platforms in the EDM world. In his social media posts shared earlier today, Matt Meadow reminisced over his time with the company, in which he wrote “over 11,000 articles during the course of my decade-long career and oversaw 15,000 more.

“I have seen the rise and fall of more artists than I can remember,” Meadow recollected. “I was there when RL Grime retired Clockwork at HARD Summer Music Festival and I was there when Destroid got back together at the first Lost Lands. When Ultra left Bayfront Park and then returned... when Skrillex, Fred again.., and Four Tet headlined Coachella. When Daft Punk broke up. This music and this community are a part of my life and it is in my blood forever.”

Meadow concluded with

a confident nod to the publication’s new owner:“I believe that PLAYY. will do right by Your EDM’s followers and continue to provide insightful, up-todate news, reviews, and more to everyone. PLAYY. stands out as one of the most equipped and visionary entities to carry forward Your EDM’s esteemed legacy. This fusion of these two monumental forces of vision and influence puts PLAYY. Music Group at the helm of the exciting future of electronic music and digital media.

PACHA IBIZA CLOSES 2024

WITH A SPECTACULAR

NEW YEAR’S EVE CELEBRATION

Following an extraordinary summer during which Music On reigned supreme over

across the globe united beneath the iconic twin cherries for an unforgettable night of pulsating beats and exhilarating performances, bidding farewell to 2024 at the year’s most highly anticipated celebration. At the heart of the festivities, Marco

opportunity to partake in this extraordinary New Year’s Eve celebration at Pacha Ibiza and allowed themselves to be swept away by the rhythm as the countdown to midnight unfolded. Pacha Ibiza had a monumental year with worldrenowned resident artists

Ibiza’s nightlife, the worldrenowned Pacha Ibiza welcomed back Marco Carola’s distinctive musical experience for an electrifying New Year’s Eve.

On December, 31 2024, music aficionados from

Carola commanded the Pacha Ibiza dancefloor with his signature fusion of house and techno, radiating an unparalleled energy that is sure to captivate all in attendance.

Revellers embraced the

including CamelPhat, Bedouin, Robin Schulz, Marco Carola and Solomun appearing throughout the season.

Visit pacha.com for upcoming 2025 events.

INDUSTRY NEWS

GRAND MARNIER® AND FUTURE PARTNER TO BRING TO LIFE, 'REMIX YOUR LEGACY, MAKE IT GRAND'

For the first time, Grand Marnier® – an exceptional blend of cognac and orange liqueur – is partnering with Grammy-award winning entertainer, songwriter and executive, Future, to blend tradition with innovation. True to the spirit of the Grand Encounter, where the unexpected meeting of two unique and audacious ingredients come together, this partnership fuses two cultural icons to inspire fans to remix their own legacies by breaking the codes of tradition and evolving culture.

'Remix Your Legacy, Make It Grand' – a new and original campaign between Grand Marnier and Future – celebrates and empowers those who tap into their bold spirit to challenge norms with grand twists that impact culture, proving that legacies are perpetually in the

making. To bring this to life, Grand Marnier and Future are embarking on a multiyear partnership with plans to celebrate legendary milestones in culture. As the campaign launches, Grand Marnier

and Future will come together and engage with fans directly, hosting intimate and grand pop experiences and activations across the US, celebrating audacious combinations throughout. Grand Marnier

and Future are inspiring fans to get involved and re-write and remix their legacies with the idea that anything is possible and can be made grand. To kick-off the partnership, Grand Marnier invites fans (21+) to attend

exclusive Grand Margarita tasting events in NYC, Houston, and Atlanta from December through early 2025. The brand also invites Future fans and cognac lovers to join the celebration on Instagram and 'remix their legacy' by

remixing and/or sharing an interpretation of the Grand Margarita for the chance to win one of three Grand Prizes, a vinyl signed by Future himself! Details can be found on the brand's Instagram @ GrandMarnierUSA.

MICHAEL

CANITROT’S

MONUMENTAL

CELEBRATION OF NOTRE-DAME, IN PICTURES.

DJ, producer, and founder of the Monumental Tour project, Michael Canitrot, brought the reopening ceremonies of Notre Dame Cathedral in Paris to a brilliant close with a breathtaking show featuring his musical productions and a stunning visual performance. With millions of people watching the show on the French TV channel Monovision, the event helped people rediscover the cathedral’s unique architecture while spreading a message of inspiration, sharing, and celebration worldwide.

 MICHAEL CANITROT OFFICIAL

Photography: © GEOFFREY HUBBELL 

Photography: © GEOFFREY HUBBELL

Photography: © GEOFFREY HUBBELL

Photography: © YO0UJO

Ikari ELEVATING THE GROOVE

BY JOSEPH ARTHUR

MarcFalcó alsoknownas

Ikari

embodies a subtle yet powerful energy. Guided by a rhythmic flair, he dances with glitch elements and the raw textures that shape his unique sound. His performances and productions are marked by a wild spirit and a mechanical core.

His relentless quest for exceptional artistic and creative sound, characterized by both smooth and rugged elements, drives him to explore the Birmingham and Iberic styles from the early 2000s. The combative spirit embedded in this sound, intertwined with groovy, fluid sequences, is what Ikari elevates, successfully bringing it to the dancefloor.

Marc Falcó entered the world in Barcelona in January 1998. From a young age, he developed a deep fascination with electronic music.

During his teenage years, he delved into the more intense facets of the genre, drawing inspiration from influential artists such as Reeko, Surgeon, and Bas Mooy.

His music has graced clubs globally, and he has put out tracks on renowned labels such as Suara, Drawner Records, Codec Recordings, and his own own PRX Records.

Notable artists like Marron, Dax J, Alarico, and Rene Wise have shown their support by playing his tracks. At the start of 2019, he teamed up with two colleagues to establish Praxis, a collective dedicated to redefining leisure by placing a strong emphasis on emotions, sensations, and values. Under this brand, several events have showcased a vibrant mix of local talents and international artists, including names like Marron, Vil vs Cravo, Stef Mendesidis, Temudo, Alarico, and others. In 2021, the collective launched PRX Records, providing an ideal platform for both emerging talents and established names in the music scene to share their work.

Ikari

Anastasia’s Melted View EP Cordova Records

After more than 2 years since the acrobatics of “Cordova,” label head Ikari takes a step into a darker and psychedelic dimension without leaving behind the mischievous rhythm that defines his sound.

The sound design is precise, futuristic, with elements that blur the line between the organic and the digital.

Serpentine percussion drives the rhythm, while Ketch’s remix adds an extra layer of magnetism, perfect for the peak moments on the dancefloor.

Once again, Ikari challenges expectations, because that’s what this label is about — pushing boundaries and opening new doors. Stream it here.

BRETT SCHLAFF's MADLAD

MADLAD (Brett Schlaff) is a 21-year-old electronic dance music artist and DJ from Michigan. With 13 years of music production experience, Schlaff’s journey into electronic dance music began in 5th grade. Schlaff attended Tiffin University’s TiffinMusic Summer Camp at ages fourteen and sixteen and studied under the direction of Brian Fitzy, PRISCA and Brad Rees. Schlaff is currently a senior at Western Michigan University, pursuing a degree in Multimedia Arts Technology. At WMU he has studied under the direction of Professor John Campos, Professor Christopher Biggs, and Professor Carter Rice. Schlaff has recently completed his debut album, PSYCHO, which is now available on all streaming platforms.

BY JOSEPH ARTHUR

BSM: Tell us about your musical upbringing and early influences that led you to your career path.

Brett Schlaff: "I grew up in a musical family with my mom as a choir director and my dad in an acapella group, so music was always a part of our lives. From an early age, I was drawn to the arts—creating comic books and paper cutouts, and even making Lego stop-motion videos in school. I took piano lessons too, which, although I eventually stopped, gave me a good grasp of music theory.

I am now a senior entering my last semester in the Multimedia Arts Technology program at Western Michigan University. This four-year degree teaches a diverse array of skill sets within the realm of audio and video. There I took video production classes, live studio recording classes, live sound reinforcement classes, sound acoustics classes, and coding classes. I also took music production classes that cover sound design and scoring for video games, movies, tv shows, films, commercials, and other types of media. I have been able to learn many different digital audio workstations during my time in the program. Some of the projects that are assigned in these classes are extremely demanding and include: recreating a chosen song's original mix to an indistinguishable level of accuracy, setting up and engineering a live band's performance while recording and making real-time mix adjustments, sound designing a movie scene with Dolby Atmos panning, and producing a short film as well as recording and integrating dialogue and sound effects. It is an intensive program that has expanded my experience beyond the Electronic Dance Music realm, providing deeper insight into various areas of audio and video production."

BSM: What was the first and last concert that you attended?

Brett: "The first EDM concert I ever attended was Breakaway Music Festival in Lansing. I was in middle school. I saw many artists, most notably Yung Gravy and Zedd. Yung Gravy’s humor came through immediately, as he told the audience that he had had a lot of lasagna before he came on stage and that he felt a bit too full. Regardless, he still powered through and gave an engaging and witty performance.

At the time, I had been listening to a great deal of Zedd’s music. He was the main reason I went to Breakaway. He did not disappoint. It was my first time ever hearing and seeing dance music in a live setting and I was thrilled.

The last concert that I attended was seeing Virtual Riot and Moore Kismet at Elektricity. Virtual Riot has been instrumental to my development as an artist. His music production tutorials online have been incredibly influential for me ever since I began composing music.

Moore Kismet is an artist that I have been following for a long time. They got on Never Say Die Records when they were a teenager. I was just a few years older and I remember having my socks blown off."

BSM: What is your all time favorite album and why?

Brett: "My favorite album of all time is 'Quest For Fire' by Skrillex. His earlier work sounded way different and has completely transformed himself as an artist. His earlier stuff is nostalgic for me, and his newer stuff is, in my opinion, groundbreaking."

BSM: Describe your recently released album, the ideas behind the songs, and your overall creative process.

Brett: "My stage name is MADLAD, and I've just released my first electronic dance music album called PSYCHO. The tracks range from euphoric to dark, with the opening song, Turn Up The Bass, featuring a devilish choir that really draws

you in. What makes both 'Turn Up The Bass' and the title track, 'PSYCHO,' stand out is their lack of repetitive sections. When I write, I often get so involved in the process that I can stay up all night just to see where the song takes me!

'Lose Control' was the first song I finished for the album. Prior to that, I had released tracks on SoundCloud and YouTube but often deleted them due to dissatisfaction with the production. 'Lose Control' was the first song I felt truly proud of and helped me gain clarity for my later work.

After 'Lose Control,' it took me months to produce 'Give Me Some More,' during which I abandoned many project files. Once I understood what worked in 'Lose Control,' my track creation became more consistent.

'Hustle' was the most challenging track to produce, going through numerous revisions

before I could present it. My family gave honest feedback, which helped me improve it. Afterward, they enjoyed 'OK!,' which is probably my second favorite.

'OMG!' and 'Feel Something' came from the same project file and feature a 'we got energy' sample. For 'Can You Handle It?' my goal was to tease the listener with the drop. In contrast, the aggressive 'Push It' includes a heavily processed sample of my own voice.

I often find that ideas clear up once I have something small written. The initial sounds in my digital audio workstation make it easier for me to write."

BSM: Do you have a favorite track from the album and why so?

Brett: "My favorite track from the album is 'Keep Dancing' featuring Grace Newman.

Grace Newman is a vocalist and producer who is also in the Multimedia Arts Technology program with me at Western Michigan University. I met her through one of my friends in the program. She has a beautiful vocal timbre. I sent her the lyrics and a demo of me singing the vocals. She sent me back a solid vocal demo that I then post processed and integrated into the mix. Out of all the tracks on the album, I find myself coming back to Keep Dancing the most. The vocals are catchy. The drop is anthemic."

BSM: What are the challenges new talent experiences from your perspective?

Brett: "There are multiple challenges that I am facing right now. I have been trying to gain a solid fan base. In order to do this, I have been utilizing social media. In particular, I have been utilizing Instagram and TikTok. My videos haven't been going viral, but some posts and

videos have gotten some attention.

A very big challenge that I am facing is getting myself into clubs to be able to DJ in front of people who actually care about EDM. I have emailed many clubs and they have not gotten back to me. I will keep trying."

BSM: How have you overcome your own challenges and created opportunities for yourself?

Brett: "I have navigated my challenges by focusing on and engaging with my local community. I have been DJing house shows and at local bars. Local bars often attract crowds that are more interested in socializing and drinking than they are interested in enjoying Electronic Dance Music. However, inviting some friends to my shows at the bar got some people on the dance floor. I played a house show recently and about thirty people were there,

many of them being my friends. They were engaged and jumping for the entirety of my set, an hour. After my set, many of them told me about how much they enjoyed it. It felt great to have people in front of me physically reacting to my music. Many people were filming clips from the show. They sent them to me on Instagram after. I was able to make an Instagram post with all of these clips. The local community and my friends have given me the greatest response out of anything I have tried so far. I am thankful to all my friends and the local community who have shown interest in me.

I have submitted to Insomiac’s Discovery Project multiple times. If I win the Discovery Project I will get the opportunity to DJ at one of Insomiac’s music festivals. I have not been accepted yet. I recently submitted it again. I will keep trying."

BSM: How do you feel about A.I. Technology and do you see yourself utilizing the new technology in future productions?

Brett: "AI technology has improved its skills in writing essays, making visual art, coding, and more. However, AI suffers from a lack of originality. The end product is a soulless generalization of all of its source material.

A.I. is even worse with anything regarding music. Lyrics generated by A.I. are often extraordinarily cringey, cliche, nonsensical, and ultimately unusable. A.I. is even more deplorable when it comes to generating instrumentals. The only thing relating to music production that A.I. is somewhat usable for is, in my opinion, vocal production. For many of the songs on my debut album, I used A.I. vocal websites to help me create vocals. I wrote my lyrics and melodies. I then sang and processed

these vocals. Then I put the vocals into the A.I. websites and it would generate the same vocal but with a different timbre. I would often turn my voice into a female voice with these A.I. websites. I usually despise the sound of my voice which was the main reason for me using A.I. It was a strenuous and tedious process to get the A.I. vocals to be coherent. For example, I might originally sing the word “you” and A.I. would spit it back out as “yeaow.” Then I would have to do another take. It was a great deal of work to get any A.I. vocal to sound intelligible, so my lyrics for my songs would often end up being short. All my songs that feature my A.I. vocals have lyrics that are at most only a few phrases.

Overall it was good for me to learn about the current capabilities of this new technology.

Moving forward I plan to use less A.I. vocals in my productions. For my upcoming productions I have been working with some superb vocalists and the results have been so much better!

I can get full lyrics instead of small phrases and the vocals sound more human and emotive because they are, unsurprisingly, sung by actual humans. In the present day, humans are far superior to A.I. in every element of music. A.I. can be helpful for some things, but it is a long way off from generating any type of art by itself that surpasses human intuition and creativity."

BSM: Describe your “dream job?”

Brett: "My dream job right now is to be a professional Electronic Dance Music Composer and DJ. I want to continue to release singles, EPs, and albums. I want to create music videos. I want to DJ at clubs and music festivals. This is my current dream job, but the dream could change as the music industry is changing. An EDM performance doesn't have to mean DJing

“”

AI technology has improved its skills in writing essays, making visual art, coding, and more. However, AI suffers from a lack of originality. The end product is a soulless generalization of all of its source material.

with CDJs. It could mean hitting pads and buttons like Fred Again.. and Shawn Wasabi. DJing doesn't have to be done on a stage. As ISOxo and Knock2 demonstrated, it can be done in a shipping container hung by a moving crane. EDM doesn’t have to be only played at clubs and festivals. Shows can be thrown under bridges and in underground tunnels. EDM is always and always has been about pushing performance to me in every way possible. So far I have been focused on pushing my performance within Ableton and on the Decks, but this can change just as the very definition of what an EDM performance is can be changed.

BSM: Name five DJs that you would invite to a dinner party.

Brett: "I would invite Sammy Virji to a dinner party. He is always smiling ear to ear during his sets. He seems like the kind of guy that would be fun to have around.

I would invite Fred again.. to a dinner party for the same reason. Fred again Is also smiling all the time through every set. In his boiler room set somebody accidentally nudged one of the decks and it skipped. It didn’t bother Fred again… Maybe it wouldn’t bother him if I overcooked the potatoes at the dinner party!

I would invite Skrillex to a dinner party because he is so positive. He can handle any stressful situation. During Skrillex’s Second Sky set, one of the CDJ decks was skipping. Some DJs would have had a panic attack. Some DJs would have picked up the mic and would have started saying whatever frantic thoughts came to mind at that moment. Other DJs would have stormed off stage.

When Skrillex was in a situation that he couldn’t control, he simply tried to fix it and cooperated

with those around him to get the problem solved. He said uplifting and comedic things when everyone was standing around waiting for the deck to be fixed. He said things such as “it takes a village to raise a Skrillex set” and “[first festival this year, it] can’t be perfect, it's got to be real like the Bay Area.” He sounds like a fun and positive guy that I would want to be around. At the dinner party, Skrillex would probably want some Chicken Soup. HA!

I would invite Shawn Wasabi to a dinner party. The man is endlessly smiling. His music often sounds happy and cute. He is always doing creative musical things with the objects around him in the world. Maybe at the dinner party he would hook up some wires to his food. Then when he drums on his food it will be interpreted as MIDI information that will trigger samples. We could all get a dinner performance from him.

I would invite Dillon Francis to a dinner party. He is known as a bit of a Jokester. I saw a video of a fan giving him a USB at one of his shows. He put the USB into the CDJ’s and all that was on the USB was a wet fart sound effect. Dillon Francis proceeded to play this for the crowd. Just for that, this man deserves some dinner. Maybe I will make burritos."

BSM: What does 2025 look like for you?

Brett: "In 2025 I plan to graduate from Western Michigan University with a Bachelor of Science in Multimedia Arts Technology. In 2025 I plan to release my first music video which I am currently storyboarding with my good friends who are going to help direct, film, and edit the video. I can’t spoil what other projects I have in store for 2025."

NEW MUSIC

FERNANDO LAGRECA

TIME [ ALBUM ]

Beautiful Accident/November 29, 2024

Fernando Lagreca, the Uruguayan-born, Spanish-adopted producer who has been charted multiple times, returns with his latest full-length offering, “TIME,” out via Beautiful Accident.

Known for his solid live performances across

the globe, Lagreca’s new album is a sonic journey that taps into the rhythms and textures spanning from the early ‘90s to the 2010s — two decades that have shaped much of today’s electronic landscape.

Rather than confining himself to one genre, Lagreca seamlessly blends UK-inspired arpeggios with subtly processed pop guitar riffs, layering these with techno-driven motifs.

The result is a complex tapestry of pitched, detuned melodies that drift effortlessly into breakbeat-driven rhythmic shifts.

“TIME” offers a collection of tracks that stand among the finest in electronica, with delicate infusions of psychedelia, fractured drum patterns, and ethereal vocals, all meticulously woven together.

Fans of iconic acts like The Chemical Brothers, Orbital, or Leftfield will find much to admire in this release, as Lagreca channels their influence while carving out his own distinctive space in the electronic realm.

>>Stream it here.

NEW MUSIC

SEAN JOHNSTON: V/A

A LOVE FROM OUTER SPACE [ALBUM]

M aterial/February 14, 2025

Since its inception in 2010, A Love from Outer Space (ALFOS) has been a steady presence in the underground music scene, fostering a close-knit community with its regular, transformative dancefloor experiences. Founded by the late Andrew Weatherall and Sean Johnston, both highly regarded DJs and producers, ALFOS was born out of a shared love for slower-paced

music and quickly became a lasting and adventurous clubbing experience.

Initially conceived as a response to the fastpaced mainstream scene, ALFOS took a different approach, maintaining a tempo of no more than 122 bpm.

The club night started in the intimate surroundings of The Waiting Room in North London, where its distinctive musical ethos found an immediate following. Over time, it evolved into a British clubbing institution,

expanding to larger venues and eventually reaching an international audience.

ALFOS became known for its eclectic and hypnotic sound, blending everything from kosmische and house to dub and post-punk.

The night developed a loyal following, with residencies at London’s Phonox and Glasgow’s Berkeley Suite, and it has taken its sound to various settings, from the Croatian coastline to the Golden Lion Pub in Todmorden.

Following Andrew Weatherall’s passing in 2020, Sean Johnston has carried on the ALFOS legacy. During the pandemic, he launched the A Love from Outer Space Emergency Broadcast System, a series of livestreamed DJ sets that kept the community connected during a challenging time. These broadcasts were crucial in maintaining the ALFOS spirit when live events were paused, attracting a global audience and reinforcing the collective bond of the community.

This upcoming compilation reflects the music that has shaped ALFOS over the past 15 years while also hinting at its future. Compiled and mixed by Johnston, the 19-track album pays tribute to the club night’s rich history and its commitment to pushing musical boundaries forward.

Johnston explains, “The thing about ALFOS is that while we’ve always had one eye on the past, much of the music we play is forwardlooking. This compilation seeks to captures that balance.”

The album features a variety of exclusive tracks, including the soughtafter Neville Watson remix of The Blow Monkeys and Brioski’s “Call 626,” alongside a wide range of sounds that both honor the past and embrace the future. As ALFOS prepares to celebrate its 15th anniversary, its influence remains strong, offering a space for music lovers to come together, slow down, and explore new sounds.

>> Stream it here.

NEW MUSIC

DENNIS SHEPERD

RELEASE [ALBUM]

B lackhole Recordings/Out Now

Dennis Sheperd’s been on a journey, and it’s been one he’s documented album-by-album each step of the way. Through title and theme, “A Tribute To Life,” “Fight Your Fears,” “Find The Sunrise” and 2022’s “Onwards // Upwards” have all touched on, alluded to or out-and-out addressed the area of mental wellbeing. It goes without saying that it’s a topic as close and personal to Dennis as

any. So much so that it pushed him to cofound Soundcation – the music production retreat specifically geared towards budding producers, and led by artists like Jerome IsmaAe, Protoculture and Dennis himself.

With his newest album however, Sheperd’s widening the lens and focusing on a next-step challenge. After “Onwards // Upwards” hinted at a life being taken more in its stride, it’s time to release “Release.”

As with Dennis’s previous longforms, “Release”

is nearly universally a collaborative affair, for which a handful of his “Onwards // Upwards” cohorts return.

Among them is regular sergeant-at-arms George Jema, co-producing on the cool ‘n’ breezy saxophony of “Illusion Of Time.”

Koni Blank meanwhile helps add the pixelated-beats and piano tints to “Majestic,” while RELEJI’s synths reign (and rain down on!) “You & Me.”

Alongside Freak E Beatz, Katty Heath strikes a wonderfully pensive note on “Afraid To Feel,” while Freak returns two tracks later on the irrepressible “Rhythm Taking Over.”

In order to “venture into more sub-genres than ever before” though, Dennis has a predominantly new album tribe in tow. “

Afterlight” (which spotlights the Milanese tones of Alessia Labate) lets the bass bounce and good vibes flow, as does the album’s midpoint, where Dennis and KITA team up for “Outer Space.”

More transcendental, “Swim” assumes a progressive stance, while “Release”’s theme could hardly be better served than by “Liberation”’s hail.

One track later, Cari is starting to see through those “Perfect Lies,” while “Release” approaches its finale moments with “Resonance,” which has a trancier profile.

Having topped the album with the foundationally atmospheric “Morning Glory,” Dennis tails it with its jaunting, title-says-it-all closeout, “Epilog.”

An album (and artist!) on mission, ‘Release’ leads by example, breaking free from previous constraints, while subtly encouraging all to transcend the boundaries along with it.

>>Stream it here.

NEW MUSIC

THIS BINARY UNIVERSE [ALBUM]

B lackhole Recordings/Out Now

Head-turning, game-changing long players had become par for BT’s course by 2006. If it didn’t stun, it didn’t see the sun, and his early noughties works (‘Movement In Still Life’ and ‘Emotional Technology’) had already travelled far from his origin sound. There’s nothing more relative than relativity though and three years after "Emotional Technology," "This Binary Universe" did for

BT what going electric’ did for Bob Dylan. It’s an album that inverted everything anyone thought they knew about the artist: ‘counter-club-culture’ didn’t even come close! Again, through the power of technology, this December BT revisits his most heterogenous LP with a pristine remastering; a 4K upscale of its paired film and a first-ever outing on vinyl.

Still way ahead of its time today, ‘This Binary Universe’ is ready to challenge young minds and win new hearts once again. ‘This Binary Universe’ seemed mission-led to capsize

every album covenant going. It had no commercially-minded lead single (‘Flaming June’, ‘Godspeed’ or otherwise) … or for that matter any singles whatsoever! It consisted of a lean seven tracks, however only two ran for less than ten minutes. For the album’s creation, BT went into creative overdrive and locking down a defining ‘sound’ for ‘Binary’ is as blissfully confounding today as it was in ‘06. Several themes do breath for longer than a single track though. BT’s soon-to-besignature Stutter Edit effect made its first appearance, while orchestral aspects also play

noteworthy roles. Having embraced the latter while writing the motion picture soundtrack for the Charlize Theron-starring Monster, he composed ‘Binary’s symphonic parts during downtime working on the Stealth soundtrack. This, most notably, included the 110-piece orchestra used on ‘The Antikythera Mechanism’ – the closest point between the natural and technological spaces the album depicts. ‘This Binary Universe’ is also marked by stylish mid-track changes in tone, tempo and feel. ‘Dynamic Symmetry’ glitches magnificently from wind chime electronica to breezy jazz, before acquiring a midpoint drum & bass signature. ‘Good Morning Kaia’ meanwhile commences in ambient piano before oh-so-slowly edging in its guitar and rock threads. Artistic distinction was decisive in the early part of the new millennium and for his part BT was keen to dust the technological trail behind him. For the album’s insanely detailed 74 minutes he customized synths and children’s toys, while building and using his own plug-ins from scratch (most famously Stutter Edit and Break Tweaker) to achieve the required intricacies. BT also foresaw "This Binary Universe" as his first multimedia project, engineering the music for playback on the DTS’s 5.1 surround sound system. This he realized through seven vignettes that comprised "This Binary Universe"’s film, which saw a limited theatrical release in 2006. Four were developed by CG artist Scott Pagano, while Mondi, Dose Productions and Transeau himself also created one a piece. For its 2024 re-release, each piece has been re-rendered to 4K, vividly upscaling every cell and frame.

>> Stream it here.

NEW MUSIC

MALAA’S ALTER EGO

MANGO DISCO [SINGLE]

Malaa Music/Out Now

Just when the battle between Malaa and his Alter Ego couldn’t get any fiercer, the two strike again – but this time, DJ and producer Odymel chooses his side. Joining forces with the Alter Ego, Odymel collaborates on the new high-energy track ‘Mango Disco’.

Fresh off the success of Malaa’s recent release ‘Make It Work’, the masked Alter Ego

keeps the energy fired up, with a high-octane anthem that showcases hard techno in its truest form.

Infused with playful and infectious melodies, ‘Mango Disco’ showcases a brighter discoinspired side of production from the Alter Ego, while staying true to its essence and incorporating Odymel’s signature high-energy touch.

Known for his eclectic mix of house, techno, trance, and Eurodance, Odymel has rapidly

gained attention since his debut in early 2023, captivating audiences with wild, melodydriven rave experiences.

Together, the duo delivers a track that’s as surprising as it is addictive—a guaranteed crowd-pleaser for any rave or club night.

This fresh collaboration highlights Malaa’s evolution as an artist who consistently defies genre boundaries.

Recently, the Alter Ego made his debut on

stage with a full drum & bass set, giving fans an electrifying first look at his live energy. And as if that wasn’t enough, he’s already teasing new merch, keeping the hype building for what’s next.

Fans can expect the infectious vibes of ‘Mango Disco’ to become a staple in the live sets of Malaa’s Alter Ego.

Malaa’s Alter Ego is the rebellious counterpart to the masked French DJ and producer, born out of the need to disrupt the status quo in the electronic music scene.

While Malaa is known for his deep, darker house sound and enigmatic persona, his Alter Ego breaks free from those constraints, challenging both the music industry and Malaa himself.

This new identity is outspoken, chaotic, and unfiltered, taking a more experimental approach to electronic music, blending genres and sounds that is a step away from the signature Malaa style.

Malaa’s Alter Ego represents a new chapter, bringing a raw, unpredictable energy to the stage and online, where it has already taken over Malaa’s social media, stirring controversy and inviting fans to “choose a side.”

With this daring project, Malaa’s Alter Ego seeks to push boundaries and create a new space in the world of electronic music where rules are meant to be broken.

>> Stream it here.

NEW MUSIC

PLASTIKMAN

MUSIK: 30TH ANNIVERSARY EDITION [ALBUM]

N ovaMute/Out Now

The 30th Anniversary edition of Plastikman’s Musik, the groundbreaking second studio album by Richie Hawtin as Plastikman, was released on NovaMute on 6 December 6, 2024.

The album, originally released via NovaMute / Plus 8, followed 1993’s “Sheet One” and

propelled Hawtin into new levels of international success.

On its initial release, in Nov 1994, Hawtin was central to a burgeoning underground scene in Detroit, and the album, which expands on his unique and innovative minimal techno world, was launched with Plastikman’s first ever live performance in Aug 1994 – at the derelict Packard Plant in Detroit, in a room encased in black plastic sheets.

Before the full album hit the shelves, ‘Plastique’

(later described by Q as “… the flipside to Hawtin’s early singles, all ticking percussion, feline acid tweaks and cushioned sub bass”), set the stage for a more dance floor friendly album, albeit one with an unsettling and sinister side.

Musik, which featured tracks such as “Freek,” “Kriket’”(which Raf Simons used earlier this year in the Prada Men Spring/Summer 2025 show), “Fuk” and “Marbles” was soon heard by a much wider audience. Plastikman live appearances at Glastonbury, Tribal Gathering

and a headline slot at Megadog followed soon after, prompting NME to declare Plastikman to be “Fiercer than Orbital, funkier than the Prodigy and more insatiably danceable than anything else on the bill.”

The album, described by The Guardian as “music as you’ve never heard it before” and by The Wire, who made it one of their Albums of the Year, as “… a masterpiece,” defined a moment in techno that still echoes today.

Now, 30 years later, to mark its anniversary, the album has been remastered from the original tapes, reminding us why Plastikman is a name that still resonates and that the album’s intensity – on and off the dance floor – has lost none of its potency in the intervening years.

PLASTIKMAN MUSIK

30th ANNIVERSARY

VINYL TRACKLISTING

A1 Konception

A2 Plastique

B1 Kriket

B2 FUK

B3 Outbak

C1 Ethnik

C2 Plasmatik

C3 Goo

D1 Marbles

D2 Lasttrak

Manufactured with environmentally conscious packaging, pressed on bio-vinyl.

>> Stream it here.

NEW MUSIC

MOBY

ALWAYS CENTERED AT NIGHT/REMIXES

[ALBUM]

M ute/Out Now

Acclaimed electronic musician, producer and activist Moby shares all-new remixes with a two disc, 58-track album, “Always Centered At Night” remixes out now via Mute alongside “Wild flame (dark1 remix)” featuring Danaé.

The whopping LP comes following Quiet Home DJ Mix, a sold out September 2024

EU/UK tour celebrating 25 years of Play, and the release of the album always centered at night last June.

Moby opens up the sheer scope of the acan album project with a meaty 58-track remix album. The latest single, out today, is the cosmic “Dark1” remix of “Wild Flame” which finds Danaé’s delightful vocals shimmering over loose congas, spacey synths and intricate rhythms.

The new, re-worked tracks see Moby breathe

new life into the originals. Thrilled to share the extensive project, Moby says, “I felt that the collaborations on ‘Always Centered At Night’ were each so special that I wanted to create remixes to give the vocals as many sonic backgrounds as possible.”

Even by Moby’s standards, always centered at night is a bit special. The album features 13 collaborations in all, from names you might recognize to others you undoubtedly will come to recognize. Lead single “Dark Days” was recorded with acclaimed soul-jazz singersongwriter Lady Blackbird, a defiant, rhythmic

work propelled by her alluring, deep vocals and earnest soul.

Other collaborators include serpentwithfeet on the achingly beautiful “On Air,” and Benjamin Zephaniah on the propulsive, breakbeat driven “Where Is Your Pride?,” a spoken word with a powerful message delivered in the late dub poet’s characteristically warm Handsworth burr.

“As a vegan activist, and as a wise and compassionate man, Benjamin inspired me for many years,” says Moby. “I hope that ‘Where Is Your Pride?’ honors his legacy and also draws people’s attention to his life, work, and principles.”

Other wonderful voices on “Always Centered At Night’, include Sudanese, Netherlandsbased chanteuse Gaidaa on “Transit”, London based Burundian royal refugee J.P. Bimeni, and Kingston raised, London based Aynzli Jones.

“Always Centered At Night”–the album–is the continuation of the project of the same name that Moby announced in 2022. He saw this project as a similar service to the idiosyncratic New York record shops that he frequented in the late 1980s, where he’d hear something recondite and exciting and it would open up whole new worlds. always centered at night was his way of working with special writers and vocalists to make songs inspired by the spirit of musical discovery.

The expansive, fresh remix album, “Always Centered At Night” Remixes–complete with two discs and 58 tracks–is out now via Mute.

>> Stream it here.

Photo Credit: Lindsay Hicks

NEW MUSIC

RIVA STARR

IT FEELS MUCH BETTER [SINGLE]

Snatch! R ecords/Out Now

One of the scene’s most prolific producers, Riva Starr has maintained an influential standing in electronic music with his genre-fluid approach to keeping people dancing. Since his 2010 debut LP “When Life Gives You Lemons, Make Lemonade,” Riva continues to return to the album format as a way to present a concise creative vision. In 2025, his fifth album “Keep Me On The

Dancefloor” will be released on his label Snatch! Records.

Sharing the announcement with his new single “It Feels Much Better,” Riva gives us a glimpse of what to expect from the forthcoming album as he prepares to explore a fresh creative approach that focuses on songwriting, collaboration, and telling stories that are firmly rooted on the dancefloor.

“It Feels Much Better” is a laid-back, discoinfused cut that sees Riva team up with

vocalist Harry Stone. Showcasing a mature and uplifting side to Riva’s songwriting capabilities, the funk and filtered house influences sit perfectly alongside the groovy keys, providing a sun-kissed backdrop for Stone’s catchy topline.

The precursor to an album that is focused on amplifying the positive moments, memories, and experiences that can only be found on a dancefloor, “It Feels Much Better” is a song about connecting with someone in the moment; a celebration of losing your

inhibitions to the music and finding yourself completely in sync with someone you’ve only just met.

“It Feels Much Better” came together in an afternoon at my London studio with Harry Stone and Neapolitan keyboardist Dario Bassolino. We aimed to create a slower, vibey track with soul, funk, and disco influences, avoiding obvious patterns while nodding to French production styles. The lyrics draw a parallel between two people discovering the joy of being in sync—“moving together”—and that same feeling of unity when you’re truly connected to the music. This track captures the album’s essence, blending a sexy vibe with stories of love on the dancefloor, in the widest sense.” – Riva Starr

Music is a tonic for the soul, but it feels much better with someone else. It’s this heartfelt introspection that underpins the rest of the album – a collaborative body of work created organically, by musicians, songwriters and singers who were able to connect with Riva Starr in person at his studio. A tangible process that focused on real connections, stories and moments, purposely avoiding the disconnection that “online” collaboration entails. Preceded by several more singles before its release on March 27, 2025, as well as club-ready remixes from some of Riva’s most notable contemporaries, “Keep Me On The Dancefloor” is a record that needs to be experienced and will showcase a fresh side to Riva Starr as one of house music’s most enduring artists.

>> Stream it here.

WAVES SPACE RIDER:

A Sonic Odyssey as Told by Industry Titans

By Shon Murdock

This exclusive feature with BEATSELECTOR Magazine will immerse you in the compelling testimonials of industry giants.

These visionaries seamlessly integrate Space Rider into their creative workflows, skillfully pushing the boundaries of sound manipulation and, in turn, reshaping the very essence of audio creativity.

Take a deep dive into the world of music production as we explore how Space Rider, with its cuttingedge capabilities, stands as a formidable game-changer.

Uncover the nuances and innovations that make this plugin a pivotal force in the ever-evolving landscape of music production. From shaping unique sonic textures to revolutionizing the way professionals approach their craft, Space Rider emerges as a transformative tool that marks a new era in the art of sound design.

Join us on this compelling journey and witness firsthand the impact of Waves Space Rider on the forefront of creative expression.

THE INDUSTRY TITANS

KOEN HELDENS

Effortless Sonic Placement:

Renowned mixing engineer Koen Heldens, celebrated for his work with XXXTentacion and Kanye West, lauds Space Rider for effortlessly positioning elements in the mix. Explore how this plugin redefines spatial dynamics with just a few clicks in the hands of a seasoned engineer.

NEAL H. POGUE

Dreams Unleashed with Multiple Processing:

Producer and mixing engineer Neal H Pogue, known for collaborations with Tyler The Creator and Doja Cat, reveals the dreamlike possibilities of Space Rider. Discover how this plugin transforms creative dreams into reality with its unparalleled multiple processing capabilities.

TONY MASERATI

A Creative Sandbox of Space and Character:

Producer & Mixing Engineer Tony Maserati, famed for his work with Beyoncé and Selena Gomez, celebrates Space Rider as a creative sandbox. Delve into Maserati’s perspective as he explains how the plugin adds space, width, and character to mixes, pushing creative boundaries.

ROB COHEN

Instant Vibes and Ambient Textures: Engineer, vocal producer, and mixer Rob Cohen, with an extensive portfolio including Clean Bandit and Beyoncé, expresses the immediate impact of Space Rider. Cohen delves into the plugin’s role in creating instant vibes, introducing a groundbreaking approach to FX transitions and ambient textures.

MARK RALPH

All-Rounder with Time-Saving Magic: Producer, songwriter, and mixing engineer Mark Ralph, recognized for his work with Clean Bandit and Jax Jones, describes Space Rider as a great all-rounder. Uncover the magic behind Space Rider’s envelope follower, making spatial FX a special experience while saving valuable time in the production workflow.

MAOR LEVI

Effortless Sound Transformation: DJ, producer, and engineer Maor Levi, associated with Major Lazer and Steve Aoki, highlights Space Rider’s ability to transform any sound effortlessly. Levi emphasizes the plugin’s time-saving feature, providing great sounds from the get-go without complex chaining.

RESOUNDING PRAISE:

Waves Space Rider Garners Glowing Reviews

HIGHLIGHTED BY BEATSELECTOR MAGAZINE, USER TESTIMONIALS ORCHESTRATE A HARMONIOUS SYMPHONY OF ACCLAIM FOR WAVES SPACE RIDER, ENDORSED BY TOP ENGINEERS AND PRODUCERS IN THE INDUSTRY.

VIRGIN MIRI

Unleashing Obsession: Virgin Miri, the versatile Artist, Producer, Songwriter, and Engineer, finds a new obsession in Waves Space Rider. Simplicity meets complexity as elaborate sound manipulations unfold effortlessly under Miri’s creative command.

BRYAN ANZEL

Dynamic Creativity Unleashed: Bryan Anzel, the mind behind Future, Lil Uzi Vert, and Juice WRLD, delves into the dynamic world of Space Rider. The “morphing” options become a playground for Anzel, shaping a movement that breathes life into his productions.

JACK MIELE

Elevating Tracks with Ease: Producer, Engineer, and Mixing Engineer Jack Miele, recognized for work with Rod Stewart and Zac Brown Band, discovers Space Rider’s transformative power. With minimal effort, Miele witnesses mundane sounds metamorphose into glorious sonic landscapes from the moment Space Rider is engaged.

HANAN RUBINSTEIN

Infuriatingly Brilliant Time-Saver:

Hanan Rubinstein, a Mix Engineer and Producer for Alicia Keys and Unbreakable Kimmy Schmidt, reflects on Space Rider’s brilliance. The plugin becomes an infuriating revelation, with Rubinstein pondering the hours that could have been saved had Space Rider been part of the journey sooner.

DJ DARMON

Revolutionizing Production Velocity:

DJ Darmon, the Music Producer and Sound Designer for Madonna and Afrojack, hails Space Rider as a revolution in production speed. The plugin’s ability to cut down on loading and routing of multiple FX plugins becomes a game-changer in the fast-paced world of music production.

CHRIS BASEFORD

Ambient Mastery with Ease:

Chris Baseford, a Producer and Recording & Mixing Engineer for Nickelback and Rob Zombie, commends Space Rider’s ease in crafting ambient textures. Complicated sends, routing, and automation efforts are replaced with simplicity, offering Baseford unparalleled control.

JOSH GANNET

Automation Liberation: Recording/Mixing Engineer, Producer, and Instrumentalist Josh Gannet, known for working with Wu-Tang Clan, Redman, and Ghostface Killah, welcomes Waves Space Rider as a liberator from tedious automation.

The Rider feature breathes life into mixes without sacrificing hours.

ADAIR DAUFEMBACH

Endless Spatial Exploration:

Adair Daufembach, a versatile Producer, Recording, Mixing & Mastering Engineer, unlocks the boundless spatial exploration Space Rider offers. From mild to crazy spatial effects, Daufembach finds refinement and endless possibilities with the plugin.

KOLTON LEE

Depth in Feature Set and Vibe: Kolton Lee, Mixer, Producer, and Recording Engineer for You Me At Six and Kaleo, describes Space Rider as deep, both in feature set and vibe. A valuable addition to the creative toolkit, Space Rider opens up new dimensions in soundscapes.

KEITH JEFFERY

Intuitive Creative Juices Flowing: Keith Jeffery, an Artist, Producer, and Songwriter behind Atlas Genius and Dreamers, experiences the intuitive flow of creative juices with Space Rider. The plugin’s ability to react to a signal’s intensity becomes a catalyst for inspired musical journeys.

FRENCH ORIGINAL

Luxurious Sound Manipulation: French Original, a Producer, Writer, and Artist linked with Deadmau5 and The Neptunes, plans to make Space Rider a default in the FX chain. The plugin’s flexibility allows for seamless transitions from nice to luxurious soundscapes in no time.

KORI ANDERS

Ambience and Character Enchantment: Kori Anders, Mix Engineer and Producer for Usher and Gucci Mane, expresses love for Space Rider’s role in adding ambience and character. Whether applied to instruments or vocals, the plugin enchants with its transformative touch.

DEVIN TOWNSEND

Heavy Lifting Made Easy: Guitarist, Composer, and Producer for The Devin Townsend Project, Devin Townsend, appreciates Space Rider’s heavy lifting in basic tonality and ‘out of the gate’ sounds. The plugin emerges as an easy, fun, and creative tool in Townsend’s repertoire.

KDDO

Efficiency with Industry Standard: KDDO, a Record Producer, Songwriter, and DJ

for Chris Brown and Davido, recognizes Space Rider as a powerful tool for efficient idea locking while maintaining industry standards.

BEATSELECTOR Magazine’s exploration into Waves Space Rider reveals a consensus among industry luminaries who not only appreciate but wholeheartedly embrace this innovative tool. Delving into its capabilities, the magazine highlights Space Rider’s prowess in achieving effortless sonic positioning and dreamlike processing. It has become the go-to choice for Grammywinning engineers and producers, a testament to its indispensable role in pushing the boundaries of sonic creativity. The unveiled perspectives not only shed light on the product’s features but also underscore its transformative impact on the music production landscape.