Contents features
comin’ up
026 INDUSTRY
010 Take 10 - Shivers
040 SOUL CLAP, WOLF & LAMB A crew love tea party
042 SOUNDS OF THE CITY Part One - New York
046 21 YEARS OF VICIOUS The growth of Vicious Records
013 60 Seconds with Oscar Key Sung 015 Game Changes
on the floor
056
072 Armin Only 074 Camo & Krooked and Metrik - Chinese Laundry
050 DEEPCHILD
075 Future Music Festival - Asia 076 Breakfast Festival
056 EROL ALKAN
077 DJ Diary
‘You can go your own way’
music
062 GTA
078 High Five
064 LONGEST TRACKS
080 Wax Lyrical
12” The Fuller
081 Killers
068 SNOOP
068
072
094 Albums
Fly On!
098 Compilations
tech 104 Everything Under Control
046
106 In the Studio with, PETAR DUNDOV 108 Talking about a Revolution 109 Something in the Air 110 Tech Producer
024 050
042
040
006
djmag.com.au
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djmag.com.au
DJ Mag Australia Pty Ltd. Suite 308/250 Pitt St,
DJ MAG AUSTRALIA IS PUBLISHED EVERY MONTH.
Sydney, NSW 2000
EDITORIAL
HELLO AUSTRALIA! You have in front of you the first (of many) issues of DJ Mag Australia. We thought it was important to find out what our/your industry is looking to find in a magazine like DJ Mag, so we got in contact with over 100 people from all over Australia that are involved in various facets of this industry that we love and asked them three simple questions. The results are quite interesting, which is why we have made this the core feature of DJ Mag Australia’s very first edition and extended it to become our front cover for our inaugural issue. We are here for the Australian industry and want to become a go-to destination for clubbers, industry people, DJs and promoters as well as the simple fans that attend events and love the music. This is your magazine. This is your website. We are here for you.
Editor: Victor de la Serna. Coming Up Junior Editors: Nic Horowitz, Jack Carter, Estelle Gonzalez, Nicholas Stack. Main Features Junior Editors: Nic Horowitz, Jack carter, Sharif Galal. Music Section Editors: Ben Murphy & Adam Saville. Podcasts: Alan Lau. Web content Junior Editor: Nic Horowitz, Jack Carter,Lewis Griffin. Tech Editor: Mick Wilson. Art Editor: Rhiannon Hopley. Support Art Editor: Samantha Ripper. Fashion & Lifestyle: Brad Nash & George Polonski. Copy Editor: Sumedha Pagadala.
SA Content: Joe Miller Marketing and Sales Manager: Shall Lloyd slloyd@djmag.com.au NSW sales: Lauren Neko lneko@djmag.com.au VIC sales: Tania Hawley thawley@djmag.com.au QLD sales: Adam Roberts aroberts@djmag.com.au SA sales: James Corbett jcorbett@djmag.com.au DJ Mag Australia is published by IHM Global Media THE VIEWS EXPRESSED HEREIN ARE THOSE OF INDIVIDUALS AND ARE NOT NECESSARY SHARED BY DJ MAGAZINE
Also in this first issue we talk to Deepchild and also celebrate 21 years of Vicious Recordings, who are a staple in the Australian dance music scene. We also hung out with International artists, Soul Clap and Wolf + Lamb while they were touring in Australia and also talked to GTA and Erol Alkan. In addition we feature an article about those classic longer dance tracks of yesteryear. We hope that you enjoy reading our first issue and that you will be there for every issue to come. Until next month, enjoy the last weeks of the Australian summer!
VICTOR DE LA SERNA EDITOR djmag.com.au
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Future Music Festival The stages for 2014 March, 2014 sees Future Music Festival embark on another gargantuan nation-wide tour. 2014 is set to
be the biggest yet with the promise of state-of-the-art audio technologies and new venues confirmed for Brisbane and Adelaide, as well as a complete overhaul and transformation of the festival’s home in Sydney. Alongside the mega stages that will be home to superstars such as Deadmau5, Phoenix, Macklemore & Ryan Lewis, Hardwell, Rudimental, Kaskade and Eric Prydz (peep the full lineup at www.futuremusicfestival.com.au), Future has teamed up with a few crews who will be hosting their own arenas at the event. Here’s the lowdown:
HAUNTED HOUSE ARENA What’s it about? Earstorm Records and those talented Perth lads Knife Party are bringing us something special this year. The visceral and epic spectacle that is Knife Party’s Haunted House tour has already conquered crowds in London, Miami, New York and Ibiza and now Aussie audiences will finally have a chance to get in on the action. Knife Party’s May 2013 release the Haunted House EP, the namesake of this stage, took the duos dark dance magic to another level with tracks such as ‘Power Glove’, ‘LRAD’, and ‘EDM Death Machine’, as well as a VIP version of their viral hit ‘Internet Friends’. The Knife Party boys have also carefully handpicked a bevy of bass heavy acts to keep the dance floors rumbling throughout the day. Production is expected to be massive and this won’t be one to miss. Get your bass face ready.
COCOON STAGE What’s it about? This one is hosted by Cocoon boss Sven Vath, who is becoming something of a Future Music Festival veteran; now back for his sixth appearance on the tour as well as his second time hosting his friends on the Cocoon Stage. Sven Vath started the Cocoon label in 2000 as a platform for young producers and DJs to get their music out without needing to depend on the major labels. The Cocoon family now encompasses recordings, tours and events as well as one of the best house and techno parties in Ibiza. Last years Cocoon stage at Future Music Festival was such a success, it would have been just silly not to bring the Ibiza beats back for round two. Sven is more excited than ever to be bringing the Cocoon stage back to life in 2014 and rumour has it he will be taking the stage to a whole new level this year.
THE LIKES OF YOU What’s it about? Boutique touring agency The Likes Of You is teaming up with Future yet again in 2014 to represent the underground and push musical boundaries. If you’ve been to Future Music Festival before, you’ve no doubt spent at least some time getting down to the beats and appreciating the vibes at the “mini electronic festival within a festival” that The Likes of You guys bring us each year. This time around they’re hosting that German maestro and star of the hit movie Berlin Calling, Paul Kalkbrenner, as well as Parisian prodigy Gesaffelstein and his buddy Brodinski. The Likes Of You stage is ready to raise the bar in 2014 and will be hosting a variety of super talented, high profile artists making their long overdue Australian festival debuts.
Who’s playing? • Knife Party • Chase & Status • Porter Robinson • Sub Focus (live) • Netsky (live) • Baauer • Adventure Club • I See MONSTAS • Walden + Hand picked local support in each state
Who’s playing? • Sven Vath • Luciano • Dubfire • Maya Jane Coles • Guy Gerber (live) + Local Aussie heroes in each state
Who’s playing? • Paul Kalkbrenner (live) • Gesaffelstein (live) • Brodinski • Kaytranada • Gorgon City + Local legends on support
What to expect? The sounds of techno, house and a taste of the party island vibes of Ibiza right here on our home turf will keep you dancing all day. What to expect? *Adelaide fans will be seeing the Cocoon artists on one of The Haunted House Arena won’t be for the faint of the regular stages this year. heart. Expect to hear bangers of the drum & bass, dubstep, trap and electro house persuasion with a dash of progressive and complextro.
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What to expect? Alongside some house and primo techno, you could expect to hear some dirty club, hip hop remixes and a bit of bass driven house. Expect the unexpected. Each of these arenas is guaranteed to have its own unique party atmosphere and offer some respite from the masses congregating at the main stages. Will you be setting up camp at one of them or dashing between all three? Here’s to hoping there aren’t too many clashes. Pull on some boots and pith helmet, because Future is going on safari.
Kitsune Maison – “New Face’s Compilation” Release: 24th February 2014. This coming February, Kitsune Maison has decided to release a new compilation titled “New Face’s”. The compilation has been used to introduce the new talent that Kitsune has to offer. Several up and coming artists, including UK producers Clancy, George Fitzgerald and Lxury have made an appearance, as well as Australia’s very own Snakadaktal with their hit “The Sun II”. Kitsune’s belief that “it feels more exciting to experiment new paths than to constantly rehash the same thing…” has certainly be upheld with this new compilation. Get excited! Agwa presents Carry and Mario Basanov – 22nd February 2014 Agwa’s 20th edition has come around quite quickly, and for their last event this summer, they have decided to give the Sydneysiders a special treat with Cassy Britton and Mario Basanov being headline acts. Cassy is expected to be bringing her class and dazzle to the bottom deck, playing a range of different genres, whilst Mario will be bringing the soulful deep house tunes to the upper deck. If you are familiar with these two amazing talents, this is definitely an event not to miss!
Ministry of Sound teaming up with renowned House label
DEFECTED
Legendary House music label Defected has joined forces with Ministry of Sound Australia in an alliance that will encompass recordings and touring. As part of the deal, Ministry of Sound Australia will release Defected’s recordings in Australia, including the world-famous ‘Defected in The House’ compilations. First order of business is the Australian and New Zealand release of Storm Queen’s track “Look Right Through”, which reached number one on the UK charts. Ministry of Sound will also be bringing Defected’s tours to Australia, with Pacha Sydney playing host to a series of mammoth Defected in The House parties, which will bring together two of the world’s biggest forces in dance music today. Defected has built a reputation on the love of music to become one of the most internationally recognisable dance brands in the world and now operates in more than 40 countries with more than half a million people attending Defected in The House events annually. With millions of records sold globally, the label has worked with some of the biggest names in the business and is responsible for introducing talents such as Bob Sinclair, Junior Jack, ATFC, Sandy Rivera and Copyright. The Defected in the House at Pacha Sydney series will begin on February 15 with a Pool Club day party at Ivy
featuring US house legend MK and Defected’s founder Simon Dunmore. MK, the phenomenon who conquered the underground music and pop world, is known for that dubby house sound, which he almost single-handedly pioneered back in the early 90s. His releases from that era like “Burning” and “Always” and his aliases The Fourth Measuremen, and the Nightcrawlers are still ubiquitous. MK is also credited with countless remixes and production credits, including the Men in Black 3 theme song. Joining MK is Simon Dunmore, Defected Records’ founder and one of the most respected A&R men in house. As well as being a curator of talent, Dunmore is one of the most technically-gifted house DJs, with an impressive career spanning three decades. An Outstanding Achievement award presented at Pete Tong’s International Music Summit in 2012 saw the industry celebrate his priceless contribution to dance music. Kenny Dope (Masters at Work) is also scheduled to head to Australia for a Defected party later in 2014. The Defected deal capped off a huge year for Ministry of Sound Australia, 2013 saw the label expand its interests in recordings, touring and events to include curating the weekly Pacha events at Ivy, a new management company, Crown Rights, plus the continued growth of Soapbox Artists and Events and 120 Publishing.
Four Tet – All Night DJ Set at Goodgod Small Club – 6th February 2014 Kieran Hebden, known as “Four Tet” will be making his first DJ appearance in Australia at the well-known Goodgod Small Club in Sydney. Known for incorporating hip hop drum lines with cacophonous jazz samples, he has delivered numerous remixes and has recently released his seventh full length album “Beautfiul Rewind” in October 2013. This will be one of the events of the year and is surely not to be missed. Hannah Wants Australian Tour – February 2014 The breakthrough UK house artist has set her sights on Australian shores and will be touring around the country, including major shows in Sydney at Shipped Face Cruise and Marco Polo Ivy. Renowned for her heavy baselines and smooth melodies, this girl is going to have a major 2014 so why not be a part of it?!
djmag.com.au
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COMIN’ UP
DANNY HARLEY
IS ONE BUSY MAN!
When he’s not creating viral Daft Punk cover videos with his five piece electronic band Pigeon or running his own recording studio in Brisbane, he’s writing some incredibly infectious music under his down-tempo electronic moniker The Kite String Tangle. An ethereal blend of intricate melodies, nostalgic lyricism and captivating soundscapes, The Kite String Tangle has been making some serious waves all over Australia and now the world – with some resounding feedback. His breakthrough track ‘Given The Chance’ has amassed almost one million plays on his Soundcloud, sneaked in at number 19 in Triple J’s Hottest 100 and was added to Triple J’s heavy rotation in August last year which Danny confesses to DJ Mag Australia “basically made a career for me”. Whilst Danny notes and appreciates the massive influence Triple J has in determining the commercial success of an artist in Australia, he also highlights the importance of other media avenues. “Triple J is a good stepping stone between massive commercial radio and community radio”, Danny admits, “Triple J are pretty important but at the same time no-one should put all their eggs in that basket. I think sometimes people do that but there are definitely other ways with online and digital radio, blogs, Soundcloud and every other medium for music.”
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On the back of his incredible breakthrough year, 2014 is also set to be a massive one from the 24 year old. He’ll be starting off the year with a self-described “four day bender” with DJ sets and live performances all over the country from the Wonderland Festival in Perth to Falls Music and Arts Festival in Byron Bay. On top of that, Danny has just announced another national tour with Sydney analogue wizard Kilter on support duties. Danny elaborates, “I kind of had planned to do this tour for a while and it was supposed to be for a new single but all sorts of things have happened in terms of finding the right label. I wanted to get all that stuff right before I release anything more so in the end it’s just ended up being a tour for the new live show.” Don’t fret though. Danny has plenty of music coming out soon! “I’m hoping to release a single within the next couples of weeks and a debut EP within three months”, Danny assures DJ Mag Australia. “I’ve got all the tracklisting finalised, I just need to finalise the versions and settle on who’s going to release them and how we’re going to release it.” Make sure to catch The Kite String Tangle on his national tour with Kilter before he heads off to America in March to play a string of shows including a showcase set at South by Southwest.
TOUR DATES AND VENUES: Wednesday 12th Feb - Oxford Art Factory, Sydney Thursday 13th Feb - Canberra, ACT, Transit Bar Friday 14th Feb - Sydney, NSW, Oxford Art Factory Saturday 15th Feb - Melbourne, VIC, Northcote Social Club Sunday 16th Feb - Melbourne, VIC, Northcote Social Club Monday 17th Feb - Melbourne, VIC, Northcote Social Club Wednesday 19th Feb - Fremantle, WA, Mojo’s Bar Thursday 20th Feb - Perth, WA, Flyrite Friday 21st Feb - Adelaide, SA, Arcade Lane Saturday 22nd Feb - Brisbane, QLD, The Zoo Sunday 23rd Feb - Brisbane, QLD, The Zoo
WORDS: NIC HOROWITZ
Like a
COMIN’ UP
VIRGIN
BOMBS AWAY Our first gig was one to remember, we had been planning it for quite a while, stressing over tracks and some originals we were testing out for the very first time.
AMINE EDGE AND DANCE: Australia Tour Feb 2014 Have you ever wondered what it would sound like if hiphop and house came together? A strange idea I know… But Amine Edge and Dance have mastered this craft. The two youngsters came together in the South of France bringing a love of both hip hop and house music, to form the well known genre of “Gangsta House” or “G House”. 2012 was a breakthrough year for the duo, as they delivered some dynamic and heavy bass sounds, including the smash hit “Going to Heaven With The Goodie-Goodies”. These bulbous baselines combined with 80’s hip hop lyrics sparked worldwide attention and support from artists such as Solomun and David August. This acclaim to fame progressed into 2013, which saw the duo become one of the most notorious names in the house scene, playing more than 130 gigs worldwide. Furthermore, the introduction of their new label “CUFF” has given the world a taste of the raw and dexterous talent of other promising artists from around the globe. Having developed such an enormous fan base and already achieved so much in such a short space of time, you would think that Amine Edge and Dance might not be able to accomplish much more, however this is just the beginning for the French duo. Get ready Australia, as these two are about to hit the Australian shores for their highly anticipated debut tour in February. 2013 was a standout year for the two Frenchman as they took the world by storm, releasing numerous E.P’s and introducing a new record label known as “CUFF”. When I asked them what we can expect from the two this coming year they simply said “More big gigs, big festivals, big label deals and doing a lot of remixes already for big major artists”. Everything seemed to be “big” and that’s exactly what we are going to be seeing from these two in the next few months. The label CUFF has taken the world by storm, signing artist such as Tapesh and releasing a new compilation being released in February known as “Amine Edge and Dance Present: CUFF Compilation Vol. 1”. The compilation
defines the genre of “G-House” and features huge house artist from the likes of Dayne S and Tough Love as well as emerging artists such as, Clouded Judgement and FlexB. When asking them who they were most excited about signing Amine said “Honestly I’m really excited to release every one of the tracks we’ve signed, they are all different producers all with good vibe and a big taste. No one is more important than the other one, everyone is special to me.” This kind of easy going and embracive mentality is just one of the many reasons why the duo has become such prominent figures in the underground house scene. 2014, is going to be another exciting year as they have already 20 releases planned, both in E.P. and V.A’s. It seems that Dance was right in saying that “You have to be ready for CUFF because we will never stop to release bomb tracks.” Touring around the world and having regular appearance’s set in not only Ibiza but other major cities like that of Berlin, Australia is extremely fortunate to have these two fly over for their debut tour in February. When asking them what they are expecting from the Australian crowd, Amine said that “I have no idea, I just wish its going to be awesome like I wish every gig. All I need is water and a big sound system!” Dance had a different perception saying that “I hope the Australian crowd is like the Brazilian or English crowd. I love to play when people are crazy; it’s the best way to get a sick set from us. I also hope to see some Kangaroo’s jumping in the crowd!” I don’t know about the kangaroos, but I definitely can see people going absolutely crazy to these G-House vibes. If you love old school hip hop and heavy base house then this tour is definitely not one to miss. Amine will be traveling all over the east coast and making an appearance in Perth. This is going to be a huge year for the duo, so you may as well be apart of it!
As we entered the venue awkwardly carrying a tangled armload of microphones, a feedback destroyer and cd case, we were greeted by the sweet sounds of Ricky Martin being squeezed from speakers the size of coffee cups. After we had navigated the mixer from the Elizabethan era, we were ready to begin the show, words can’t express the feeling when you finally get to debut a project in front of a crowd. The single person on the dancefloor that night, was a middle-aged man with George Costanza hair, lifting his shirt up and rubbing his nipples with his fingertips while making direct eye contact during the whole set, was clearly our biggest fan. Things could only go up from here.
Tour Dates 7th Feb – Parker – Perth 8th Feb – Trinity – Canberra 9th Feb – Marco Polo Ivy – Sydney 9th Feb – The Prince Bandroom – Melbourne 14th February – The Met – Brisbane
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COMIN’ UP
Luca Lozano and Mr. Ho Klasse Recordings chief Luca Lozano and his Klasse crew mate Mr Ho, recently teamed up for a very cool collaboration. Giving you a taste of what true house music sounds like. With tightly wound instrumentals and spikes of deep bass grooves – the EP will push you to the underground for a taste of true seductive Berlin sounds. The EP will be releases via Tim Green’s label imprint - Disc Over Music. This will be the second release for the label, with industry support from the likes of Solomun, Marco Carola and M.A.N.D.Y. amongst many others. Get Physical Music – “Workout Compilation Vol. 12” – Release February The label Get Physical is once again making headlines with their 12th workout compilation. Starting back in 2005 this compilation will get you moving and has some notable as well as up and coming artists. This compilation includes some seriously heavy bass tracks including Mark Ikin’s “Love’s Enemy”. This is a compilation that will get you ready for a big weekend during 2014! Thomas Jack Australia Tour – February The 20 year old Sydney producer is making serious headway in the industry, with achieving such a huge amount in the last year. Gaining number one places in Hype Machine for his remixes of Monsters of Men and Adrian Lux, as well as releasing his major hit “Final Speech”. Thomas will be bringing his tropical house feel on his Australia tour starting on the 8th of Sydney and finishing in Canberra on the 23rd of February. If you are keen to see some fresh Australian talent, this tour is the right event for you! Hot Creations - Patrick Topping – Get Beasty EP – Release 3rd February 2014 The 24 year old UK producer has made a serious name for himself over the past few years. Gaining a lot of attention through playing at his regular club night in Newcastle Motion, Topping got heads moving when he released his debut EP “Walk On” under Lee Foss’ renowned label “Hot Creations”. Since then he has made his debut appearance in Ibiza in 2013, and now is releasing another EP titled “Get Beasty”. Topping has brought upon some serious new feeling sounds and we can anticipate seeing many more throughout the year.
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SHIVERS
The Sydney based DJ/ Producer is of antipodean stock, but it was his formative years living in the London metropolis during the early 90’s that forged who - and what - he is today. His 2012 debut release on the cult Berlin imprint Mother Recordings (Love Falls/Strangers In The Dark) was met with much critical acclaim; and rightly so. It’s forward-thinking house music that is dark and brooding; but with evocative hints of the past – a rich musical past at that. The iconic Ibiza Voice reviewed the release declaring it ‘would no doubt remain timeless for years to come’ and awarded it with a coveted 8/10. DJ Mag Australia asked Shivers to pick out 10 influential tracks…
COMIN’ UP 1.Kenlou 'The Bounce’ 1995 (MAW Records) In case you missed it, Kenlou is an of the alter ego’s of Kenny Dope Gonzalez and Lil’ Louie Vega…Also known as the mighty Masters at Work. This is the third release from their own imprint 'Master At Work Records' and it still has a place in my record bag...raw high hats, hypnotic grooves…freak house de jour. It has been enjoying a bit of a renaissance moment of late with support from Ame, Dixon, Nic Fanciulli, Detroit Swindle and others. 2. Mood II Swing ‘Move Me’ 1995 (Music For Your Ears) Mega vibe for this track - lifted from an all-around amazing EP from Mood II Swing. A constant in my record bag, almost twenty years old, and my copy has terrible cue burns so I now conserve it for extra special occasions! Deep grinding house music…perfection.
OFFICE:
TOP 10 LUCA LOZANO & MR.HO – DOBB MEEP/DIFFERENT CIRCLES [DISC OVER MUSIC]
3. Cajmere Ft. Derrick Carter 'Wet Dream’ 1992 (Cajual Records) An early pre-cursor to ‘Percolator’ Miss Kitten and Nina Kravitz - this one stands up the test of time. Sleazy jacked out proto-house, done as only Chicago can do!
ACID JACKS -
4. Moodymann ‘Dem Young Sconies’ 1997 (Planet E), Moodymann needs no introduction…He is quite simply a master. Relentless lashings of 808 and 303 drive the groove to create a machine funk monster mash. For the 'spotters out there, the bass line is a direct sample of Wet’s 1983 track ‘That’s The Game'. This is a timeless record - and one of my all-time faves from the acid house genre.
ELROY 4.0 & THE KITE STRING TANGLE –
5. Paper Music Issue #1 'The Bridge’ 1995 (Paper Recordings) To my ears this is one of the finest cuts from one of the finest 90’s UK deep house imprints…Whilst the A-side “Downtime’ got loads of attention, I prefer the looped-out grooves of ‘The Bridge’. Penned by Miles Hollway, Elliot Eastwick and Si Brad, it was so far ahead of its time and still sounds fresh today.
YOLANDA BE COOL FEAT. SYF AND FRITZ –
6. Global Communication ‘The Deep’ 1996 (Global Communication) I was really torn on this one - it was a tough call…do I include the Original mix or the Deep Dish Pump mix..?? Both are truly wicked, but finally the Original mix proved too good and too hard to pass up. 11 minutes of drummed out energy and a build that just keeps rolling and rolling and rolling and rolling…It’s been appearing in the sets of Guy Gerber, Pachanga Boys and others this season.
STAND STILL FEAT. MICKY GREEN (MARIO BASANOV REMIX) [FUTURE CLASSIC]
7. Lil Mo Ying Yang ‘Reach’ Basement Jaxx Firecracker Mix 1996 (Multiply) This one hold such strong personal memories for me, it was released the same year I started playing in clubs and was huge. The powerhouse combination of Erick Morillo and Lil' Louie Vega was pretty untouchable (Lil Mo' Ying Yang). Basement Jaxx bring lush darkness, spacey FX, sirens and give it a generally wicked sinister feel. 8. Ray Mang 'Number One’ 1996 (Noid Recordings) A change of pace with this one: the mighty Sir Ray Mang bringing a slice of pure disco glory on the Idjut Boys imprint; Noid recordings. Effortless good vibes here - if you don’t feel the boogie when you listen to this, then you are clinically dead.. or heavily medicated. Ten points for those who picked the sample - ‘You’re my Number One’ by Radiance 1982.
MELBOURNE ON ACID [ONELOVE RECORDINGS]
TRINKETS [WILDLIFE RECORDINGS]
ALL THAT SHE WANTS [SWEAT IT OUT]
FLIGHT FACILITIES -
ROB DEEP – HIGH TIDE/ LOW TIDE EP [SAY WAT RECORDS]
BIRDEE – JUST CALL ME [VICIOUS BITCH RECORDINGS]
EIGHTY, IL SANTO I’LL RUN TO YOU (ORIGINAL MIX) [ BIG MANA’S HOUSE RECORDS]
9. Larry Heard ‘Black Oceans’ 1994 (Black Market International) Twenty years on - this track still sounds like it was beamed back to earth by a race of ethereal jazz-funk aliens. Raw analogue vibes, primitive melodies and a mean breakbeat…What's not to love?
DEEKLINE, BLACK & BLUNT GROOVE THANG (ORIGINAL MIX) [RAT RECORDS]
10. Chroma Oscura 'Soft Crystal’ 1996 (Balihu Records) And finally - staying on the weirdo space jazz disco tip, I can’t go past this killer from Chroma Oscura. Daniel Wang has this one nailed - not only did he pen this gem under one of his many monikers, but he released it on his cult imprint Balihu Records. The label print on the 12” is the icing on the cake: "Set Stylus to heavy. Turn mirror-ball on at vibes breaks and flip light scheme again at kalimbas”.
HENRIK SCHWARZ HOUSE MASTERS [DEFECTED RECORDS]
WORDS: JACK CARTER djmag.com.au
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COMIN’ UP MOTEZ OBAIDI Australia continues the run of talented, innovative producers being spat out of the depths of the suburbs, to take on the dance music world. This time around it’s South Australia’s finest export since Barossa Shiraz: Motez Obaidi. You might know Motez from his Triple J residency in October last year. Or from his interview and mix that featured on BBC Radio1. Maybe you heard his beats being dropped by Claude Vonstroke, Justin Martin (or any of the Dirty Bird crew actually). As well as Nick Catchdubs, Tommie Sunshine, Eats Everything or Shadow Child. Perhaps you saw him take the stage at Field Day or Listen Out. Regardless of where you might recognise him from, there is no doubt that 2013 was a successful year for the Iraqi born DJ/Producer, who now calls Adelaide home. When Flume gave shout outs to his peers, including Motez, and coined the term ‘Australian sound’ in September last year, the media was quick to push this apparent new genre. But how does one describe ‘Australian sound’? “I reckon it’s not a sound per-se, it’s a phenomenon”, says Motez. “It’s a surge of creativity that is going beyond our own boundaries and reaching everywhere else, particularly the US where EDM is probably getting a bit too much. People around the world think of us as the ‘cool creative bunch’. “If you listen to other artists categorized under the ‘Australian Sound’ banner, you would know that sonically it’s very diverse so I wouldn’t say it’s a sound as such. We’re just having fun at what we do and other people around the globe are vibing to it”, he says. Motez’s own sound, which could be classified as somewhere around the G-house scale but definitely his own creation, was shaped partly by his early years in Iraq where dance music was scarce. He credits artists like Jean Michel Jarre and Vangelis with helping him to become “a lot more musically-inclined” in his production, paying more attention to melodies and chords. He also admits he doesn’t listen to dance music in his spare time, which reflects in his mixes. It seems to be a winning formula. Motez’s original tune Ride Roof Back caught the attention of the bigwigs, leading to his debut EP being snatched up by Dave Spoon’s (Shadow Child’s) Food Music for release. The Ride Roof Back EP is already available for purchase and Motez promises that he has a stockpile of new tracks that will be finding their way onto a follow up release soon. Also keep an eye out for Motez on the ‘Nina Presents’ tour alongside Nina Las Vegas as well as some upcoming overseas runs. WORDS: ESTELLE GONZALEZ
CHELA Chela the new disco queen, signed to the French label Kitsune - has had one of those whirlwind careers some only read about or dream of. The local girl from Melbourne has solidified her music, deep within the radio-waves and stages of Australia. Her success has seen Chela work with some of the top producers, locally and more recently - globally. DJ Mag Australia linked up with Chela, for a round of questions, discussing the important things and the intriguing things - we have learned to love about her. She hits the road for a string of shows, in Adelaide and Perth, plus we hear she has new release coming out on Kitsune Records, in early February, 2014.
out to the right audience. It was good to feel my hard work finally paying off. What other music genres do you dabble in? Any side projects that we not know about? I’m constantly coming up with ideas for various genres. I wrote a great RnB song recently with Le Bruce, which I hope to pass onto a suitable artist. I also miss my teenage days of playing bass guitar and punk rock so I have a plan to reignite that flame again sometime. As a live performer, what is it that motivates you to keep pushing yourself, and how do you prepare yourself before stepping on stage? I get a thrill from showing people a good time, and usually after shows some will come up to me to say thank you. That’s extremely encouraging. Before a show I’m sure to have a good wholesome meal, lots of water and reserve energy. No climbing trees, play fighting etc. beforehand.
Your hit record ‘Romanticise’ was co produced with DCUP, a fellow Melburnian. How did the collaboration happen and do you two have future plans to record again? ‘’We met through our management team Vitalic Noise early last year and became good friends. I’d like to work on something with him outside of Chela or DCUP, I have a hiphop idea in mind actually.’’ What would be the most memorable show you have played at? Towards the end of 2013, you spent some time in US - We supported Architecture In Helsinki at The Corner recently along the way I noticed a photo of you with Arty at and I remember feeling very satisfied with our sound and Interscope. What can you tell us about that experience performance! It’s a big achievement when I feel satisfied and can we expect a collaboration soon? because I’m a perfectionist! I had a meeting with Interscope and they wanted to ‘chuck’ me in the studio to see if I could come up with a melody for Who is your favourite super hero and why? one of Arty’s tracks as he had it booked out that day. I wrote I loved the Charlie’s Angels films as a teen! I don’t think it gets an idea called ‘Purify’ within an hour or so, hopefully he’ll better than hot babes kicking ass in their high heels. end up using it. And lastly, what worldly advice would you have, for Kitsune Records is globally one of the most well those trying to break into the industry? recognisable French labels - with artists like Cut Copy, Work hard, be original, and use the internet as your most Two Door Cinema Club, Digitalism and Icona Pop to powerful tool. name a few. What has life been like since signing your first EP to the label? Upcoming shows: It was definitely a big step for me. The Kitsune branding 14th of Feb Pilerats Valentine’s Day show in Perth together with the internet helped a lot in spreading the word WORDS: JACK CARTER 012 djmag.com.au
COMIN’ UP
OSCAR KEY SUNG A
futuristic, sci-fi sampling, melodic genius – quipped with a soulful voice, deep thought provoking lyrics and the true characteristics of an artist that producers are lining up to work with. Oscar’s quick rise from the underground to the forefront has been a hasty one. With music Gilles Peterson is only too happy to play on BBC Radio 6, to the local Triple J radio rotation – it’s safe to say Oscar Key Sung has quickly cemented himself in very a unique position. He was handpicked by Mercury Music Prize-nominated MC Ghostpoet and Brooklyn-based artist MeLo-X to produce their debut release as MELOGHOST, ‘WecanWORKitout’ – receiving over 44,000 plays. His collaboration with Charles Murdoch on Future Classic’s label ‘Dekire’ landed them an IMA award for best independent dance / electronica single. His support performance list, ranges from Metronomy, Four Tet and Gotye but it’s not something the humble Sung mentions - unless you ask him. Call him R&B, indie, classic or down right fucking cool – we sat down in Sydney with the 23-year-old Melbourne based artist and discussed some interesting topics. Can you describe both to the readers and us, the style of music you make? I think I might rant here for a bit, but I will eventually come up with a good answer. I find I always have to tailor my style of music, depending on the person I’m talking to. It really depends on the other person’s life experiences. More or less, the tunes I make for Oscar Key Sung are R&B influenced tracks, with a bit of a sci-fi slant – they don’t sound retro to me, more futuristic. It has ambient qualities and bass qualities but it’s always changing. It’s like contemporary pop-alternative or pop, kind of moody? I find that question hard man! What music do you listen to? I listen to a lot of contemporary hip-hop, free jazz and improvised noise - modern classical music and things that fall in-between. I like the sensibilities of both extremes in pop music and hard house tunes, or whatever. I’m a big fan of Arthur Russell, he’s always been a huge influence to me - just his sense of ability. People like Bjork who I listened to a lot when I was What new releases do you have coming up? with a singer… My two favourite singers at the moment younger, which I found really influenced me when I was We’re putting out a collection of remixes of ‘All I Could are TINK and Peven Everett, but I don’t think I would discovering what I liked. Do’ in Feb and my next single from the EP – a song called fit with either of them. I would still love to do it. And Holograms, which is also going to come out in Feb. obviously I would love to collaborate with FKA Twigs! You produce your own vocals and instrumentals; do And I think that would work really well. you separate the two when listening to music? Are you going to be doing some more touring to promote the EP? Do you have a name for your new EP? For sure, some stuff I listen to because I like the singing I think late Feb – and I am supporting Oliver Tank and the lyrics. Some is because of the instrumentals. around Australia. It’s called Holograms. I’m also doing an instrumental Most rap music I listen or have listened to in the past, EP that I want to put out around Feb – but I doubt I will is for the production, over the rapping - which is If you could work with any current artist, who be able too. It’s called Premonitions. The concept of the changing as I’m getting more and more interested into would it be? whole thing is that I’ve done it all, using samples from rap. I think when you’re being creative; it’s really useful It’s so hard! Can we do one more question and then I movie trailers. I stated this in 2013 - so a lot of them are to have different mediums that will compliment each can come back to it? trailers from sci-fi movies from 2014, which are coming other. I used to do a lot of illustration, I found drawing out in 2014. You would be able to recognise it but that’s was the best time to listen to tunes. It also meant What are your plans for 2014? the starting point of the whole thing. So it’s called you could think about music, while be also creative in I’m trying to finish off an album and make it crazy next Premonitions cause it’s from the future. a different way – you could do drawings about songs, level. I want to go overseas and do writing sessions, in and songs about drawings. Same with video, you think the UK and Europe - that’s one of my aims. about video and then while making video – you fit the - Oh I reckon Fatima Al Qadiri would be the coolest Photographer: Phebe Schmidt music to it and so on. person to work with– she’s damn cool. If I was to work Words: Jack Carter djmag.com.au 013
COMIN’ UP Ryan Hemsworth he genre-crossing phenomenon that is Ryan Hemsworth, will soon touch down T in Australia for a menacing jam-packed tour. Still running high off the hype from his debut album ‘Guilt Trips’ Ryan’s quick rise from the underground to the main
stream is at no surprise. His remix list is extensive and diverse - from Quadron, to Mikky Ekko to Waka Flacko Flame. The Canadian will take you on tangents throughout his sets, providing you with raw emotion, ambient electronica - to straight up rap. You may recall hearing a record he produced called ‘Perfectly’ the type of track that pulls all your friends closer together, while you ride the happy cloud. The production seems to represent what some might call his signature sound, but even defining his sound can be tricky - simple complex and euphoric at times. As you deluge deeper into his collection, you start to levitate on your true emotions and realize you’re riding the Hemsworth nu-wave. Once a notable blogging journalist, who once interviewed Girl Talk and… It’s easy to see what Ryan is so likable amongst the dance community. His wit and knack for finding talented people to surround him, is super evident – take his blog ‘A Half Warmed Fish’ for example. He finds the time as a young journalist, to interviewing people like Girl Talk, Twilight Sad, Theopilus London and Bangs. It seems Ryan has always had a sarcastic and fun way about him, which also shows through his style of music stage presence. His blog is worth a read and so will his tour dates, as Future Classic and Brown Bear Entertainment present ‘Ryan Must Be Destroyed Tour’
Feb 21 - Oh Hello! - Brisbane, Australia Feb 22 - Star Bar - Bendigo, Victoria, Australia Feb 25 - The Hunter Lounge - Wellington, New Zealand Feb 26 - The Powerstation - Auckland, New Zealand Feb 28 - The Flinders Social - Townsville, NSW, Australia Mar 1 - Ivy Pool - Sydney, Australia Mar 1 - Secret Garden Festival - Brownlow Farm, Australia Mar 2 - King St Hotel - Newcastle, NSW, Australia Mar 5 - The Corner Hotel - Melbourne, Australia Mar 6 - Sugar - Adelaide, Australia Mar 7 - Hand-Picked - Perth, Australia Mar 9 - Trinity Bar - Canberra, Australia
Ben Pearce
(Chinese Laundry)
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WORDS: JACK CARTER
W
ho would have thought when first hearing Ben Pearce’s music, that his main musical interests revolved around metal and punk music in his early teens? When Ben reached his later teenage years, he began to change his musical taste, being influenced by artists from more electro and deep house scenes. In early 2011, Ben began to be noticed throughout the Underground club cauldron within Manchester, his hometown, and throughout the United Kingdom, working with the likes of Chris Farnsworth under his label Purp and Soul Recordings. 2012 was a year to remember for Ben, as his infectious release “What I Might Do” brought some serious damage to nightclubs around the world, with the song going platinum in Europe. Despite having claimed world recognition for the track, people who have decided to follow Ben Pearce, will find that he has so much to offer to the underground deep house scene. This is has been noticed with his remixing abilities, with remixes of Le Youth’s track “C O O L”, and an EP released with Real Connoisseur titled “Just Enough/Nobody’s Fool” released July last year. This has continued with new spins of artists tracks, such as Quincy Jones and Kwabs “Wrong or Right” single. These remixes and new tracks not only define Ben Pearce as an extremely talented Producer and DJ but also demonstrates how he can still be able to bring such organic and versatile sounds after having set the bar with his track and EP “What I Might Do”. Having been supported by the likes of DJs David August, Solomun, Jamie Jones and Maya Jane Coles, it’s fair to say his CV speaks for itself. Having had such an amazing tour throughout Europe playing at world renowned clubs such as Fabric (London), Watergate (Berlin) and Space (Ibiza); Australia is now lucky enough to see Ben Pearce in the flesh. Pearce will be heading down under, to do a debut tour here, in February this year. He’ll be playing all over the East Coast, with his tour starting in Melbourne on Friday the 7th of February. From there he will go on to play in Wollongong and then the highly anticipated gig in one of Sydney’s most famous clubs: Chinese Laundry on the 8th. Concluding the tour Ben will travel down to Canberra on the 14th and finish in Brisbane on the 15th. This is a tour not to miss, as it will surely set the bar for an amazing 2014.
COMIN’ UP and also (then) pirate station Rinse FM. Sarah and Neil asked Hatcha if he wanted to mix a compilation out of all this dubby two-step he was curating, and between them they came up with the name ‘Dubstep Allstars Vol 1’. “At the time I was about the only DJ in the world playing the fucking music,” Hatcha laughs. “There wasn’t really anyone else to do the CD! When it came out, it had massive feedback, it was the new thing as such. It just kinda built up a cult.” Unlike the ‘Pure Dubstep’ comps he does every year now, Hatcha put together ‘Dubstep Allstars Vol 1’ in a day. “I didn’t even have a tracklist, cos there was such a limited amount of tunes,” he says. “It was like, ‘Do a mix for me out of the music you’ve got, let’s put it out’. That’s exactly what we done. One take — straight in my bedroom, done. In them days there were no CD recorders, there was no laptops with Ableton on and shit like that.” Kicking off with the skittery beats, dubby echoes and twangy bass of ‘Babylon’ by Kode9 featuring Daddy G, the mix soon moves through cuts by El-B, Horsepower, Benga & Skream and Benny Ill. Hatcha pops up at various points with tracks himself such as ‘Highland Spring’ (with Benny Ill) and, towards the end, ‘Dub Express’ and ‘Conga Therapy’. While there are warped two-step stylings to many of the tracks on the comp — mainly culled from the Tempa and Big Apple labels — there are beginnings of wobbly basslines on some cuts. “Little did we know what it would lead to,” says Hatcha. “ Horsepower records, Zed Bias stuff, Madd Slinky, El-B, Phuturistix, I was giving these kids all these kinds of records and saying that I wanted this kind of style. I started incorporating all this into my sets on pirate radio. The next thing I knew, I had a couple of hours’ sets every week of all this new music.”
DJ HATCHA
‘Dubstep Allstars Vol 1’ (Tempa) The Game Changer is taking a slightly different form this month. Usually it focuses on seminal tracks, but when it comes to the emergence of dubstep it was a compilation — mixed by DJ Hatcha from Croydon’s Big Apple record shop — that truly kick-started the scene... BUDDING young garage DJ Terry Leonard, aka Hatcha, was just 16 or 17 when he started working in the Big Apple record shop in Croydon in the early noughties. He’d been visiting the store for years, buying tunes, hanging out and getting to know the guys in the shop — like Artwork, and Skream’s junglist older brother, Hijak. Skream, aka Ollie Jones, would often visit, and started saying how he was making tunes on the PlayStation program Music 2000. “We kept encouraging him, staying positive towards him, and Benga was on the same tip — he had Music 2000 too,” remembers Hatcha. “They was making music, bringing in tapes and Minidiscs of little ideas they made, and then someone introduced them to a program called Fruity Loops. Once they had that, they was off!” Caspa started coming into the shop too — “he was just getting into producing and DJing, I think he worked in a trainer shop at the time, and the same with Distance and Mala and Coki and Loefah,” says Hatcha. “All of these boys started to bring in music. It got to the stage where I had an arsenal of fucking beats.” The stuff Hatcha had been increasingly playing out when he DJed was the dubbed-out B-sides of UK garage and two-step tunes. “It was a deeper kind of garage, a tribally, more ambient kind of sound,” he says. “I was giving them
Like Detroit, Croydon — about 10 miles south of central London — was known for car manufacture in the early part of the 20th century before becoming a service economy commuter town in the 1960s and seeing assorted office blocks spring up everywhere. It boomed for a while, but the last couple of decades have seen Croydon experience urban degeneration. Hatcha is unsure what part the nature of Croydon itself had to play on the emergence of dubstep, however. “I think it was just timing,” he says. “There’s not a lot for the kids in Croydon to do — or there wasn’t really at the time. It was the right kids at the right time finding something that interested them, that captured their attention — ie. music production. “Kids like Skream and Benga were 13, 14, 15 at the time — they were young, keen and eager,” he continues. “Croydon’s not Chelsea, it’s not a big money-orientated city, we’ve got council estates around the area, we’ve got big high-rise blocks of flats, 80% of kids that come out of Croydon haven’t been gifted with a silver spoon at birth... so for them to get their attention on something, it’s always going to be things like music.” The Big Apple shop was the big meeting point for young dance music headz as the new dubstep sound began to coalesce. “Everyone would be passing through Big Apple Records on a daily basis — right across the genre,” explains Hatcha. “From Zinc to Hype to Bailey from Metalheadz — he used to work in the shop as well. We had a bit of everything in the shop, then we had the new labels starting like Tempa, and we had our own label starting as well — Big Apple Records — which is where we launched Benga, Skream, Digital Mystikz...” Neil Jolliffe had started Tempa Records in the year 2000, initially putting out dark garage by people like Horsepower Productions. He teamed with Sarah Lockhart, aka Soulja, to start Ammunition Promotions, and out of this sprang the club-night FWD>> at Plastic People on Curtain Road in east London’s Shoreditch
Dubstep started becoming the cool new underground sound, but it took a few years before it reached tipping point. “I spent a good few years flying around the world, doing the gigs for fifty quid, playing in front of 10 people,” recalls Hatcha. “Just before Skream’s ‘Midnight Request Line’ came out, that’s when it blew up — when Benga released ‘Night’. When them tracks started crossing over the commercial line, that’s when it went stupidly out of control. Once it crossed that border, it blew up extremely quick — because of the internet.” As we all know, America jumped on dubstep, the basslines and driller-killer beats got a bit ridiculous in some respects, and now there’s been a backlash. “It went silly,” Hatcha concurs. “People started only associating dubstep with the drill stuff. But it was nothing to do with Skrillex, it was nothing to do with Datsik and Excision and all these people that are making tear-out angry dubstep. It’s to do with the internet and YouTube. People are putting up videos of nothing but this repetitive chainsaw sound. So kids are like, ‘Hmm, what’s dubstep? Let’s go onto YouTube’, and all they can see and hear is ‘Ner-ner-ner-ner-ner-ner-ner-ner-ner-ner-ner-ner-ner’ for six minutes. That’s not dubstep, that’s just another aspect of the dubstep genre. “You’ve got the Mala sound, you’ve got the Benga techno-y sound, you’ve got the Kode9 sound, you’ve got the Skrillex-y sound... there’s all different sounds of dubstep, which you can incorporate into one set, which has always made dubstep so cool,” he adds. Hatcha starts talking about people slating the dubstep scene at the point that they leave it, and that most of dubstep’s main playas still have full diaries every weekend. “We’re still here,” he says. “The boys that were here from the start — bar a couple of people who have gone elsewhere — are still representing. They were there at the beginning when we had nothing, and they were there at the height when we had everything, and they’re still here now – at the time when we’re just ticking over. It’s all fucking cycles — swings and roundabouts. You can’t always be at the top of the foodchain. We’ve got all them days to come back around again. I’m just grateful to be a part of such a brilliant scene.” CARL LOBEN
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Bromance
THE TOUR DATES:
Feb 13 – Sugar, Adelaide Feb 14 Racecourse – Oh Hello!, Festival Brisbane– Brisbane – Australia Mar 1st 2014 – Doomben Feb 15 – Motorik, Sydney Mar 2nd 2014 – Arena Joondalup Festival – Perth – Australia Feb 16 – Sunday Safari, Byron Bay Mar 8th 2014 – Royal Randwick Sydney Feb 20 – Liberty Social,Racecourse Melbourne– Sydney – Australia Mar – ARQ – Sydney – Austraia Feb 8 212014 – Onefiveone, Wollongong Mar 9th 2014 – Flemington Festival – Melbourne – Australia Feb 22 – Racecourse Elsewhere, Gold Coast Mar 10th 2014 – Feb Rundle Rymill Park Festival – Adelaide – Australia 23 –and Sets On The Beach, Perth
I
Mar 13th 2014 – Prince Bandroom – Melbourne – Australia
n November 2011, the Parisian DJ and Producer Brodinski along with Manu his manager Manu Barron, Savoir Faire (Social Club, Silencio, Wanderlust co-founder) launched their own label BROMANCE.
moment. Keys are made up of a random combination of numbers and letters and are available for free within the app or purchase keys from our website.
Having already covered 13 official releases for some of the hottest artists around the world, which includes the likes of Gesaffelstein, Kaytranada, Club Cheval and Danny Brown to name a few. With several mix-tapes and dozens of parties all around the world - Bromance has already become one of the most respected and recognizable underground dance movements. For the first time ever in Australia Bromance Records will head down under for 8 shows around the country. On tour for the label will feature Louisahhh! and Maelstrom, her label buddy and producer. Their Forthcoming EP on Bromance Records, features three staggering bass heavy and vocal pitched tracks. Brodinski - Let The Beat Control Your Body (Maelstrom & Louisahhh!!! Remix) Maelstrom & Louisahhh!!! - Make It Happen (Playgroup Cover) Maelstrom & Louisahhh!!! - Bad News Brown Bear Entertainment is looking after the tour alongside Bromance, with tour date details below, you can also keep an eye out for the full interview with Louishhh!!! Online soon….
2key Connect, meet, share, and erase freely! 2key is the one of the latest smartphone app’s that offers the user a new and exciting way of socialising and communicating. Whether it’s the cute girl who smiled at you from the cafe or the fun guy from last night’s party, don’t let potential friendship, or even romance, pass you by. 2key is the fun way to casually connect, or freely erase those you meet. You can connect with those around you with specially paired keys unique for each
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Speaking your mind, flirting, and maybe even doing something silly. Your friends `may laugh and tease, but in 2key, fleeting moments passed can be erased in a flash to never been seen again. 2key have been handing out activations throughout Sydney over the New Year, in clubs and festivals around Australia. We expect to see this app hit the market in a big way. http://www.2key.com/
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FASHION
Essentials Selection
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Get in the groove with the last official month of summer. Chances are these will be useful all year round. 01. 03.
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HAT A SITE! W We look at the latest top
FASHION
trends and websites to herald in the not so new year.
01. MATT NAT STARDUST GREEN SHOULDER BAG $130.65 asos.com/au 02. CHAIN PRINT SWIM SHORT $59.95 countryroad.com.au 03. ESPRIT SCOOP NECK PRINTED BLOUSE $69.95 birdsnest.com.au 04. PANDORA MULTICOLOURED MICROSUEDE SANDALS $30.00 santini.com.au
Taking the motto “Faster, Higher, Stronger” of the upcoming Winter Olympics to a new level, this trend has transformed the word of the year, selfie, to an outrageous, comic, and even dangerous game. Originally always taking place in the bathroom, involving acrobatic poses balancing on the bathroom door, the Selfie Olympics on social media platforms has expanded to simply snapping the most astonishing and outlandish selfies possible.
05. RIPCURL CAMBRIDGE LEATHER MIDNIGHT WATCH $169.99 ripcurl.com.au
What you wearing?
06. DKNY SUNGLASSES $99.95 brighteyes.com.au
Exclusive wardrobe access
07. KAGA DECK SHOES $59.95 theiconic.com.au
Essential Selection
NOTCHLONDON.COM
10. ALANA ACID WASH RIPPED SKINNY JEANS $60.00 boohoo.com 12. BILLIONAIRE BOYS CLUB ARCH LOGO PULLOVER HOOD POOL $110.00 laced.cart.net.au
Reeps One THINGS FITTING PERFECTLY INTO OTHER THINGS
This tumblr has something strangely therapeutic and Zen about it. Seeing absolutely unrelated everyday objects slotting perfectly into one another takes the mind off the distant actions of celebrities and allows appreciation of the closer things in life. It is seriously revolutionary. http:// thingsfittingperfectlyintothings. tumblr.com/
13. STUSSY AGED BEACHPACK $59.95 globalize.com.au 14. ODD FUTURE JASPER FIREWORKS TEE $54.97 streetx.com.au
15. ORCHILL MICRO WALLET CORINTHIAN $54.95 culturekings.com.au 16. FRENZY CAP $34.99 www.unit.com 18. VANS CHAUFFEUR SHOE VINTAGE TRI TONE $79.95 sds.com.au
DOGE
The doge meme has arguably gained as much renown as the infinite variety of cat related posts saturating the web. A picture of a shibu inu dog (especially its facial expression), rainbow coloured comic sans text, and its unique, broken grammar are the hallmarks of this meme. Who knows how long its various mutations will be appearing on our news feeds?!
What are you wearing right now? “A glow-in-the-dark skeleton onesie and a snapback, holding a red mug filled with sweet Earl Grey. What I wear when I’m relaxing.”
What is your favourite boutique/ store? “I’ve been shopping in a few global spots now, NY, Tokyo, but my favourite shop was in Tel Aviv. A small boutique called Zeef — they made How would you describe your style? one-offs. I got a blue rain Mac covered in designs. I still get asked “I think I’ve definitely been influenced by streetwear, I love bold where I got it from.” simple ideas, cutting even. It’s best to be onstage with symbolism in my What is your most treasured item? opinion, it’s striking, but I’ve learnt “I was given a necklace by a friend I that sometimes it’s a little too sadly lost, she told me it would keep striking. After a picture went online me safe when I was traveling. This of me wearing a t-shirt a friend gave was way before my music popped off, me, a number of my fans she said she felt I would ‘be seeing a lot of the world one day’ and I never wholeheartedly believe I’m in the Illuminati, I just find it funny. I also take it off.” hoard hats. I love hats.” What are you currently working on? Describe an outfit you remember “I’ve written my first-ever single, and from as far back into your childhood my last track that was only online made it on to BBC Radio 1, the first as possible… “Being naked apart from wearing time ever for a solo beat boxer. No layers or gimmicks, just music. I also shoes and socks. No idea why but have my first-ever art exhibition at three-year-old Reeps thought that was the funniest thing in the world.” ‘London Newcastle’ in Shoreditch next month from March 18th. I never Who is your favourite designer? stop creating. I can’t.” “I don’t have a favourite. I love to support independent brands like Second Son, Any Forty, Yes No Maybe, the list goes on. To wear one person’s ideas too much… I feel you lose your identity.” djmag.com.au 019
FASHION KOMONO
(WE ARE KOMONO)
Our affections once again head to Manchester, for the second time this issue, as we give some warm applause and appreciation to Native Youth. After Recent entrants into the fashion world, Japanese accessories label Komono are so assured of themselves that they’ve already developed their own philosophy. Known to themselves only as “Komonoism”, they claim to “inject color into a grey world with retro-futuristic accessories that will tickle your senses. No Brave New World, no Big Brother, no mass production dystopia. They take fashion to the streets and culture to the clubs.” Well, quite. Put in a way that everyone will understand, they make dope watches at some of the most reasonable prices I’ve ever seen. Think Japanese quartz movement, brushed stainless steel casing and leather for around $100. If this doesn’t tickle your fancy, unique collections with printed straps and faces are also available. Think twice before splashing out on that Marc Jacobs everyone else has, and land your self something unique. Komonoism. Ok, I’ll bite. eing short-listed for Drapers’ Young Fashion Brand of the Year 2013, the momentum is set, and their forthcoming release is already hooked up at Asos. com and Urban Outfitters as well as at Beams in Japan. It’s all about acid-washed jerseys, Breton stripes, windbreakers, fisherman jackets and colour block t-shirts — soft as you like and easy on the eye, with tropical and floral inspirations. Their own space dye jersey takes centre stage and they’ve even dipped into a swimwear range. And it’s refreshing to see the models are tattoo-free for a change. In case you hadn’t gathered already, we’re rather smitten with NY. http://www.wearekomono.com/
PIGEON & WEASEL
LESS IS MORE... KNIT IT UP… Nike’s iconic Flyknit Lunar range now comes in a more casual chukka boot style, Pair with jeans or chinos for some stylish, comfy kicks with a performance edge.
Those of the disposition to go for a few ‘brewskies’ around Glebe may see the beers of weekend’s past coming back to haunt them very soon. Hailing from a backyard somewhere around the area, Sydney local Pigeon & Weasel is rapidly becoming renowned for their unique take on home ware with their triple-scented soy wax candles. Hand poured into glass beer bottles and using paraffin lead free wicks, the boys have not only formulated a distinctive style, but incredible scents including “Buddha’s Tears”, an oriental combination of Jasmine and Green Tea, along with childhood favourites such as Fresh Linen and even Red Frogs. Full bottle reed diffusers are also coming into the market, carrying the same scents for many months worth of no-fuss, no nonsense aromatherapy. Available for free shipping now at: http://www.pigeonandweasel.com/
CONNECTEDBehind the brand
A HEALTHY BALANCE… Previously notorious for making white joggers favoured by old men worldwide, New Balance have taken the sneaker world by storm in the last year with fresh drops of their old classics.
BAGCEPTION… Herschel’s new packable collection of bags ensures you always have the opportunity to bag up your bag, should you ever find the need to such a thing.
SLIM AND EASY… Bellroy’s line of slim line wallets does what so many leather goods brands have tried and failed to do in the past. Great build quality, great storage, and no pocket bulge.
SMOOTH AS… When it comes to socks, current trends yell very loudly “go bold or go home”. Avoid pairs you see on every teen mongrel nowadays, and grab something fresh from Buttergoods.
BLESSED OR BATTLE… Need the effects of a scented candle without the effort of lighting one? Try the new sprays by Nexus VII. With scents named Blessed Field or Battle Field, both will refresh the senses.
JASON MARKK Sneaker heads everywhere will know of the emotional turmoil caused by walking out of a club or a gig to find their favourite kicks scuffed beyond recognition. Alas, American based outfit Jason Markk has provided the answer, and as a result is becoming one of the most widelyrecognised outlets for sneaker accessories on the market today. Featuring cleaning kits, quick wipes, shoe bags and even their own line of tees, the folks at Jason Markk have you covered in all situations. They’ve even collaborated with Vice and sneaker heavyweights such as Undefeated for the collectors out there. On top of this, they’ve taken it upon themselves to provide sneaker care videos for all materials and predicaments you may have gotten your prized sneaks into. Reclaim your collection, and embrace that little bottle of purple fluid that is popping up in more and more stores Australia-wide. Check them out: http://jasonmarkk.com/ 020 djmag.com.au
BUTTON IT UP… We’re all tired of seeing pseudo-lads in Ralph Lauren shirts. If you want a polo, button up a Fred Perry for a classically British fit and clean mod-inspired styling.
LIFESTYLE
AROUND
Byron Bay International Film Festival 28 February – 9 March 2014
THE
COUNTRY
The eighth BBFF descends takes place in February amidst the World Heritage rainforest of Byron Bay’s subtropical environment. Witness the most exhilarating worldwide films of the last year during the event packed independent 10-day celebration of film. As Australia’s largest regional film festival, the BBFF covers themes from spirituality and relationships to social equality and the changing environment in its stimulating program.
King Kong – Live On Stage Regent Theatre, Melbourne
“This year we are looking forward to fabulous red carpet Opening and Closing Night gala parties, unique events that explore Byron’s way of life and an inspirational selection of panels and workshops”, says Festival Director, J’aimee Skippon-Volke.
The sensational Melbourne musical production of King Kong has its closing night on 16 February. It is a modern legend of survival and love in New York city told by an entirely Australian lead cast with a line-up of supporting international artists. “I am so excited to have such distinctive and original artists joining us on this musical adventure – they represent our original vision for a score that would travel through genre and time in a way that is contemporary and, I hope, redefining,” says the CEO of the entertainment group ‘Global Creatures,’ Carmen Pavlovic. With the scores of films such as Romeo + Juliet and Moulin Rouge to his credit, composer and arranger Marius de Vries has developed a musical journey incorporating 1930s Broadway classics and the songs of modern artists.
Esther Hannaford plays the graceful yet powerful Ann Darrow, the only person truly to tame Kong, with Adam Lyon bringing the self-centred character of filmmaker Carl Denham to life, and Chris Ryan playing the opposing first mate Jack Driscoll. The physical centre of the spectacle, King Kong himself, is a gargantuan six-metre tall, one tonne silverback, operated by an incredible advanced combination of hydraulics, animatronics and manual manipulation.
As a warm-up to the festival, the renowned full moon screening of the best romantic short films will be held in the unique beachside setting of Byron Bay on Valentine’s Day. The eclectic mix of film will include Upaj: Improvise, an East meets West jazz fusion of American tap dance with classical North Indian dance, and Orrizonti (The Audition), a war of emotion between two actors, directed by Michael Haussman.
Adelaide Fringe Festival 14 February – 16 March With over 900 events catering for an almost unlimited number of interests, the Adelaide Fringe is set for an even bigger year than ever before. Among the art, circus, comedy and music, the festival transforms the city into a vibrant showground, showcasing the work of local and international artists. Kicking off with the kaleidoscopic Fringe parade, the four weeks of celebration will include performances from Melbourne International Comedy festival winners, and ARIA award winning musicians.The focal point of the Fringe will be the recently redesigned Victoria Square/Tarndanyangga, with 173 venues outside the CBD expanding outwards. djmag.com.au 021
LIFESTYLE Dave Chappelle Australian Tour 20th February – 5th March Australia’s social media universe practically exploded when Dave Chappelle announced his first ever Australian tour, and really he’s a man who needs no introduction. Previously bursting on to the stand-up scene in the late 90’s, his status as one of the pioneers of Black Comedy has been solidified throughout the last decade. Chappelle has two stand-up specials that are essential viewing for any comedy fans, and some of the sketches on his own Chappelle’s Show are widely regarded as some of the finest TV comedy ever made. Throughout this, Chappelle has fluctuated between a life of privacy and celebrity, essentially disappearing for years at a time. Now, he’s back. After touring America in 2013 to massive acclaim, Chappelle is ready to launch the first Australian tour of his career, and it’s certain to sell out.
Taste of Sydney Festival 14th-16th March I must confess, I had no idea that ‘Taste of” festivals were actually a thing beyond that episode of The Simpsons where Homer becomes a food critic. Now, they’re a multi-national festival chain that operates all over the world, from Europe to the Middle East, Asia and Australia. This March, the Taste of Sydney Festival lands in Centennial Park for all the delightfully cheap, upmarket food that your taste buds can handle. Tickets start at $25, which is pretty good value when you have more than 15 of Sydney’s best restaurants preparing special tasting menus for the event, and over 100 artisan producers also descend upon the festival for you to sample their wares. Add this on top of beer halls, a cider bar by the folks at Rekorderlig, and you have the recipe (pun intended) for a great time.
2014 Australian Formula 1 Grand Prix 13-16th March Coming from England where F1 is a massive thing, I’ve found that people in Australia tend to be kind of split when it comes to Motor Racing in general. Either they find it thrilling, or the equivalent to drowning in wallpaper paste. To all those people in the latter category, I urge you. Take a flight down to Melbourne, buy yourself a ticket and make your self witness to probably some of the greatest feats of Human Engineering and design that history has seen. If you still don’t like what you see, Tony Hawk will be there with his friends for some live Skating, along with live performances from some of Australia’s musical heavyweights throughout the weekend. Plus you’re in Melbourne, so you can always make a weekend of it.
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FOCUSON
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yron Bay has always been known as a cultural hub, where great art and more specifically great music is made and held. Simon and Ross Bird decided to create their own label, Wildlife Recordings, which would focus on providing a sanctuary for quality electronic music and what more perfect place to do it than Byron Bay. Ross Bird as pseudonym Elroy 4.0 concentrates on producing tropical and cosmic sounds influenced by notions of paradise, passion and the idea of breaking free from the mundanity of urban life. Along with his brother, Simon Bird and their respective backgrounds, there can only be great things to come from this young label. Being only recently established, Wildlife Recordings have also opted to release their first album by Elroy 4.0 ’Pursuit of Paradise’ in both formats digital and vinyl. Many artists generally avoid releasing music using vinyl as production can be expensive but there is something about vinyl that helps preserve the sounds akin to that in a concert hall where the instrumentals come to life. Notable collaborations include The Kite String Tangle and Luke Mansini. With the saturation of ‘EDM’ in the music industry, it is great to see indie labels innovate and create different sounds that deviate from the norm. This is truly the future of electronic dance music and we are excited about where it is headed.
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How did the idea to create Wildlife Recordings come about? I (Simon) had been promoting in Brisbane for past 5 years under the White Rhino with my friend - Richard Buck, and it was always something we had been working towards. Richard moved down to Melbourne and started his own Record Label, Russian Leisure (forthcoming releases from Sully, Dro Carey, Klaar, Michael Ozone, Angel Eyes etc). At around the same time my brother Ross and I moved down to Byron Bay, as he had recently resigned from his job in Brisbane to finish his Elroy 4.0 LP and I work as a freelance designer. When the time came to release his LP he wasn’t really sure who to contact for the type of music and had sent out some demos in the past to his favourite labels and didn’t really get much of a response so we starting discussing the idea of launching out own Record Label. At this stage we didn’t think that his release would be on Wildlife Recordings (probably on a subconscious level we did) we were mainly trying to build a new brand other than White Rhino to be based down in Byron Bay to start throwing parties down here. We both share an interest in finding and searching for a wide range of electronic music, not necessarily the same artists or labels all the time but we definitely both appreciate a similar level of quality. After the Elroy 4.0 album - Pursuit Of Paradise was nearing completion we started to realise that we would like to release the album ourselves. The album is about freedom and so it made sense to release it ourselves on our own terms. Where is the label headed? The label is going to be somewhat split, one side electronica (albums and EP’s) & other side dance music (singles & EP’s). As much as we can’t afford it, having our entire catalog on wax is important. We don’t want to release a huge amount of music, we want this to be a sustainable and refined sound as a whole, that will give our label it’s identity over time. What are your plans for the future? Long and short term? Short term – I guess just to continue what we were doing in the past in Brisbane as White Rhino and get a regular event happening in Byron Bay. Also organise tours for the artists on the label and maintain a steady flow of quality releases. Long term – We aim to set the label up as a hub for creative and exciting things, whether that be music, art, travel, design, etc. where people that are into whatever type of journey we continue down, can always rely on to bring them something fresh and inspiring. What are some noteworthy artists you have or will be working with? We are only a few months old and working every day on building the project. We have a solid release from a producer out of NY by the name of Groove Selecta (Alan Arbelaez) to kick off our Nocturnal Series forthcoming in March that we are currently sourcing a couple of remixes for. We also have a couple of really exciting artists we’ve been talking to lined up in the pipeline but would prefer to keep this as a surprise. What was the inspiration behind the album, Pursuit of Paradise? Pursuit Of Paradise is inspired by change, by pursuing your creative passion despite pressures of society, it’s about doing what makes you happy now. For Elroy 4.0 it was about resigning from his boring career and deciding to travel, make music and live by the beach instead. The themes of escapism, tropical beaches etc. were a reflection of where he wanted to be instead of in an office cubicle. Thank you for the interview, do you have a message for the readers? Support your local promoters that are pushing boundaries and doing worth-while things.
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INDUSTRY
I would really like to see a focus on Australian Artists and events and the local scene in general and not just always talking about the high trending global EDM stories. This would definitely be a positive move for the Australian scene, as many other publications have moved away from reporting on the local scene. A focus on focusing on the DJ and not always just the producer would also be a great inclusion.
WHAT WOULD YOU LIKE TO FIND IN A MAGAZINE LIKE DJ MAG AUSTRALIA?
I would say Paul Azzopardi is the first that comes to mind for his contribution to the scene over the years but also Jeff Drake from Ministry of Sound. Jeff has also made a great contribution to the scene as a DJ and producer with The Only and as a promoter with his work with Kicks Entertainment.
WHO DO YOU THINK IS THE MOST RESPECTED PERSON IN THE AUSTRALIAN ELECTRONIC MUSIC INDUSTRY AND WHY? WHICH AUSTRALIAN ARTIST DO YOU THINK IS GOING TO BE AT THE FOREFRONT OF THE AUSTRALIAN DANCE MUSIC SCENE IN 2014?
AAROM WILSON
An alternative to Australia’s most popular electronicfocused media source, InTheMix; credible, insightful, diverse and entertaining journalism with greater focus on more underground electronic music forms, as well as more coverage of WA news and acts – something that I’m going to try to begin weighting towards with some WA-slanted answers…
Inaugural Perth Dance Music Awards Hall Of Fame inductee Liam Mazzucchelli has been highly influential in shaping WA’s vibrant electronic music scene as the Director of Boomtick for the last 14 years. Currently running four clubs, festivals including the constantly award-winning Breakfest and WA legs of Parklife/Listen Out, events like Major Break, and award-winning club nights, Liam champions electronic music with inspiring levels of ethics, passion and care, not to mention less bullshit than most promoters. He’s the guy that’ll still call you up to thank you for a review, even if on paper he should have an ego the size of a dancefloor. Just one? Yikes… Well, the ‘Australian sound’ of the moment - as unfairly limiting a stereotype that may be – is certainly boding well for acts like Flume (& What So Not), Wave Racer, Willow Beats and Cosmo’s Midnight to keep on the upwards. WA will represent solidly with acts like Sable, Sid Pattni, Diger Rokwell and Ta-ku, who I’m predicting to be the biggest mover and shaker in Australia. The dude is more prolific and diverse than Flume, being equally as able to inject life into a Justin Timberlake remix as he can bed a slow-jam. Plus Kit Pop has long been destined for greatness, so their collaborative Howls project should be the final nail in Ta-ku’s domination of 2014.
Interviews with artists in the clubs & out of the clubs hobbies,pastimes favorite meals etc, studio interviews & just up to date with events etc.
A-TONEZ
I would definitely say artists like the likes of Dave Winnel, Kyro & Bomber, ISLND and OCEAN are definitely the exciting artists to watch in 2014.
I would like to know about new DJ and Live production Equipment and Software that is currently available and Also being used by Clubs/ events around Australia, its nice to know what the standard is, what to expect when rocking up to play. What local DJs and Producers there are in each state across all the genres, Main events, club gigs, What's on and Event reviews could be nice :) where Dj's source there music from, and what's new about these places/update. What sound systems people use, do we need to bother with .wav files or is MP3 good enough for that system. Touring internationals. In the Australian electronic music industry, I think Rainbow serpent organisers. Internationally known producers. Mastering engineers.
ACID TAIL
I also wouldn't know who is going to be at the forefront of the Australian dance music scene.. across any genre, as in who is writing a new sound and will be popular.... I cannot say
I would like to see music reviews that cover not only the big labels but also the small and independent labels/artists, as well as opinions on newly released music from the general punter. Also would be great to see some interviews with both national and international artists, covering the smaller spectrums of Electronic dance music (hoping to discover some awesome new unknown music or an up-coming artist). Would also be great to get some behind-the-scenes insight into how everything comes together at the massive production events. Some tour life coverage would be cool and interviews with industry figures, which represent some of the best artists out there.
ADELAIDE CARLETON IFONIKA RECORDINGS
Reputation wise I think the artist Dirty South has been on top of his game as a performer and producer for a good while now and really has solidified his place in the industry over the years. I believe Flume will continue his meteoric rise through 2014 and beyond.
Firstly, I would love to see plenty of event, album and singles reviews. There should of course also be lots of news, giveaways and competitions as well. An appropriate balance between coverage of more mainstream, accessible music and underground music from both regular writers and guest editors would also be great. A balance between serious and funny/wacky/off-beat articles is important as too much of the serious stuff becomes dry and too much of the latter makes the magazine feel unprofessional. I feel there that should also be cover mount mix CDs like back in the old days (or a podcast or something similar for the online version). There should also be a gear/tech talk section including possibly going into an artist's studio and having the artist show what gear they use and how they use it. Of course, loads of local content is definitely important too.
ANDREW WOWK
BONDI BEACH RADIO
That is a difficult question. I guess it depends who you ask. Someone into more underground music like me would say someone like HMC/Late Nite Tuff Guy. This is because he has been putting in the hard yards for decades now and has never compromised his beliefs or changed his approach, even if what he was trying to do was unfashionable. As a DJ, he has amazing skills and a deep, expansive record collection and as a producer, he can write anything from storming acid techno to beautiful ‘slow-mo’ house, disco and boogie. He believes in what he does, and because of this, has been able to build for himself a worldwide reputation without ever pandering to trends. He is also just an incredibly humble person.
The most respected person in the Australian electronic music industry and why, There are a few in my eyes, Tony Mantz because he’s rude! Phil K, Ozzie La, Gab Oliver and Anthony Pappa because if it wasn’t for those 5 I wouldn’t be here doing this for over 20 years. Now he’s back home id have to say Anthony Pappa, I reckon its hit the studio time and back out again. Id say myself in 2015 but that’s another story... ;)
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AARON SMILES
I would like to see Wave Racer, Trinity & Beyond or Ta-Ku really become a force to reckon with, in the Australian dance music scene. These are definitely artists to watch in the future.
That is a very hard question, it depends on the genre and scene you start dabbling into… Also as you probably know it is never one single person who does all the work, but a collaboration of people who share the same dreams and are willing to do everything is possible to achieve their goals. Our main source of inspiration coming from Australia though is definitely the "Totem" crew who started in Melbourne. They began with nothing but a bunch of dreams and built an empire that deeply affects everyone's taste in Electronic Music.
ANTONY JACKSON & FRANCESCO LO TAURO
AUDUN
Here at Impact we have a number of artists that could definitely blow up over the coming months with the right exposure. Its people like 'Sequence" "Mattia Musella" "Walker" and "Bolero". But if we have to name someone who's already on the route to success we'd say that the Aussie duo "Fake Forward" definitely have the skills to aim extremely high in their career.
Studio visits to significant Australian producers and stories on leading clubs and DJs around the country.
Informative information on the local scene in Australia along with overseas trends & events. Tutorials. An interesting point of difference from mainstream media and EDM based culture.
AJAX (RIP) - ground-breaking DJ who always led the way in introducing new music and mixing styles. He was a true gentleman who never let the notoriety get to his head. Additionally he set up one of the leading dance music labels in Australia, Sweat It Out.
Flume - As much as he has become a poster boy for a new Australian movement, I think Harley is an incredibly hard worker. He has toured relentlessly over the past year and his drive and creative talent is an obvious link to how prolific he has become. The fact that overseas audiences have touted our ever increasing number of electronic artists as an ‘Australian sound’ is pretty incredible.
ASH WISON
The Swiss, Rufus, What So Not.
Motez - being local to Adelaide and a resident at EC I have been able to keep a close eye on this guy. He is crossing lots of genres, has the ability to play a variety of sets and has a unique ability for production. Receiving local and international acclaim he is set to blow up in 2014.
I would like to find a broad cross section of what is happening within the Australian dance music scene. Encompassing everything from interviews with the major headline acts featured by the festivals as well as more specific artist toured by independent events that have created a following within the niche genres of dance music. As well as this reviews of technology used by artist that is changing the way the performer is delivering his or her sound to the music consumer.
BEN HOPKINS
I don’t feel that an individual is capable of being the most respected person in Australian electronic music - the scene has always been about collaborative efforts. These collaborative efforts have been the basis for steps forward that have created the diversity and opportunity that continue to be made available for those willing to put in the time and effort. These networks of people all deserve equal respect as they are motivated by a true passion for music.
If I was to pick one artist it would have to be Sonny Fodera his production is being played by some of the biggest names in dance music and he also has the skills as a DJ. Sonny’s sound is authentic something that I personally feel is crucial to the success of the artist and likewise that same sound is being embraced on a global level so he is center stage as we roll into 2014.
Would like to find a healthy reviews section as in other international editions, dedicated by genre and featuring charts by Dj's of that genre. And in-depth features with both Aus and International talent from all sectors of the industry covering everything from technical to philosophical aspects of the dance industry from events to production to artist development. One isn’t enough.. roll call is Frank Cotela. Jane Slingo. Dayna Young. Pay. Dror. Neil Ackland. Libby Clarke. Simon Coyle. Nathan McLay. Matt Nugent. Richie McNeill epitomises how tenacity, passion and straight talking have to be the underlying forces to thrive in this business. When taking the reins for Mobile Home, Sublime and Home in 2002 on my very first visit to Melbourne Richie was there with bells on for a 9am coffee to do business outside the Prince. We have worked together ever since from Home to Armin to Stereosonic; etc.. and alongside whatever projects I have had on the go from Home to EMI A&R to GTAV… I have always headed up and promoted Stereosonic Sydney and Totem OneLove's NSW events. Dror & Damien Kease however are lesser known to public as SFX TOG Financial Director & GM...but both are utter legends and keep us all on track.
BEV MALCOLM BPM ORIGINALS
Flume - if reports on his new works are good to go by…However the new Aston's album is killa … plus we have some fresh contenders coming through on labels like OneLove …always a label to watch. I think 2014 is going to be a biggy for Aus and NZ…the world is certainly listening. Good timing DJ Mag!
Appropriate and relevant local and international content. Cam Bianchetti. Originally through his HMC guise in the early 90s as Australia’s techno pioneer, and now Late Nite Tuff Guy at the forefront of Nu Disco/edits he really is well respected for good reason. His DJ and live sets are always something special.
BRETTSKI STEWART
INDUSTRY
We would love to find more articles and gig guides for local/underground promoters/artist and nightclubs. There is a growing scene here and these guys, without the money of more established brands, struggle to promote events and music which are of a very high standard. DJ Mag could definitely be Australia's new bible for upcoming and established artist/promoters/clubs and music lovers.
Late Nite Tuff Guy.
Transparency through all DJ'd music, none of this "we only get into Techno or DnB or whatever. A holistic approach perhaps... hahaha. To be honest I don't really think there is, I mean as far as we're concerned we tend to take our cues more from abroad. With the age that we live in and being able to Skype someone in America or share a Dropbox folder full of Ableton sessions with someone in Europe, things are on a global level more than ever before and I think if you want to release "relevant" electronic music you need to be looking at that level. That's not to say there isn't heaps of amazing music coming out of Australia, just that I guess our influence comes more from abroad. With a question like this, I'd generally feel pressured to say one of our artists, however I can say with absolute confidence that Oisima's next record is going to be a game changer for sure! I had the pleasure of spending some time with him a couple of weeks back during the finishing stages of the writing process and really this one's go'nah be huge. Off the back of the Bonobo Australian tour and the guest appearances (that I can't tell you about yet) on the record, I really feel that next year for Oisima is going to be one for us BEN all to remember. SMITH
I would like to see a city by city review of venues that have major DJ acts. This could help showcase the style of club/music and showcase what DJ's are where and why. I think a lot of the people that will be reading your magazine are going to be in the category of "aspiring" and as such the insight will be very knowledgeable. Mark James without a doubt. Not only has he been an inspiration to many aspiring artists but he also is a very respected DJ and producer. Mark has been fundamental in the music festival scene in Australia which has brought us Future Music Festival, Summafieldayze and a host of other very successful events. Flume 2013 ARIA: he’s been nominated for best album, breakthrough artist, best male artist, best dance release, song of the year, best Australian live act, and best video.
CRAIG MISSEN
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Phil K. I believe that respect comes from intent and Phil’s intent has always been to innovate, entertain and share his passion for music, regardless of local politics and fleeting trends. He’s represented Australia on the world stage as well as nurtured and supported the scene locally. He’s always ahead of the curve when it comes to technology, forever experimenting to find something new; Phil K represents everything that is exciting about electronic dance music.
DAVE JURIC
Having been overseas the past 18 months, it’s been a little bit harder to keep my finger on the pulse, but from everything that I see and hear, LNTG (Late Nite Tuff Guy) is about to blow up in a really big way. He’s pushing a really current, dance floor friendly sound, has 20+ years in the industry, respected by all, and has both production and DJ skills beyond most could dream of.
I would like to see an honest representation of what’s going on in the scene and not by ad driven or money driven agenda’s. If they do a top 100 it needs to be based on something else rather than votes that can be bought or influenced by money.
Featuring more of Australia’s underground is really important to constructing the foundations of a thriving scene. If you look at other cities that foster those ideals, you’ll find it was never really about booking big artists week in, week out. With the decline of festival culture nationally that’s even more reason to focus on alternatives. There are a lot of people that have contributed positively to furthering electronic music in this country. So to pin out one, or even two or three would be a bit of an injustice to the movement that’s been a result of the hard work, of so many artists and promoters. I certainly wouldn’t be looking at those that have promoted lifeless festival culture, though.
Tough question it’s different for different people
DANNY BONICCI
Possibly Rufus, given their popularity at the moment. As far as pushing sound I’m liking Willow beats for innovation.
INDUSTRY
I would love if there were a regular section that focused on up and coming DJ’s. Not just bedroom DJ’s but a focus on the DJ’s who have been involved in the scene for years who have proven themselves and just need a bit more publicity. Plenty of interviews as well, with promoters, venue owners, djs, producers vj’s etc.
ELLIOT CLARKE KANA BROADCASTING
In the context of what we’ve spoken about and in Australia’s techno scene in particular, I’m going to go with Brisbane’s DJ Fuzion. He’s been on top of his game for many years and definitely one of Australia’s best.
I’ve felt, for the longest time, that there’s been a general, disheartening, slide in online dance-music journalism - away from considered, often more political-commentary (from authors like Spin /The Wire’s Philip Sherburn or Kodwo Eshun for example) - and toward purile reductionist drivel (this season’s hottest looks, etc.) more suited for women’s magazines and lad’s ‘frap’ papers. In a sense, this is a reflection of an industry which is largely ‘eating itself’, but it often feels like a desperate shame. I feel like there remain thousands of individuals who are extremely passionate about the deeper significance and potential of this diverse culture, whom would gladly lend their voices to more muscular, vital, commentary beyond the ‘scene’ and its polemics. Portals like Resident Adviser offer solid examples of occasionally more ‘alternative’ voices in constructive debate, and DJ Broadcast International are a more recent portal which I’m aware are very intent on broadening the scope of what might be included in a portal focusing on ‘electronic music’. For me, the same basic questions remain, and are oft overlooked in much Australian dance-music discussion - which seems demographically ‘restricted’ (18-25) and obsessed with a certain hyper-competitive notion of DJing/performance (as evidenced by the plethora of top-100 polls, mimicking the mainstream obsession with BEN validation and comparative ranking). In short, after years being involved in a wonderful and inspiring international scene, I often feel that Australia’s dominant danceHOPKINS DEEPCHILD music voices absent in nourishing the fringes of the scene, but rather bulldozing them with imported notions of legitimacy. I’d love to see a new type of electronic-music voice emerge - one which gives an insight into more female voices, more Australian Indigenous Voices, more collectives and their evolution (e.g. Wagga Space Program, Clan Analogue and so many more). More non-commercial broadcast entities (2SER, FBI Radio), more so-called ‘secondary’ voices (the engineers, the coders, the, mastering studios) who give our culture its fibre and tenacity. I’d like to see a magazine delve ever-deeper into explorations of dance-music’s history (ENOUGH stories about Detroit’s glamorised dead-city porn - I perform there regularly, and I ASSURE you there’s more to the city than its demise, and it’s old-guard producers. Similarly, with Berlin - Berghain is a wonderful club I enjoy playing very much, but there is so much more to this city than these dominant voices). I am digressing somewhat...apologies. I am seeking a new dance-music publication that realises that ‘dance music’ is about so much MORE than it is. Electronic music remains more than a source of ‘career’ and financial support for me, personally - it is a force for transformation, resistance and re-imagining what it might mean to be human in the modern world. I have always felt that my experience of Australian electronic music has not been contributed to a single individual - it is a deeply inter-dependent web of relationships. I have respect for so very many individuals who keep me inspired. Personally - and largely due to my roots in the scene in the mid-90s, I’m personally indebted to Simon Caldwell and the lads from Sub Bass Snarl, and Club Kooky (DJs Seymour and Gemma) in a special way - these individuals have all ‘opened up’ notions of what dance-music could be, and whom it could represent. They have also been responsible for touring and supporting some of the most important international voices, DJs and producers, long before the wider industry was willing to support them. Clubs (and communities!) like Mad Racket, Frigid or Club Kooky shaped me deeply, and gave me the courage to find an honest voice. Once again, I am unsure how to define ‘individual’ and ‘forefront’ outside measurements defined by popularity or income, or perceived ‘international success’. My guess is that - as always, the real person at the ‘forefront’ of the scene is some 18-year-old kid, holed away in his bedroom with decks or a laptop, changing his inner world, one beat at a time. I think that, to me, this is ultimately, what matters the most. Information about clubs Information about the movements of DJs and what clubs are bringing the good DJs & when. Advertising our local DJ’s the ones that actually make the clubs what they are. Up and coming talent and where they will be playing. ThebigpromoterslikeMarkJamesandPeterRaffforbringinginternationalactstofestivals; otherwise we would be far behind the rest of the world on the music scene.
GAVIN LANE I would like to find all local events and stuff covered... I think Oisima right now is garnering a lot of genuine respect from the public and artists themselves.
The Carter Brothers.
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JEBU Artist Interviews; e.g. Production tips. Probably Dirty South because his production is of such high quality. Will Sparks will be up there for sure.
Shuffle Nightclub has a number of DJs that I think will be going places and some have already had songs signed by labels overseas. I can’t mention all of them, but the 2 that I think will be going places are Paul Dluxx and Bolero. I haven’t been in the industry for too long, but I am sure there are many that will come through our doors. With our Fresh Fridays where we present new up and coming DJ’s I am sure we will see some go far. Georgie Baby springs to mind. She had her first ever DJ set at Shuffle and the next day was signed.
GEORGE ECONOMOUS
For me I’d like to see long articles, with in-depth research, so the magazine becomes somewhat ‘collectible’ along the lines of Wax Poetics or similar. Features on the history and current state of particular scenes around the country. This would allow residents of other cities to get a taste of what is, and was, going on in Perth, Brisbane, Tasmania etc. One of my customers in the shop the other day was Angelo, the guy who taught HMC how to DJ, at Rio’s (currently Red Square I believe). Interviews and old photos from those guys would be amazing, so long as it’s actually in depth and not just a nod in their direction. What I hope not to see is just a print version of RA, where all the photos are of guys faces, the articles feature a complete lack of humour and pathos, and it’s just a by-the-numbers lets-all-move-to-Berlin race to the bottom (or top?) or worse, focusing on plastic piss-head CDJ festival culture. Local scenes and local DJs are what interest me. One of the problems I have with Rip It Up is that the one ‘Beats’ page (!!!) is really just about internationals who are touring, and ‘festivals’. I’ve thought about this long and hard, but I can’t think of anyone who is really respected in the Aussie electronic music scene. Although I no longer have any respect for him, I guess HMC is respected here, for what he did in the 80s and 90s.
Info on the club scene, nightclubs and bars around Australia. DJ profiles of everyone (not just known DJs) - DJs that aren’t promoted the shit out of that play each week on a regular basis to full dance floors. (THE WARM UP DJS) Couldn’t answer that question. Potentially still Ajax in my opinion.
HANS KEMPSTER
Motez.
I’m afraid I have no idea really about the dance music scene Australia-wide. The artists I really like draw almost no crowd. Although it’s not my thing personally, the label Future Classic seems to have found a niche with artists like Flight Facilities, Charles Murdoch, Chrome Sparks etc. There’s a definite pop crossover appeal to a lot of their releases.
We at Shuffle Nightclub would like to see unbiased reviews and TRUE talent being showcased, as well as DJ talent and Producer talent. As we all know, there are many amazing producers out there that are not so flash DJ’s and there are AMAZING DJ’s out there that do not produce. Pete Raff and Mark James I think have a massive part to play in the industry obviously with their visions and bringing festivals like Stereosonic and Future Music Festival to life. That could in turn bring more QUALITY acts to our shores. Australia has so much talent at the moment coming up through the ranks it’s hard to point out just one. I think you should keep an eye out for Paul Dluxx one of our resident DJs at Shuffle Nightclub. His production is world class and his talent behind the decks shows the years of experience he has, and I think he is on the brink of making it big in the local market. Internationally, I think the Stafford Brothers have launched themselves into stardom and 2014 will be their year to shine. Every goal those boys set for themselves they achieve and surpass. Hitting the DJ Top 100 Poll this year at #90 for the first time is a big thing and their production has come a long way. They’re being signed by Cash JOEY I personally would like to Money Records in the States and their massive US MOJO know more about the SHUFFLE NIGHTCLUB tour I think will blow up in the year to come. inner processes of making electronic music in the 21st century. From More interviews more articles relating to dance artists who collaborate music DJ clubs and festivals less advertising of over email and Dropbox things that aren’t relevant to our country’s scene. from all corners of the globe, to engineers who use nothing other than vintage equipment and JESSE tape. Even to DJ’s who GIBSON MINISTRY OF SOUND RADIO AUSTRALIA have their special places or venues to discover new music. Or to producers who have some idea that turns into a life changing project; and how all of that, can turn into one magical song that lives forever. A very hard question to answer with so many worthy people that could be selected. Right now though, I will have to show my slight Queensland bias and pick Tommy Trash. I select Tommy not just because he’s immensely talented with worldwide success; but also because he is one of nicest, if not THE nicest guys in the industry. Hats off to someone that damn clever who does not have the ego to match! While many artists have risen in both stature and rankings in the last 12 months, I’m really looking forward to how Harley Streten and both his Flume and What So Not projects evolve in 2014. He has a lot to live up to with his releases so far and I cannot wait for what the future brings for him.
KRISTIAN HERNANDEZ
So many people have shaped our country’s dance music scene and have gotten us this far but I think the most respected would have to be Tim McGee. It’s hard enough to maintain a club brand for so long let alone the consistent best selling compilations every month over the space of a year. From the annual to clubbers guide to sessions we respect a brand that has still powered here for almost 17 years.
JOEY LAMATTINA
JAKE PHILLIPS I’d like to see a lot of articles in relation to the different trends and events that have been successful in different markets. As well as rising stars, and some weekly DJ / Club features. I’d have to say Jon Hanlon. His professionalism and ease to deal with puts him high in my books! Trent Grimes & Pete Sofo are also absolute legends in the Australian Scene! Stating the obvious: all the “Melbourne Sound” boys. It’s entered the US market and they’re loving it. Also M4Sonic, Samual James & Benibee are definitely worth keeping an eye on!
PLATINUM NIGHTCLUB
There can only be one answer for this question. Will Sparks - this kid is going to be massive and quite possibly the biggest export we ever had. Congrats to his success, he’s a nice guy.
interviews with local, interstate and international acts and DJs equipment reviews music reviews music critique columns Mark Pritchard - his production is next level and his sets are great
LUKE SNARL
JONATHAN JACKSON EATONS HILL HOTEL
Hermitude
Diversity (as music/audio is) Content with integrity to guide the culture forward on a right path with quality, current, information not weighted heavily by promotions, marketing & gimmicks. Would like to see crossover topics that bridge Visual, Art & Design.
Allot of focus on the local communities of the Australian cities giving local DJs and producers real national focus to get their music, collectives and brands exposure to the whole country.
So many great influences and people to look up to. Ideally a nice & friendly person that has experienced the evolution of music in all colours, not just electronic. The most respected ‘people’ should be the audience and fans that are lending you there ears :) Aritis, Producers, Djs, Promoters, Respect this! They deserve better than 2 min noodles.
Taku, watch this guy pop!
Way to broad a question, I think there are so many respected people in their fields and segments of the electronic music industry of this country that singling out any one person would be at the detriment of so many others who deserve respect.
MICAH EARNSHAW
Dj Producer from Brisbane - Gavin Boyd. good ear, great producer and fantastic dj.
djmag.com.au 029
DJ Mag Australia should be all about dance music in Australia. The industry has had a real boom in the past 5 years and we have some great local talent and huge internationals that visit our shores. The magazine should have great content for both producers and DJs already in the industry and those who are yet to crack it. I would also like to see of course plenty of event reviews and information on the latest technology in terms of DJ equipment. Noah Tepperberg, the co-founder of entertainment company Strategic Group, owners of Marquee Sydney. He has gone from setting up a small promotions company with now business partner Jason Strauss; to presiding over one of the most prestigious hospitality groups in the world. He has the knack of creating amazing entertainment venues that have longevity in a notoriously fickle market.
MICHELLE OWEN
NATHANIEL BOURKE MARQUEE SYDNEY
Definitely must have interesting images and a good variety of articles across all genres. Also regular DJ blog posts about what life’s like touring. In addition, of course music, music reviews, event reviews and website recommendations. In the underground scene, it has to be Murat Kilic from Spice in Sydney. He is always really pushing new underground local artists and new artists from Overseas. Flume
I would like to see trend predictions and stories about up and comers before they have broken, not just artists who are already popular.
I would like to see trend predictions and stories about up and comers before they have broken, not just artists who are already popular.
That’s a tough one to answer, but if I had to choose one person I would probably SAMANTHA say Neil Ackland who has CAMERON been a major player for a long time playing an integral part in building the scene here with inthemix and is now taking on the US. Also, Richie from Stereosonic is kicking major goals and Colin Daniels has done a lot for electronic music via Inertia and Vicious.
That’s a tough one to answer, but if I had to choose one person I would probably say Neil Ackland SCOTT who has been a major THOMPSON player for a long time ARTIST MANAGER playing an integral part in building the scene here with inthemix and is now taking on the US. Also, Richie from Stereosonic is kicking major goals and Colin Daniels has done a lot for electronic music via Inertia and Vicious.
Sia has an album coming out and is amazingly talented. She has had massive success with collabs over the past few years, so I imagine she will be one to watch in 2014.
Sia has an album coming out and is amazingly talented. She has had massive success with collabs over the past few years, so I imagine she will be one to watch in 2014.
Well researched articles that have questions and information that you don’t read on every other blog / news site / mag. Geeky gear reviews that consist of more than a colourful new DJ controller, perhaps even some vintage gear? And a tasteful mix of local and international, underground music.
FUTURE CLASSIC
I would expect to find quality features on Australian artists. Also, I would hope to find a broad selection of electronic music, not just commercial and club music. I would have to say Flume because of the simple fact that he is a #1 chart topping Australian electronic artist. And he has still been able to maintain his credibility in the underground scene. Flight facilities
A tough question at the moment. We have an uber amount of talent leaking from cities. Carter Bros, The entire Pilot Records roster, the Untzz lads, Sleep D, Oisima, plus our brothers living abroad! Francis Inferno Orchestra, team Voyeur Rhythm... Historically though, you can’t argue with HMC/Late Nite Tuff Guy. I think it would be a hard task to find a DJ/Producer who has inspired so many others to take up the cause, and who has an equal amount of respect internationally.
Joe Miller? He’s already a star in my book. Other than that, it would depend on which area of dance music. House and Techno will of course be inundated by the Carters in 2014, with their forthcoming release on Classic and European tour. But newcomers are everywhere; I myself have a tasty backlog of demos from a range of new and old artists! There is just so much good music out there! My crystal ball is very hazy when it comes to predictions like this, so I’ll leave it to the hardened forecaster.
Information on producing, and new kit reviews. I would say Mark James, but since he has run off with all the money from Future, I will have to say Richie Rich. Always stood his ground on what he wants to deliver, did some great things in the early days, such as a Jeff Mills free party.
BRAD EVERY AUDIOCHEMISTRY
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PHIL ROGERS
Which Australian artist do you think is going to be at the forefront of the Australian dance music scene in 2014? I think the younger generation of producers are the ones to watch out for, just look at some of the talent coming on Triple J.
INDUSTRY
NATHAN MCLAY
Australian duo, NERVO who have performed a few times at Marquee Sydney, are really making a name for themselves both here around the world. They are talented songwriters and performers – Also not to mention they are flying the flag for Australia at No. 16 in the DJ Mag Top 100.
Reviews about different artists, not the same old same old soda pop crap. For example, I’d like to see more reviews on artists like Albatross, Oliver Tank, and Flume. Basically, new artists - producers to send in their work to you and do a monthly top 20 (no known artist) get a panel of judges to listen independently of each other. That way it’s a true chart not a one mediator vote. Top 20 have links supplied in the chart. And more unbiased electronic gear reviews. Neil Ackland. He has the power to make or break artists with his fingers in the pie of way too many influential aspects of the music industry. Flume
DJ LORENZO IBIZA LOUNGE BAR
Lots of Australian music that isn;t in DJ UK edition
Reviews on new production equipment -Production tutorials/tips from leading producers (varying in genre from mag to mag). -Event reviews/photos -Local DJ/Artist profiles -New Music charts from credible DJs (local & international) -Have genre specific areas, as people will not read it if its only about commercial dance music
Pendulum boys as artist because of their roots in OG Ozzie EDM and their world domination in their different projects
Hard question, in the Techno scene, Kevin Karlberg is the most respected as he has been doing underground parties/raves since the 90s, everyone enjoys his company and the parties he throws are cutting edge. From Kubik Music Festival to Where?House, to his new Capacity events, they are all top notch. Back in the 90s he ran the original War of the Worlds parties that still get talked about these days
FREQ NASTI
Pendulum when the new album drops.... Hard to avoid the giants when they stir
KATE WIGNELL
No mention of the acronym ED. 2 - The KISS FM – DANCE MUSIC AUSTRALIA Chart T immy Byrne. Have you heard his show? Jamie Stevens, for sure
Craig McWhinney is making the best music in Australia at the moment, and has been lucky enough to have releases and podcasts on labels such as Electric Deluxe. There’s much more to come from him.
Lots of content on local Australian DJ’s and producers, radio shows, and club nights. Since many of the free press magazines collapsed a few years back there has been a real disconnect with each state. I’d also like to see more coverage of non-EDM music. To me DJ culture is far more interesting than the small sub section of EDM.
I would expect to find quality features on Australian artists. Also, I would hope to find a broad selection of electronic music, not just commercial and club music.
Phil Ransom from Melbourne. He has always been ahead of the curve, remained active and in touch with what the rest of the world is doing. His DJ history is probably longer than any other DJ in Australia. Real heads know the deal.
I would have to say Flume because of the simple fact that he is a #1 chart topping Australian electronic artist. And he has still been able to maintain his credibility in the underground scene.
I don’t really have an opinion on this, as I tend to shy away from what’s at the forefront and be more interested in what’s bubbling under the surface.
Flight facilities
LAURA DE SOUZA
I think one of the most respected people in the Australian electronic music industry is Tom Cosm. He represents the art of electronic music to the fullest. He is a highly competent trainer, a quality music producer and a humble performer. He keeps on giving to the masses and end users and gives hope to budding DJ’s and producers about the endless possibilities.
STABLE MUSIC/CAPACITY
COSMO CRATER AUDITREE
Tech specs, producers’ tips, focus on underground Aussie/NZ producers and promoters / festivals. A Gallery, quirky page, info on a Euro / USA festival or party girls, monthly focus on a bar or cool spots.
SHAN FREZIE
I would definitely like to see some production tips and tricks. A section dedicated to hardware that has been road tested followed by a review would be cool. Last of all: interviews with Australia’s best DJ’s, producers and Australian dance music record labels.
DEAN BENSON
LOGAN BAKER
I’d have to probably say Boogs as a DJ. Keeps to himself and is still one of the greats of Melbourne and Aussie scene. I also don’t really like to think about the most respected ‘so and so’ everybody contributes and people don’t need egos about this sort of thing.
Well “Thankyou City” boys just won the Budwiser award for best up coming producer. But they are totally underground. There are two really different scenes in Aussie. One is for hipsters and cool people. The other is for underground and people who actually give a fuck. Thankyou City is part of the second group. Think Flume is the most successful so far.
I would like to find true content and what I mean by this is stories, reports and editorial based on who is really making an impact in the scene, rather than articles that focus on particular people who think they are. I would like to see a spotlight on MCs being one myself. I would also like to see interviews with people like booking agents, labels, promoters, managers and all the other people in the scene that you never really hear much about, but who by far have the most interesting and intriguing stories. Those are the people that every aspiring artist and dj really need to know if they really want to make an impact in the scene. I would like to see a story about the difference between professional DJs, or DJ’s that do a heavy workload of performances just to make living and the artist producer DJs, who continuously produce new tracks and who aim to reach the top of the world stage with their own music. I think that Jamie Stevens is definitely kicking goals with his music this year. I don’t doubt that he is only warming up to produce some gems for us next year. He has now definitely put Melbourne on the map again on the international stage for production due to his recent releases on Bedrock Label. His music is uplifting, deep, dynamic and definitely appeals to a refined ear. However, I can only speak of my personal preferences and tastes from an underground attitude.
The likes of Tim McGee from Ministry of Sound Australia, Ben Suthers, John and Ming From Fuzzy, Joey From Platinum and Jon Hanlon, in my opinion are definitely some of the most respected people in the scene.
MC LOSTY
BEN MORRIS/MC LOSTY
I would think that the likes of Tommy Trash, Timmy Trumpet, Will Sparks, Dave Winnel, Kilter and Tonight Only would definitely be leading the way in the Australian scene in 2014.
djmag.com.au 031
I think that the Aussies making waves in the US are the most respected right now. This includes people like Tommy Trash with a residency at Vegas super club Hakkasan. Empire of the Sun with plenty of US Billboard Club Chart exposure in the last 12 months is on my list as well. And Will Sparks: he’s currently touring the US and rapidly gaining social media superstardom for the ‘Melbourne Bounce’ Genre.
SIMON EDWARD
Tommy Trash. Playing with the world’s biggest DJs at Vegas’ Hakkasan. Latest collab with Sebastian Ingrosso (Reload) is smashing commercial radio and club charts.
JOY MELBOURNE INC
RECORDS
SIMON INGELS
INDUSTRY
I’m always interested in what DJs are working on, i.e. collaborations, original work, and remixes. I’m also very keen on what parts of the world are at the epicentre of the EDM scene, given that they change regularly. Aussie DJs touring OS, and international DJs touring Oz are also of interest to me. I’d like some kind of directory showing which new clubs will be opening in Oz. Also, I’d like to see EDM trends and new sub genres.
I would like to find sections or articles on each state and what is going on there in terms of events, tours, local DJs, etc. Also it would be great to have all genres of electronic music covered and not so towards the mainstream sound.
Australian news & interviews. Latest charts sourced from several places. Gig reports. Insights into industry movements. Equipment reviews. Competitions & giveaways.
No idea.
Walden seems to have popped up out of nowhere but is doing great things here & O.S and you’d expect him to only get bigger. And we had massive interest in Slice’n’Dice when they played on our show Next Generation. If the size of their following is anything to go by, they’re already big! And naturally the usual suspects will continue to feature heavily - Dirty South, Timmy Trumpet, MaRLo, Ivan Gough, Peking Duk.
Too hard to say!
Stereosonic Directors: Richie McNeill and Dror Erez. They’re the tickets everyone wants, the event everyone wants to play at and the Australian festival that’s talked about most for EDM fans. The major OS names they draw to the event shows are respected, plus they keep the Australian EDM music scene on the global agenda. Not to mention their connections with Totem Onelove!
SARAH FLETCHER
More local interviews with Australian artists. Jerry Poon, Tey Astro, Dan Finna, Ben Finna, Kevin Karlberg, Mike Toner, Luke MCD, Matt Bonner to name just a few of the industry figures that i personally respect the most.
MUSKA
Well, that depends on the demographic this question is directed towards. Will Sparks would be the correct answer, but as for the artists that are making the most ground breaking music that is making waves around the globe in the underground scene for me are the Australian Glitchop and Broken Beats artists. These dudes are the best sound designers, engineers and writers of the most forward thinking intelligent dance music to date. Opiuo leads the way as the OZ heavy weight of that sound but dig deeper and find all the Enigmatik and adapted records label artist. However being at the forefront in the public eye and production wise are two totally different things. To run off a few OZ guys that I love are people like: Mindbuffer, Griff , Sun in Aquarius, Saffire, Child, Closer Apart, MoodMachine, Thankyoucity, Altruism.
Greater representation and concentration on quality and underground electronic genres! More articles, interviews, music and event reviews from, and about Australian artists and Australian events targeting local underground music. Less representation of the mainstream festival influenced music that most media seems to lean towards, as I find a lot of this stuff quite monotonous. There are many variables to this question but in my personal opinion, I have a lot of respect and admiration for all the hard working unsung DJs, producers, club and event promoters who operate tirelessly behind the scenes and present us with the opportunity to listen to great music in intimate environments week after week. My respect goes to those dedicated and enthusiastic people trying to bring quality music to our industry with a special mention to all my local QLD peers! On a broader scale, I feel radio hosts and national “scenesters” Grant Smillie and Nina Las Vegas are highly regarded for their contributions, wealth of knowledge and ability to share all the who’s, where’ and what’s of our industry.
TRANCEDUCER ELEMENT EVENTS
If the ARIA nominations are anything to go by, I’d definitely have to acknowledge Sydney based artists Flume and Rufus. These guys seem to be popping up everywhere! My dibs are also on Marlo, ShockOne, Dirty South and Tommy Trash for further local domination and expansion into the rest of the world.
100 dollar bills would be great! Obviously, the same qualities that we see in DJ Mag worldwide, but also the local pieces that are happening in the Australian scene. The scene is thriving and it will be great to have DJ mag covering it! For us, it is someone like John Course. He is a great DJ, been in the scene for a long time. He has a great record label (called Vicious) which has helped launch several Australian DJ/producers careers. To top it off, he is an absolute top bloke. I think you would find it hard to hear anyone say negative to say about him, but there would be many others just the same. There are definitely several people that we respect who have helped grow our careers but we could not just name one. We have a good feeling the Stafford Brothers will be. We also love what people like Tommy Trash and Nervo are doing. They are taking on the world, releasing great music and doing a great job, while still being great people. There are so many new people coming through too as well. Will Sparks is definitely going to STAFFORD have a big year.
BROTHERS
I’d like to see interesting things about local DJ’s, events and much more insight on the background stories of the DJ’s. The path they travelled towards their own success and who has helped them along the way, it’d be good to see more of that I think. I don’t know how to answer this question really. How do you measure respect? In my opinion the most respected person is the one who sits there endlessly buying the tracks the DJ’s produce, listening to our radio shows that they play on and going to the gigs they play to support the talent. Without the “punter” there would be no industry so in my opinion, the individual common Joe who supports this industry is the most respected person. Well it’s hard not to say the obvious Will Sparks given he is playing around the world as we speak. But I’d like to think that locally there are a few more artists on the rise. One of which to watch is Marcus Santoro who is a Victorian boy. He is making some strides having tracks released through Neon records and collaborating with Feenixpawl just recently on a new unreleased track. He has played to thousands of kids at underage events alongside some of the world’s biggest DJ’s and he has only just turned 18. I’d be keeping me eye on him.
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CURIOUS ARTY
NEXT GENERATION DJS
It would be great to see an unbiased, and unpaid, look into the industry - as generally most magazines print what the advertisers/labels/PR companies are paying for. It would be nice to see what is really happening. I think a great example is Ibiza Voice!!
CRAIG ROBERTS
PLATINUM NIGHTCLUB
There are many that deserve respect because they have helped build the industry to what we have today. Tommy Trash needs full recognition – as do Dirty South, Ivan Gough, Sam La More, Groove Terminator. Also Goodwill - he is globally respected in the industry but the ‘average Bob’ in Australia doesn’t give the same respect. Then there are people like John Hanlon, Joey Lamattina, Peter Raff and Michael Watt who need to be given the respect for what they have done as well. Guido, Dave Winnel, Aidan Bega, Peking Duk, Bobby Vena, Nick Galea, New World Sound.
JEFF FLINT
I’m a huge fan of DJ Mag in the UK so I would like to see a similar style/ concept. By that I mean the usual artist interviews, club reviews, Top DJ’s Charts - and occasional free CD’s alwaysworkatreat!I’dalsoliketoseesocialpics,editorialonoverseasfestivals,DJ/production software/ tech updates and reviews.
DOESN’T MATTER ENTERTAINMENT
A good directory would be nice. Like for hire/purchase of equipment, courses, ticket/poster printing, volunteers etc. Nation wide too, so it could be easier to make interstate contacts also for up and coming promoters.”
From a DJ/ Producer perspective, Tommy Trash is definitely the most respected person in my opinion. From a business perspective, all the guys behind Stereosonic have my vote!
DJ TURHAN
Hottest tracks from around the world. I’d also like a directory of where DJs are playing in Australia & where you can find out who sells DJ equipment (headphones, CDJ’s, music); etc
Hook N’ Sling, they brought in some great music in to Australian electronics. They’ve got great remixes & paved the way for electronic house music for people like TV Rock and Grant Smiley, amongst others
2013 has seen so many new, up and coming DJ/Producers break into the scene in a big way. The likes of Uberjak’d & Dave Winnel are killing it right now. But I think Peking DuK, Stafford Brothers & Feenixpawl will continue to follow in the footsteps of Tommy Trash & Dirty South for international superstardom.
VMS
If the publication can bring to life the diversity and dynamism of Australian dance and electronic music and put it in a global context, it’ll do great.
Hmmmm.... Rodskeez would have to be up there. Would love to see the Sekkt siblings get more airtime too.
I’d have to say John Course. As a label owner, producer, and for my money one of the most interesting and exciting DJs in the country, he’s in a league of his own. I’m a little biased as they’re one of my projects (full disclosure), but I really believe SCNDL are set for very big things. Their upcoming material’s some of the most exciting stuff I’ve heard in a long time.
CHRIS FRASER
MINISTRY OF SOUND AUSTRALIA / RAW FM
I’d like to see producers telling us how they find their sounds and how they put certain tracks together. Also, maybe get some singers and songwriters to give us their background stories; as well as the inspiration behind their melodies and lyrics. And if you could maybe put up some ‘behind the scenes’ photos while they’re recording in the studio?
Will Sparks. Great style of music: club jumpin’. He’s bringing Melbourne Bounce to the world.
Ivan Gough because he is a genius. Or Tommy Trash, Hook and Sling and the Nervo girls because they all have worked so hard and never have given up on their dreams
ZOE BADWI
I’ve got a few: Ivan Gough, Walden and Will Sparks.
DJ KUYA
Articles about how the more technical and I guess - for lack of a better word - nerdy - focus on DJing and electronic music production.
In terms of underground electronic music, I’d go with Tornado Wallace who’s revered for his production prowess, technical skills behind the decks and that luscious beard. Hopefully not another middle-of-the-road electronica artist. Wave Racer, Francis Inferno Orchestra, and Roland Tings are all incredible artists. Let’s hope the larger parts of the public realise this.
WALDEN A lot of behind the scenes information, i.e. studio tips, DJing tips and new equipment/production software Hard question, I’d have to choose either between Dirty South or Tommy Trash.
Cutting edge and in-depth journalism covering both the thriving Australian, and international, electronic industry.
ARSEINIO
Tough question. I personally respect everyone in the industry that know that their shit still stinks. Too many to mention, but heaps out there too that don’t demand respect. Different strokes I guess.
Flume and/or Will Sparks
TYSON WRAY
EDITOR BEAT MAG/RA/LWE
I would like to see informative content about the underground dance scene in Australia that is spread across all genres of music and promoters.
The first person that came to mind for me is Jerry Poon. He had/has a vision and pushed the sounds he loves without compromising artistic integrity.
No one is more important than every dance promoter in the country who hosts small, underground events. Especially those promoters that are barely breaking any money, but still continue doing it for the love of the music. Without these heroes, a lot of Australians wouldn’t be able to see some of the more niche and obscure artists who makes it to our shores every year.
Amin Payne and Silent Jay.
Not so much an artist, but I think the Melbourne Deepcast crew is definitely going to have a big 2014. Another name to watch out for is Sleep D from Melbourne, he has a very unique techno/house sound – very twisted, hypnotic and extremely interesting.
WALTER JUAN
I LIKE THE NOISE IT MAKES
djmag.com.au 033
A gossip column where you can find out which DJ has been snogging who, and who was too wasted to get on the decks last month….No not that. But seriously I’d like to find Australian Dance Music news put into an international context as well domestic context with honest opinion pieces and a dedicated production section.
Current event listings, interviews, equipment reviews, event reviews, schlock DJ comps, investigative articles about various DJ crews and emerging music styles
I‘m not sure who would be the most DJ ROCK LIKE THIS respected person across the industry, but I know who I respect the most in the Australian industry, and it’s Nick Thayer. He is easily the most successful musical export, playing internationally on a regular basis and with a huge catalogue of releases.
DAN DEVIANT
Mark Pritchard will have a few new tricks up his sleeve next year.
HUGH FOSTER THE MET/GPO
Gig reviews, information on artists touring Australia, and a closer look at venues in here. I’d like more info on new music and emerging artists. Also an Australia-wide DJ Mag Poll.
There’s more than one. Tommy Trash from a producer/DJ perspective consistently produces chart topping records, and sells out main arena shows. Richie McNeill from a festival perspective: he has created Australia’s largest most profitable music festival, and all of his tours are first class. And Mike Toner from a touring perspective: Mike has transformed a small boutique agency (thickasthieves) into an industry leader. Everyone who tours with him has had nothing but praise for him, and in my opinion he is the best agent to work with in Australia. There are definitely a few on my radar but acts that are already showing serious growth are Touch Sensitive, Wave Racer, Hayden James on the House/electronic tip. Mainroom/EDM artists like Joel Fletcher, Samual James, and Uberjakd will be huge in 2014. I think Aston Shuffle will be catapulted back into the lime light when their new album drops. But my red hot tip is a young producer based in Brisbane called Jordan Burns, I think this guy has massive potential and a big future ahead of him.
DYLAN GRIFFIN
SUBSONIC MUSIC/AU UNDEGROUND
This is a tough one, as there are a lot of well respected people in the scene. I would say it’s not a single person as such but a few; and I would say it would be Future Classic in Sydney. They have garnered a lot of respect over the years with their events - like their heavy involvement in the internationally known and city wide, multi-week events. These include Sydney Festival & Vivid Live as well as extensive touring of International and Australian acts. And of course through their record label bringing us artists like Flume and thus helping shine more of a light on the domestic scene as a whole. In the scenes I know well, which is mainly the 4/4, Techno & House scenes I would say Jamie Stevens. He has been at the forefront before obviously with being involved in Infusion. But it’s only been in the last 12 months, I believe, that his solo stuff has got a real defined personal sound and been put on centre stage with releases on MicroCastle, Bedrock and collaborations with John Digweed; etc. I think he will go from strength to strength in 2014.
I am well aware DJ Mag goes beyond just the Top 100 DJ Poll which I think many people think is the primary focus for the magazine. It’s just a popularity contest, and DJ Mag represents these results. Personally, and for a lot of people I know , it doesn’t really mean much, where DJ Mag Australia can really make an impact is to primarily focus on the Australian scene with journalistic integrity, without any bias, and maintaining an independence from what they cover. I would also like to see them provide a forum for public criticism and debate as well as comprehensive and divergent content.
ED HALE
CHAMELEON RECORDINGS
Jamie Stevens - a bit of a techno legend here in Melbourne. Probably the nicest guy you’ll ever meet. He has worked with some of the most respected labels and producers across the globe. Check out his music and you’ll understand why.
Steve Ward - This guy is writing HUGE tracks and is a true innovator. Australian techno in 2014 will definitely be riding on his coat-tails. Keep your eye on Chameleon Recordings in 2014.
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FUNF TOURING
Tornado Wallace will be the one artist that comes to mind.
No matter the content, I’d like to find DJ Mag Australia in an airport! You can’t find any credible music mags in any Aussie airport. Give us something to read because the only time I do actually read is the 15 minute window from when the cabin door closes to when the seat belt sign is turned off. Tough question and not sure if it could be narrowed down to one person in particular. To be diplomatic, we have an amazing and close knit industry here in Australia, more of a ‘family’ in certain ways compared to other countries. Personally, I’ve been guided and mentored through my career by some amazing and talented artists who always remained grounded and supportive of the new generation of talent. I think it’s important not to alienate yourself from the new schoolers and new genres and fads, but embrace it. This is the kind of respect that was given to me earlier in my career and I try to carry that forward.
DANNY T SWEAT IT OUT
So many young guns coming out of the woodworks this year, kids are becoming so tech-savvy at such a young age and it’s giving birth to some amazing talent! I’m really into Motez who is gaining some major global heat already this year. I think he will fly the flag proudly representing house music for Australia. Hatch is another name infiltrating my play lists. He’s done some amazing unofficial remixes from house to electronica that are going viral. 2014 will be big for Rufus, after the release of their debut album Atlas followed by a sold out national tour, next year will easily be a big one for those boys... ridiculously talented.
INDUSTRY
Informative news about the real movers and **shakers** at the forefront of Aussie electronic music.
DARIUS BASSIRAY
That’s a really tough question. I can’t speak on behalf of the Australian electronic music industry so I will speak for myself. I have a lot of respect for guys like Phil K, Kevin Karlberg, Simon Caldwell, Mike Callander, Steve Ficai, Ozzie L.A., Murat Kilic. The list goes on.
I would like to see interviews from DJ’s, promoters, and producers. Also reviews and advertising related to Club events around Australia. Also more interviews from International DJ’s who come to perform in Australia. I think the most respected person in the Australian Electronic music scene is Normy Diamond of website www. waltondiamondfriendman.com. He is someone that deserves recognition for all the hard work that he puts in for the Artists he books for major events like Earthcore, and one off parties in and around Australia. Normy is probably the hardest working individual in the Australian Electronic Music scene, for booking top Artists for events Australia-wide. He also is opening the doors for many of the local DJ’s to work with and support the international talent that comes to Australia.
JAMIE STEVENS
I would like to see stories about how to use left-over rice in interesting ways, real-life stories of DJs and their pets and the ever-changing fashion trends in the outer-suburbs clubs.
This is a very tough question to answer because the talent in the Australian dance scene is probably the most competitive and diverse in the entire world. There isn’t one artist I can single out, but I do have to say keep an eye out for the “Local Heroes” from Walton Diamond Friedman, Talent Roster. Many of these talented individuals are signed to some of the best underground labels in the world. They have mastered production as well as DJing. Many of them support international DJ’s on a regular basis, and headline at major festivals around Australia. These guys are diverse in their styles of music, and on top of their game ;).
Interviews and write-ups on up and coming artists, labels and parties in Australia.
Jason Donovan and Molly Meldrum. If it wasn’t for them, there would be no acid house culture in this country. I’ve been sent a few demos from some guys but I can’t remember their names. Most of them are on the ancient Tibetan horns vibe mixed in with traffic samples, and over-driven drum machines. It’s pretty amazing stuff and definitely artists of the future.
KID KENOBI
DANKO
JADE POPPET TERRORBANG
Jamie Stevens (Infusion). Not only is he one of the kindest people you could ever meet, he has had a huge influence on the Australian electronic music scene since the 90’s. And his production is widely recognised across the world by artists such as Hernan Cattaneo, Sasha and John Digweed. Oh and Kasey Taylor! Legend!! (Michael) Muska for sure. With the success of NYD festival, Let Them Eat Cake, top notch event management and promotions for various events throughout Melbourne and his freshly launched promotions/events company, LMS (Like Minded Souls)- Muska takes the cake for some of the freshest production coming out of Melbourne. Not to mention Thankyou City, Jade May and MoodMachine!!!... Can I choose 4? :)
I’d like to see loads of Australian artists being featured rather than loads of international artists being marketed to Australians. Also some independent thought. It’s very easy to just go with what’s ‘trending’ but it would de awesome to see the mag not just rep what is ‘cool’ but also showcase artists we’ve never heard of as well as those that go under the radar.
I don’t think there is one. Dance music to me is a movement and community and all stand out figures have played vital roles within that movement. Personally I’ve always been more interested in musical ‘movements’ than individuals and for me most ‘stars’ or ‘leaders’ are just pin ups for larger movements anyway (regardless of how talented they are). We’re all interconnected in some way! As before I’m more interested in where the music itself will go as opposed to ‘who’ will be at the forefront. And that’s not an easy to question to answer! After almost 20 years of DJing and 5 years of running a record label electronic music and the direction it takes still surprises me. I’m looking forward to the ride though, wherever it goes!
JERRY POON
I’d like to see the coverage of a wider perspective of music that covers not the typical range but the actual underbelly which is consistent and prolific in its range and quality.
THE OPERATIVES
This is a tough question but I have to give it up to guys like Chad from Future Classic, James from Niche, Saran from Horizons, Simon from Totem. They have stepped up in their positions of being avid tour and music management practitioners in a highly skilled and professional sense. Then there are the Venue owners who consistently put in the hard yards to make their spaces available and in pristine condition. And I won’t put any musicians on the pedestal; never hear the end of it. Heh. No in all seriousness, there are too many people I respect to list them individually. I believe the Australian Electronic Music Industry is the way it is because of these individuals who have persevered, respected their art and developed possibly one of the most vibrant music scenes there is in the world today. Silent Jay, check them out at; theoperatives.com.au/artist/silentjay1
I would like to see a quarterly spotlight on females in variety of roles within this industry like: DJ/producers, visual artists, management (venue/ artist), promoters; ect. We don’t nearly push female artists enough. But maybe DJ Mag could be the exception. Once you do it, everyone will follow. Yay!!! That’s easy for me. Richie Rich (Hardware/Totem Industries). Richie gave me my first break in the industry. I worked as his P.A. many, many years ago. Then I moved on to set up my own dance promotions business. Richie put Melbourne on the map as the techno capital of Australia, if not the southern hemisphere. Bringing out the likes of Derrick May, LSG, Sven Vath and loads more. Putting on amazing, massive warehouse parties right in the heart of Melbourne city on the docks. His parties are legendary. He runs Stereosonic now, which is one of the fastest growing dance music festivals in Australia. He is the man. To me, anyway. Flume of course is killing it at the moment. Hopefully that momentum will keep up for 2014. I’m feeling a Grammy. One person to watch though is Ok Sure aka Kaysh. She’s worked with the likes of Deadmau5 and Flume, before they were well... big. She’s got the goods. Her production work is spot on; the look and feel of her music is developing, and has been for years. Her music has been developing into a full blown, grown up eccentric soundscape that’s well beyond her years.
LANI G
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To have an Australian edition of world renowned DJ Mag presents a great opportunity and medium for the local EDM scene. So personally, I’d like to see anything that’ll help the scene grow. Commercial dance music and anything to do with that side of the spectrum is already overly publicised in Australia. So I think DJ Mag Australia should JAY showcase reviews of more PLEASE underground music events THE SHAZAM EXPERIENCE and club nights Australiawide. Especially regular weekly or monthly underground nights, as they hold the ticket to creating a quality EDM scene in Australia. So often I’ve seen underground DJs and promoters start off really promising weekly or monthly projects, only to then watch the events come to an end after 3 of 4 episodes because they haven’t had enough publicity in the public sphere. Or via any well-known medium, really. This is where I think DJ Mag can make a difference. Too often in Australia, local commercial club nights outlast local underground movement events because these mainstream nights are organised by big budget nightclub owners. This makes it very hard for smaller budget underground music promoters to compete with them to help educate local party goers. Reviews of local dance music radio shows would also be a nice unique inclusion for DJ Mag Australia. I’d really like to see interviews with rising Australian DJs, producers, live acts and promoters. Also, charts by local DJs which are making waves in the local dance music scene. Promotions and competitions that will help build hype and promote events in Australia that cater for all non-mainstream genres of EDM is also something positive that I think local party goers would like; and would be great for the magazine to showcase. There have been many DJ/producers raising the flag for Australia over the years, but none have been more consistent in holding up the flag than Dirty South. He’s been in the DJ Mag Top 100 for more years than any other Australian DJ or producer and even holds a well respected Grammy nomination to his name. When you add that to the fact he’s been voted in the Top 50 Australian DJs for more years in a row than any other Australian DJ. He was also voted no.1 Australian producer on several occasions. So it’s fair to say that no other Australian export is more recognised and respected, not only in the local dance music scene but also in the global sphere. I like to give props to DJ/producers, not only for what they’ve achieved in terms of accolades, but also for their talents and skills as an artist and putting style of music aside, as everyone has different tastes. Anyone who truly understands DJing and has seen Dirty South perform behind the decks, will admit, he is one of the few artists in Australia that is technically gifted to a world class level! DJing is not about how high you can put your hands up in the air to get a crowd going. Real DJs can do things with CDJs and a mixer that can bring people to the dance floor even though the style of music the DJ is playing isn’t their personal favourite. Just because they are in awe of the DJ’s mixing skills. Dirty South has that gift! Lastly, Dirty South has recently set up his own record label, Phazing. It’s set to be another flag raiser for Australia and even though it’s a relatively new label, it already features releases by heavyweights, such as John Dahlback, Thomas Gold and of course, Dirty South himself. So it’s easy to understand why dance music industry pundits are already talking up Phazing as one of the next big labels to compete amongst the big guns, such Armada Music, Spinnin’ Records, Ultra, Toolroom Records, etc. It has to be said that Will Sparks has burst onto the scene and made a big name for himself this year and because of his very young age, I expect him to continue to grow and move on to even bigger and better things in 2014. However, my personal hot pick to achieve something really special in 2014 is Flight Facilities. For me, they’re Australia’s answer to one of the hottest acts in dance music worldwide at the moment, Disclosure! I’ve been so happy to see Disclosure tear up the UK and iTunes charts over the last year with tracks from their absolutely sublime debut album ‘Settle’. It just goes to show the dance music enthusiast masses are turning towards that new fresher, deeper, slightly Nu Disco sound. With their young age, Flight Facilities have been pioneers of that ‘nu skool’ sound in recent times. And after the global success that Disclosure have had, I expect big things of Flight Facilities in 2014!
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A solid focus on rising DJ talent, similar to JJJ’s unearthed - giving a platform to the legitimate DJ talent that has sometimes spent years in a bedroom perfecting the craft. This is opposed to the raft of CDJ’s & Zoo models who think it’s a cool idea to be a DJ vs actually having the skill much less artistic flair. Most respected (by peers- not market) Binary Finary
MSG S67
Unfortunately it’s more a matter of do I care? Not really, due to a total lack recognition in the market for pioneering sounds or blazing your own trail. EDM has become big business which means the next ‘big thing’ will be the one who produces the most commercially dominant tune as determined by Beatport downloads, ITunes; etc. Dollars drive marketability which in turn creates the ‘next big thing’, Melbourne Sound anyone?
I would like to see more of a feature on all kinds of dance music, not just the standard popular dance music and artists. I want to see more of a feature on the underground scene. Australia has very strong ties with it; we get the best of the underground from all over the world. They’ve been coming down here showing us what they have and inturn they get to see the talented artists, DJ’s and promoters we have down here.” If it wasn’t for the underground dance music scene that started in the 90’s, the dance music culture wouldn’t be what it is today. I hope you respect that and shine a little bit of a light on the artists and DJ’s that might not have hundreds of thousands of fans on Facebook. And all the promoters who don’t make millions of dollars at each event. I would have to say some old mates of mine, Richie McNeil and Simon Coyle. They have been in the business for a very along time. They have done it all and the Stereosonic juggernaut they are responsible for is very impressive. But you should keep an eye on a couple of other guys. Keep an eye on Kevin Karlberg from Stable Music and Jerry Poon from the Operatives. These guys are pushing excellent music that might not be considered popular, but it’s bloody excellent and if you love MAT music, you will love what these guys do. RADOVICH DJ MIKE HUNT
INDU SEA
DJ GASHE CREW FOUNDER
The truth behind humanity! Uncovering music that is truly pioneering - be it through sound, or the lost art of song writing. I’d like to see an increase in DJ/ industry networking tools and opportunities. Better representation of females in the industry. Cool events! I respect a lot of people doing good things in the Australian electronic music industry. One I’ve become particularly impressed with more and more is Jerry Poon / JPS of the Operatives. He continues his ascent and regularly immerses himself amongst timeless opportunities & moments. Probably Flume. No doubt about it, the kid is hot. And he keeps coming up with big beats. Can he maintain it? He’s buzzing across the world right now. Let’s see how he follows up his success in 2014.
I would love to find a lot of local content as I feel its always an area that can always be over run by the sheer amount of international artists that pass through , and also would like to see coverage of clubs & events like reviews, photos, and also stories behind local events Very hard question as there is so many influential people doing amazing things that give us one of the best scenes in the world Again hard to pin point just one act when there are so many talented artists doing great things , Flume will just continue to get bigger , Tommy Trash is absolutely taking the world by storm at the moment too and has some huge records about to drop, Motez is killing it, Uberjackd & SCNDL are doing some crazy work at the moment, I feel like it’s a very exciting time for Australian music in general in all different genres
PAUL AZZOPARDI SOAPBOX EVENTS
STRY
Above all, I’d have to say variety! Australia has a very broad, varied, vibrant dance scene. There are a huge number of different people working in different genres. You would hope to read about more than just the latest big thing. I’d like to see stories, profiles, and reviews from all the different facets of the scene, from underground to commercial. That’s a big question; it’s hard to say again because it’s such a diverse scene in Australia. There are so many people working independently and together within so many different promotion crews/labels/ genres. I really like what the guys from Stable, Fünf, The Likes of You, MTC & Machine amongst many others are doing for techno in Melbourne.
DJ NEO
There’s a ton of great techno producers in Melbourne right now and labels in Australia. Together they are taking on the world. I couldn’t speak for the entire Australian dance scene but some of my favourite local techno artists are Craig McWhinney, Mike Callander, Steve Ward & Jamie Stevens. Again, these are just a few amongst many great producers in the Melbourne techno scene.
I like to be kept in the loop with what music is being released, especially within the local circuit! We have so many talented artists in Australia, so regular reviews and interviews on what’s going on in this country is important.I would also like to see a community page based on potential spaces for events, and creative work spaces.
MANUEL SHARRAD
I honestly believe HMC would have to be one of the most respected Australian artists around, as he still continues to do what he does best! Hearing Cam play in Berlin earlier this year was a special moment.
I’d like to see lots of moody photos of hot DJ’s standing or crouching against walls. And some side boob. Currently I’d have to say the Slo-motion crew of Phil K and Ozzie who busted their chops getting that night of groovy fun off the ground when all around was ‘samey’ and ‘smashy’ nonsensical. Looking back, I’d also have to say Ben Suthers and the crew who ran the Boiler Room at the Big Day Out in the 1990’s. At the time, they really pushed electronic dance music to the forefront of the Australian music scene and changed the musical landscape for the better. Many years ago, I sat behind Slim Dusty at the ARIA awards and heard him mutter something about this “dubstep” thing he was working on. I’ve been awaiting this posthumous album of his for a while. Apparently he’s got Kesha, Timomatic, and Jessica Mauboy doing guest vocals. Gonna be HUGE!
Articles about how the more technical and I guess - for lack of a better word - nerdy focus on DJing and electronic music production.
ARSEINIO DJ KUYA
The first person that came to mind for me is Jerry Poon. He had/ has a vision and pushed the sounds he loves without compromising artistic integrity.
My answer is not directed towards any one Producer/DJ, but I really dig what Pilot Records are pushing at present. The label hosts such a diverse range of home-grown talent, whom are all producing solid music. I’m also excited to hear what new material both Cristian Vance and Tim Jackiw may have in the works for next year. They are both very talented artists, who should get more recognition for what they do.
SHAUN FRANKLIN NIGHTTIME DRAMA
I find in depth interviews with local DJs and producers very interesting. I like hearing about how the bigger names got to where they are today. Standard topics like product reviews, music reviews, photos etc are obviously all interesting to the masses. Content that focuses on different scenes around the world always interests me and putting things into context with a reflection back to the Aussie scene would be great.
SIMON MURPHY
This is a tough one so I’m going to put a few: firstly Richie McNeill (Richie Rich) - founder of Hardware events & label that really put Australia on the map. Phil K - Globally respected DJ who still rocks it. Jamie Stevens: who’s considered by many to be an Ambassador for all things that’re good musically speaking. He’s humble as can be and respected worldwide for his work with Infusion and as a producer in his own right. Jamie Stevens – he’s going from strength to strength with no sign of slowing. A lot of people in Aus don’t realize how big a name he is globally.
In the upcoming DJ Mag Australia I hope to see interviews with DJ’s and producers that are fairly distributed across genres. Definitely more interviews with up-and-coming artists. Club and venue reviews. Unbiased equipment and instrument reviews. Some remix competitions. Guest editors. I’d also like to see links to exclusive online content and free CD’s/mp3. A ‘gig guide’ would be really cool. I would also like to see some attention given to Adelaide and Hobart Tough question…Steve Ward has built up a beautiful family at Chameleon Records whilst putting out fantastic music and staying humble in the process. All the artists on the label share his vibe and produce some of the most diverse and inspired electronic music in Australia today. Honourable mentions go to Jamie Stevens, Marcotix (Subsonic), Zac Kostos and Michael Muska for what they are trying to do with the scene and the community based way they go about it. I expect big things from Thankyou City in 2014.
STEPH YEAH GYFO CREW
Amin Payne and Silent Jay.
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Support and features on the Australians artists who are doing big things internationally. Features on Australian record labels and events companies that are being held around the country. A who’s-who guide of industry people, what they do and what is coming up. I’d really like to see some features on upcoming technology that are incorporating Australian’s for demos or marketing; etc. Info on what is happening overseas, and identifying trends, which Australian promoters could use to help grow the scene here. That is a really difficult question, there is many great people that work in different facets of the music industry and is difficult to compare one with another. For me personally though, I would say Richie McNeil from hardware, who now is a Director of Stereosonic, is my most respected person. He was the reason techno became so popular in Melbourne, he ran these large-scale events featuring only techno and he always played great tunes.
STEVE WARD
That also is quite a difficult question as there are many popular genres coming out of Australia. Talking house & techno I have to say that Jamie Stevens & I have many huge releases and tours coming up next year. Not to mention Jamie’s collab with Digweed & my collab with Carl Cox has give us both massive attention. No one in Australia has had the opportunity to work along side A-list names like that, so it must count for something. ;-)”
A report on the biggest & best things happening in each city today and an insight in what tomorrow will bring for the Australia scene. Simon Coyle (SFX). Simon is eternally humble and he has really led the charge in a team that has created a world-leading, home grown, electronic music brand. This would be Nervo, pure talent and all class. These girls epitomise the very best of the Australian dance music scene. I have nothing but love & respect for what these girls have done and I believe they will make some big moves in 2014.
STRICT FACE
TIM WAUGH MARQUEE SYDNEY
Articles of a high quality, especially when pertaining to relevant issues in the modern electronic music scene in Australia and overseas.
Local reviews of digital releases, from a small group of solid reviewers who select different ones every edition. Also, a carefully selected profile and download link for a variety of undiscovered artists who are putting in the hard work to pursue their career in spirit of true artistic integrity.
No idea.
In no particular order, I’d go with: Luke McD, Jamie Stevens, Jesse Kush. They’re truly vital keys to the future of our groove tribe. I believe this generation of Australians will continue to turn heads around the world. Funkform and Augmented are ones to watch.
TIMMUS
SMASH BANG RECORDS
Probably Dro Carey. I feel he hasn’t had his ‘moment’ in Australia yet compared to outside of the country.
This is a difficult question to answer as there are so many talented artists. In our opinion we would say Opiuo. His productions are off the hook and his live show is not to be missed, they are packed with so much energy and he is going from strength to strength. There is also Jamie Stevens (Infusion) who we would consider one of the most underrated DJ/Producers in Australia.
THANKYOU CITY
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Well we are a little biased but our prediction is Thankyou City.
INDUSTRY.
We would like to see a focus on the underground electronic music being produced in Australia not just your typical commercial “Vocal House” that seems to be pushed so much. It would be good to talk to local producers and DJs who are regularly touring Europe and the Americas. That way we can gain a better understanding of what’s happening in the scene around the world, from the artists’ point of view. There are some great productions coming out of Australia that you would consider “underground” however it’s very difficult for these artists to gain recognition in Australia.
We’d like a mag that’s not so biased in regards to whats happening with the rest of the music world. It would be great if the magazine focused most of its attention on the Aussie scene as we feel it is slowly becoming the forefront of the industry. Also, the front cover of every issue should say “Melbourne is the best!”
We can’t speak for other artists, but we have much love for local Melbourne legends Boogs & Spacey Space. They played a big part in the shift of the current dance scene in Melbourne and influenced us tremendously when we were starting out. They are also two of the most humble blokes you’ll ever meet.
HOLLY J
Production tips & tricks - In depth interviews with artists (asking nitty gritty questions about behind the scenes stuff as well as the typical interview stuff) - Club reviews from actual patrons not the clubs with the most money pushing their club Competitions to win tickets to events & festivals (maybe contact the artists that are being interviewed to give away merch packs) Lots of articles about the scene, what is happening & who is emerging through soundcloud & other social media outlets around Australia.
ORKESTRATED
I’m new to the EM scene, only about 1/2 years into it, so for me it would have to be the obvious ones, either Dirty South or Will Sparks, both having a massive influence overseas, it’s cool to see artists from my own town Melbourne travel overseas and tour because it can make it seem possible for anyone who is willing to work!!
I’m sure Will Sparks will be there he’s constantly improving so can’t see him disappearing anytime soon, also for other people i’d say out of Uberjak’d, Joel Fletcher, Samual James, Reece Low or J-Trick would probably be one of the next to represent Australia on an international level. Hope that’s all good! If I was a reader, just starting out and wanted to learn. I would want a whole segment dedicated on direction of programs, plugs, packs, decks, mixers to get and also personal back ground articles of well known Artists. I wasn’t around when AJAX was number 1 all those years in a row (Rest In Peace) but from what i’ve heard, he could always control the crowd no matter what, play the best music and at the end of the day, a down to Earth good person, and we need more artists like that! For me growing into the scene.. I’ve always looked up to the Orkestrated boys. They’ve been smashing it out week in week out for so many years now, and can still produce an absolute belter again and again
WILL SPARKS
MASHDNKUTCHER
Samuel James, Joel Fletcher & JDG
More photos of me! Jokes. I think just lots of gig listing, what’s on in Australia and showcasing Local and upcoming artists gig dates and spots.
A solid mix of what’s hot in Australia’s EDM Scene, product reviews, feature articles on upcoming talent and reviews of both national and international music.
That’s hard because I think we all try and respect each other equally in this industry working together to make it what it is. If I had to name someone it would have to be Timmy Trumpet. If you haven’t met him then you wouldn’t know what your missing.
SCOTTY LEE
MATT WATKINS
I think it would be cool to know which international artists are playing/visiting Australia in the near future not only at festivals but also at once off gigs as well perhaps. Also it would be cool to see how Australian artists are doing and to know if any Aus artists have any breakthrough’s or reach substantial goals/awards.
Chardy. He has been around for years, is constantly furthering his skills & knowledge, & will actually take time to help out the up & comers. Plus he is a seriously genuine bloke & is doing it for the right reasons (unlike a lot of the ‘djs’ these days!)
Will Sparks and Joel Fletcher
Will Sparks will continue on from his success in 2013. Look out for Joel Fletcher to grab the scene by the testicles also.
Will sparks, hands down. He has made a very noticeable dent with his signature sound and I think we will all support every step he takes to dominate the world and represent the Aussies and Lucky Ent.
Tommy Trash. He’s been at it for a while, has worked hard to get where he is today, representing Australia on the world stage, plus is always humble to critics and fans alike.
ZANNON
Really? Will Sparks of course! He’s taking the world by storm with his unique sound plus has the energy and personality to go all the way!
Up and coming artists, what artists are up to and latest releases coming out. Also interviews.
Features on all the new awesome music coming out of AUS.
I’d say Will Sparks at the moment. He’s taken the Melbourne Sound to a whole new level, also he is probably only the first Aussie artist to blow up so big in the EDM scene, its never really been done before.
Artist wise, Flume. Could never find a bad word about him, extremely talented, extremely humble!!
Joel Fletcher for sure! Its definitely his time to shine!
One couldn’t look past Will Sparks, already accomplished so much in so little time!! His production is just escalating. I think obvious big name international news and new release’s but also info and news on young & up coming guys here locally coming from all genres, new product ranges, upcoming tours and some sort of independent music charting system.
I think that’s a very hard question as there are many that could fit this answer but to choose one I think I would go with Timmy Trumpet because he has been around for quite a while at the top of his game and stood the test of time in this ever changing industry and is also a very down to earth, nice guy that has plenty of time for everyone and due to touring at many a club all around Australia and abroad has earnt respect from plenty of people
ROK E
For me its easily Joel Fletcher! In my thoughts he has always been some what under rated even thought always being a decent name in the industry I believe he should of been a lot further and bigger then he was, in saying that in recent times he has defiantly started to gain the recognition he deserves, he is an amazingly talented and hard working producer and a master at his art of djing and I think this new found recognition is only the tip of the ice berg, the start of his carrer and the start of something HUGE for him. 2014 is his year and im sure there is plenty big things to come from him and he will be leading aus music into the rest of the world.
JAMIE VLAHOS
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A Crew Love Tea Party with
Soul Clap, Wolf + Lamb The four recently hit the shores of Australia for their Crew Love 2014 nation wide tour. Along the way, DJ Mag Australia managed to sit down with the USA party crew. Whilst chatting over chai tea and chocolate biscuits, we found ourselves in the backyard of a secret location in iconic Bondi, Sydney.
DJ Mag Australia: How has the entire Australian trip and tour been so far?
Soul Clap... Elyte: I think it’s on its way to being an institution, if I’m not mistaken. This is like round two for us, and it’s starting to get really comfortable here. Charles: You know, it’s a really nice place to come and a change of pace, from the typical thing in Europe or the UK. Especially to get out this way and then go to Asia, it’s very exciting! The weather is fantastic! Elyte: We also get to escape wintertime in New York and Boston. Charles: For us it’s a little bit more difficult then other acts, I think – we’re more what other people would listen to after they have already been introduced to electronic music, and had time to figure out what they like, more sophisticated songs or more classic stuff.
Some of the crowds that we are running into are very young – its great we’re educating, but I think as we continue to come back, its only going to get better and better. With that being said, gigs like Let Them Eat Cake Festival in Melbourne, was such an amazing vibe and so fresh! I got a lot of inspiration from that particular gig. Elyte: The festivals are one thing, and I guess this is really the first time I’ve done festivals over here. But it’s the sideshows and the club shows we really love manly playing to really rich people.
Wolf + Lamb… Gadi: We have the same experience in America too. It’s not really geared towards our music; it’s more towards Skrillex kind of thing. We’re more the underground stage, which’s very hard to find. Soul Clap... Elyte: But it’s also that we play long sets. When we play in clubs, we usually play 4-5 hours especially when it’s all of us. It’s a lot harder to translate, as we go all over, playing so many different genres of music - starting slow, speeding it up and then going weird again. But in a festival you have to translate that into an hour and a half. Wolf + Lamb… Zev: But also the festival energy is so high, that kids have a few hours to see all this sit, and your energy needs to match what’s around you and surpass it, or you cannot maintain a crowd in these festivals. Which is the reality of festivals – it’s not specific to Australia or anything. Soul Clap... Elyte: The biggest difference is the set times, meaning the amount of time that we get. That’s a huge thing, it may mean we
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can’t play as wide a range of stuff, as we like to go in and feel out a crowd out. Find out the type of audience it is and take it from there and push it in different directions…
Wolf + Lamb… Zev: Call it going fishing! Soul Clap... Charles: You can’t feel up a crowd! Elyte: You can’t feel up a crowd at a festival because sometimes there’s a big fence in between you and the crowd! Charles: And they’re underage… DJ Mag Australia What’s your take on EDM at moment and where do you feel it’s going?
Soul Clap... Elyte: Dance music is definitely the most popular it’s ever been globally, and I think it’s hard to debate that. I think that’s amazing, as we have a lot of exposure and money in the game, but it’s also bad (ironically) for the same reasons. I think music often takes a back seat to profile, especially with the Internet being such a guiding force at this point. Music taking a back seat to profile, fame and fortune – it’s like a double edge sword. It’s great to be able to reach all of these people! But when their getting fed a lot of bullshit all of the time, and they’re not open to something different - then it doesn’t actually help that more people are listening to the music. Wolf + Lamb… Zev: This whole era of it being so popular, ultimately as the things shakes out, didn’t really affected us that much. When it started getting popular, which was like 3 years ago – it didn’t affect us - as it’s really removed from us. I think the pay off is going to be in the next few years. Especially as these kids who joined it for the Deadmau5, advance past Deadmau5 and end up in the underground - then
we have a whole new supply for years to come: of kids who are introduced, the same way we were. I was listening to fucking Gatecrasher (laughs), Ministry Of Sound, and Trance shit – you know, whatever they were playing at Twilo. That’s what was cool and we went there. Richie was playing at Twilo back then too but that was too weird for me. That’s the point, which was my journey over many years, which end me up in this thing. I think the pay off will be or years to come, we have a whole new generation of kids who are not right now, into our shit. They don’t know what the stuff is; they don’t care about it and can’t get into the groove. But as they take less drugs get a little older, start drinking more, and the pace slows down - then they will fall into this vibe. DJ Mag Australia How do you find your respective sounds fit within the Australian audience here, compared to the crowds back home in the US?
Wolf + Lamb… Zev: No but even when we played at that festival in Brisbane, the first show we had - those guys were just rocking, classic disco. And the crowd where just eating it up! And yeah nu-disco… I think the DJ circuit is very global and Australia is cosmopolitan in the sense that, it doesn’t take a long time for things to reach here. Soul Clap... Charles: Not only that, but Australians travel a hell of lot! So it’s completely possible for someone to go to Europe or America and see disco, where it’s really happening and then come back here and be excited by it. You guys get around! Elyte: The US for us as we grew up in New England and New York - we really cut our chops DJing in New York. It’s a deep connection we have, you can play anything and people just go with you.
Wolf + Lamb… Zev: I feel it’s pretty global and it seems like maybe because of Future Classic that there’s a lot of disco penetration here, does that make sense?
Charles: Right now we have this great residency at Output in Brooklyn (which we where talking about), which has been tons of fun. Every once in a while the Marcy is still kicking.
Soul Clap... Elyte: Nu-disco.
DJ Mag Australia Is that your favourite club globally?
Soul Clap... Charles: I’d say when the Marcy is happening that’s still the best but Output is great to play! But I don’t know if we have favourites, but that’s one of them. Elyte: Output is one trowel in Amsterdam is one, that’s actually closing at the end of this year - so any techno tourist looking for somewhere fun, go to trowel in Amsterdam. And what else is dope?
Wolf + Lamb… Gadi: Used to be the Pickle. We’ll be playing there soon. Soul Clap... Charles: Oh Lost Beach club! In Montanita, Ecuador. Wolf + Lamb… Zev: That shit is literally like out of LOST. You’re in Ecuador and all of a sudden, there’s a stack of fucking Funktion Ones in this banged up street! It’s the last thing you’re expecting - is a full on club. DJ Mag Australia What new music do you guys have coming up?
Soul Clap... Elyte: The next thing that’s happening is the Crew Love album - new exclusive music from the whole crew. It will hopefully come out this April, to coincide with the Crew Love bus tour we’re doing in Europe. We will have singles released on all of our labels and a whole compellation, coming out as the Crew Love Album. DJ Mag Australia What other artists will be on the Crew Love album release, besides the four of you?
Soul Clap... Elyte: It’s Nick Monaco, Tanner Ross, Slow Hands, No Regular Play... It’s really just the whole crew reaching out and doing this big collaboration together. It’s very similar to the DJ Kicks we did, kind of like the same idea – like Motown! DJ Mag Australia What has been one of the craziest highlights over the entire tour so far?
Soul Clap... Charles: I think Let Them Eat Cake was the best party so far. We also had a fun thing at mansion, which is Zane Robe, which is a clothing company from here – which we did a collab with. Which was a private pool party… Soul Clap... Elyte: I would have to say the Let Me Eat Cake, one of the best festival experiences I have ever had. Let Them Eat Cake, Garden Festival in Croatia – it’s been magic like that! Soul Clap... Charles: There where some fun Miami moments! Wolf + Lamb… Gadi: This was very different though; this had a very homey feeling to it. Soul Clap... Charles: Plus the stage we played on was build by one of the people who did Bar 25 in Berlin. So she took a lot of those ideas into the architecture. DJ Mag Australia Where do you find time to record music and do you record in studios?
Wolf + Lamb… Gadi: Always headphones (laughs) it’s really kind of sad. I wouldn’t say it gets produced but it starts through headphones. We’re always working on those headphones. Soul Clap... Elyte: My dream is to have my own studio one day. ‘’We have all been dreaming about that for a while’’. WRITTEN BY: JACK CARTER
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Sounds Over the course of the last few decades the world of dance music has experienced a colossal transformation, from relative obscurity right into the heart of popular culture. ‘Big DJs’ and their music are now a global phenomenon... It wasn’t, however, until the 1970s that the first DJs and nightclubs, as we know them today, began to surface. It would be impossible for me to chronicle all the aspects of such a meteoric rise in popularity, nevertheless over the next few months I hope to assemble some of the key events and movements that have most shaped today’s nightlife, and hopefully give some insight into the evolution of dance music. Although much of today’s dance music has achieved global success, genres such as disco, house, hip-hop and techno all began as underground movements. My aim is tell the story, as I see it, from the point of view of various cities. These will be the places that have most shaped the world of dance music: beginning in the United States, with New York City, Chicago and Detroit, before moving on to Europe and Manchester, London and Berlin. Join me as we explore the iconic clubs, the immortal record labels, the pioneering DJs and, of course, the music itself that would go on to define generations. “Even if history can never tell us exactly what music means, music can tell us something about history.” Alex Ross There has always been an undeniable correlation between music and environment. From prehistoric and ancient music right up to the modern day, music from different parts of the world has varied enormously because, as with any art form, it’s impulsive. Even in the earliest examples, music came to be as a reaction to a surrounding, however literal that reaction may have been. Prehistoric man attempted to imitate naturally occurring sounds but was restricted by his primitive instruments. Nonetheless hands were clapped, stones were banged together and eventually some rudimentary flutes were made, as music gradually evolved and matured throughout the Middle Ages. Over the course of the following centuries many musical instruments were developed, allowing orchestras to grow in size and the music they played to blossom. The laws of musical theory then came into being, clearly defining the rules of harmony and tonality. The driving force behind much of the music of Baroque period was religion, and the music became less ‘folky’ as it adopted more of a structure, with principles and laws. Despite these newfound ‘musical
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theories’, different composers maintained their own identity. For example, the music of Johann Sebastian Bach was less flamboyant than that of Italian composers such as Scarlatti and Monteverdi. Where Bach had been raised in the strict Lutheran tradition, the Italians had been exposed to the art and fashions of the Italian Renaissance where opulence was the name of the game. These cultural differences are almost palpable when listening to the music, as it is so heavily accented by the lives of these composers. The composers of the Classical period followed in the footsteps of Bach, Vivaldi and Handel, though throughout the 18th and into the 19th Centuries less emphasis was put on sacred works, and it was secular music that really came to the fore. Not only did ‘The Symphony’ become an important cultural event, opera and ballet also blossomed as cities such as Vienna, Dresden, Paris and Berlin established themselves as the leading musical cities of the époque. Subsequent composers grew tired of the constant comparisons to Beethoven and Mozart, and started to turn a blind eye to the theoretical ‘rule book’, and music making became visceral and instinctive once again. All composers throughout the history of classical music have, at some time or another, attempted to evoke images of the nature and wildlife around them, through their music. Gustav Mahler and Jean Sibelius were both particularly successful in achieving this. And, as we move into the 20th century, composers and musicians begin to imitate other sounds that they’ve been exposed to, not only now the naturally-occurring, they also became influenced by the harsher noises of industry and machinery. Shostakovich composed his Leningrad Symphony, whilst struggling to cope with the background noise of German guns. Composition was becoming more and more diverse, and it needed to, so that musicians could express the emotions of these radically changing times.
the City
BEN LONG
Part One - New York New York City is one of the most exciting, fast-paced and artistically progressive cities in the world today. With a population of over 8 million, speaking over 800 languages, it is not difficult to see why New York is such a trend-setting capital. The famous city, comprising five boroughs, is the most densely populated in the country and easily the most culturally diverse of North America, possibly the world. The city was the source of numerous movements, not only within the arts but also socially and politically, throughout the 20th century, and to this day remains a mecca for artistic innovation. New York City positioned itself at the core of the US arts scene in the 1830s. At this time the country was intent on creating its own national identity. As New York had previously been a Dutch colony, and later fell under English rule, here more than anywhere, there was an urge to remove the shackles of European influence. Choral societies were formed in many American cities, at the same time came the emergence of military bands, family troupes, and later still minstrel shows and vaudeville. Not the loftiest of art forms, perhaps, but nonetheless significant in that this was something definitively American sounding, and original.
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Part One Several years later, towards the end of the 19th Century, New York truly became rooted as an international centre of culture. The Metropolitan Opera House opened its doors in 1882, shortly followed by Carnegie Hall in 1891. As if acknowledgment of the city’s newfound international status was needed, the May 5th opening of Carnegie Hall was attended by some of the most important names in music, including Russian composer Tchaikovsky. As well as these two new landmark music venues, the New York Philharmonic and New York Symphony Orchestras were also formed around this time, furthering the city’s standing as a burgeoning centre for European Classical. All that was missing was the performance of more American music. When the Bohemian composer Antonín DvoĜák came to New York in 1892 to head the National Conservatory, he became fascinated by the folk music of Native and African Americans. After an African American student, Harry Burleigh, introduced him to the songs of minstrel shows and spirituals, DvoĜák felt compelled to write an article in an 1895 issue of Harper’s magazine, encouraging Americans to apply these folk elements of their own country to their music, something that he himself had always done with the folk music of his native Bohemia. Dvo ák’s words did not fall on deaf ears as over the next 40 years New York City would be exposed to an abundance of new home-grown music. This new wave of creativity was gathering momentum throughout the city. Not only did American composers, such as George Bristow, William Fry, Charles Griffes and Leo Ornstein, begin to have their works performed in the great concert halls, but altogether new styles were also beginning to emerge from the depths of city. The influence of blues music from the African-American communities of the Deep South United States made its way up to New York. The sound that resulted, named New York Blues, was a blues style with a more ‘urban’ feel to it than the traditionally rural tones of the Deep South. Ragtime, another style deriving from the African Americans, this time played on piano in bars, clubs or brothels, gained popularity thanks largely to the ‘King of Ragtime’, Scott Joplin, and his 1899 hit, ‘Maple Leaf Rag’. These styles of blues and ragtime, coupled with swing, merged to create the jazz sound. Although the most important city in the evolution of jazz music was undoubtedly New Orleans, the phenomenon didn’t take long to arrive in New York. In 1923 a young man from Washington D.C. named Duke Ellington, moved to Harlem, New York City. Harlem, a poor neighborhood located in the north of Manhattan always had a large African-American population, and it was from here that the blues and jazz sounds of New York really stemmed. Ellington became one of the figures of the Harlem Renaissance, a cultural movement promoting ‘Negro literature’, and a ‘new black identity’. Dance craze, the Charleston, emerged in Harlem, as did African-American musical theatre as this was clearly a time of immense change and freedom of ideas. A great many musicians followed the path of Ellington, and moved base to New York. Over the next 20 years these black musicians would be transformed from relative obscurity to international renown, as, finally, America had found a national identity in music. The New York sound developed and the music that the big bands played grew to become known as ‘swing’, it was a danceable style played by large orchestras of black musicians. This sound evolved, again, into what would become known as bebop, a form less rigid than swing that gave the performer much more scope for ‘soloing’ and improvising. Pioneers of the bebop style include Dizzy Gillespie and Thelonious Monk. Many new genres were to spring up from jazz, notably ‘cool jazz’ a style which rose to prominence in the 1950s, with New York based Miles Davis at the heart of it all.
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New York Blues and jazz were not the only American styles blooming in the first part of the 20th Century. Musical theatre was another phenomenon going from strength to strength. During the 1920s impresario Flo Ziegfeld was producing annual song-and-dance revues on Broadway. These revue shows were an opportunity to showcase the talents of American composers such as George Gershwin and Cole Porter. The first complete ‘musical’ in the sense we know it today, was Jerome Kern’s Show Boat, which premiered in 1927 and proved to be a roaring success. The following years would see Broadway cemented as the premiere international location for musical theatre. This era has become known as, ‘the golden age of songwriting’, and the theaters most certainly benefited from the wealth of new musicals coming their way. For George Gershwin, New York’s favourite composer, scores for the Broadway stage did not provide his first taste of success. He had previously worked as a songwriter for the famous collection of New York music publishers, known as Tin Pan Alley. Born in Brooklyn in 1898, Gershwin was the son of Jewish immigrants from Europe, like so many other songwriters for Tin Pan Alley and Broadway. Having succeeded with his songs and musicals, he turned his attention to classical music and in 1924 composed what is probably his greatest masterpiece... Rhapsody in Blue truly is a New York composition; it fuses the jazz music that had inspired the young Gershwin in Harlem, with the more traditional European classical music. Having travelled to Europe in the mid-20s to seek the tuition of great composers, such as Maurice Ravel, Gershwin shifted his focus once more, and returned to the United States, this time into the world of opera. This wasn’t opera in its most traditional form, in fact Gershwin himself referred to it as ‘folk opera’, 1935’s Porgy and Bess being his greatest success in this field. Another New York composer who would later earn success was Aaron Copland, also from Brooklyn. Copland fused elements of American folk music with European techniques in composition so successfully that he earned himself comparisons with the great Russian composer Igor Stravinsky. Folk music, in its more traditional form, had also been going through something of a revival in New York. Lower Manhattan’s
Greenwich Village in the 1940s was the scene of this revival. Young people would gather in ‘the Village’ to listen to some blues, and a whole host of different styles of American folk music. ‘The Village’ also became a focal point for left-wing political activism, and this exchange of ideas and musical folk styles throughout the 40s and 50s, culminated in the emergence of the folk-rock scene as a young Bob Dylan moved to the city in 1961. Not only were new sounds and political ideas flowing so freely at this time, the city’s layout also began to take a new and modern shape, thanks almost entirely to urban planner Robert Moses. Having already established himself as a big player throughout the 1920s and 30s, Moses’ vision was to build a modern city which relied on a network of highways and parkways, as opposed to a public transit system. An expert in both engineering and legislation, Moses went about changing the shape of the city as he oversaw projects including the Long Island Parkway projects, the Triborough Bridge (now the Robert F. Kennedy Memorial Bridge) and the Brooklyn Battery Bridge, as well as the Brooklyn-Queens Expressway and Staten Island Expressway. He was also responsible for the iconic Lincoln Center’s construction and even contributed to the United Nations headquarters. It is fair to say that the city of New York would have looked very different without the influence of Robert Moses. Moses’ urban renewal plans of the 50s and 60s had an enormous impact on industry in the city. The majority of factories and warehouses in the city, historically located in Manhattan, specifically in the neighborhood known as NoHo, could now move outside of the city. Moses’ extensive network of highways had vastly improved transport within the city, so a great deal of the industry relocated to New Jersey, where there would be far more space, yet still great access to Manhattan. As a result, many warehouse and loft spaces became available with a cheap rental price in Manhattan, many of which were promptly snapped up by young artists. It was from these Manhattan lofts that dance music culture emerged, as the 1960s drew to a close... Next month - New York, PART 2
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21
YEARS YEARS YEARS YEARS OF OF OF OF VICIOUS VICIOUS VICIOUS EARS VICIOUS YEAR F O 046 djmag.com.au
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Words: Nic Horowitz
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From humble beginnings in a back yard shed to a plethora of worldwide hit singles, Vicious Recordings has grown from a vinyl based underground movement to one of Australia’s largest dance music labels with a distinct global impact. Home to some of the most prevalent dance music artists over the past two decades, Vicious is still running strong with their ‘21 Year of Vicious’ compilation out next month as a celebration of their accomplishments and a testament to their continued relevance in the international dance music community.
In
1993, Frankston DJs Andy Van, John Course and Colin Daniels pooled together their limited resources and started Vicious Vinyl. “We wanted to put out dance music because that type of music was happening worldwide except in Australia and none of the major labels were doing it”, Andy shares with DJ Mag Australia, “We thought, stuff it, let’s just do it ourselves and we started to put together some artists”. As a brand new record label, Vicious’ initial artist roster, including Ground Level and Carl Cox, was quite phenomenal and was certainly a key factor in the instigation of the heavy exposure Vicious was subject to at the time of their first few releases. “I remember when Andy and I went to the UK for the first time”, John reminisces, “We were standing in a queue to buy bar tickets at this underground party and ‘Dreams of Heaven’ by Ground Level came on and we were like, ‘This is our song’. That was a long time ago and it seems like a small step but when you first start and stuff like that happens, your perceptions change over time.” From unassuming vinyl origins, Vicious has managed to captivate commercial and underground global markets for 21 years with fresh, forward thinking music; music that has evolved to contribute to the rapidly changing scene and still remain highly credible. John attributes the success of Vicious to their open mindedness and willingness to adapt, “We’ve always had one foot on the clubbing dance floor but we’ve never been scared to put out records that are catchy.” Throughout the history of Vicious, a number of different imprints have emerged to accommodate for the diversification and evolution of the records being released. “We now have Vicious Bitch, Vicious and Vicious Black”, John tells DJ Mag Australia, “They all put out slightly different styles of music so that we can keep a consistency across the sound for each individual label.” Andy adds, “We’ve established the imprints to connect with genres that aren’t specifically the main genre because we like to support new sounds that are cutting edge”. This forward thinking nature has always been evident with Vicious’ releases. “I will always remember when we were doing electro stuff with Dirty South and Vandalism back in 2004”, Andy recalls, “We did a remix of a track called ‘The Creeps’ under Vandalism and the label in the UK just did not like it, as it’s what we called electro, and they said, ‘nope not for us’. They just didn’t get the electro sound. We found out a few months later that the remix was number one on DJ Download and one of the biggest tracks of the year.” Andy admits that,
“we’ve always been lucky, fortunate or had great foresight to pick sounds that are just around the corner and if it doesn’t sell we don’t mind that. As long as we like it and there are DJs that dig what we do. That’s our main aim rather than how many dollars we can make.”
This progressive mantra Vicious subscribes to has led to their continued success over the 21 years. Melbourne house legend Sgt Slick and Perth drum and bass outfit Pendulum earned Vicious their first two dance music ARIA Awards in 1995 and 1996 respectively. In 2000 Andy Van’s project Madison Avenue won the ARIA Award for Single of the Year with their breakthrough track “Don’t Call Me Baby”. Andy highlights the importance of this pivotal moment, “I think that was a significant time for us to go, ‘This is the first time a dance music song in a rock dominated country has actually won record of the year’. That was pretty special.” Over the 21 years Vicious has been operating some incredibly successful artists from been developed from the ground up including Avicii, Dirty South and The Potbelleez. “We’ve been incredibly fortunate to sign some one of the biggest artists in the world before anyone else did”, Andy elaborates, “Initial demos are the first important thing. Can they produce? Can they write a melody? A good song is a good song. It doesn’t matter what genre, what era or what year. If it’s a good track it’s going to stand the test of time”. The way Vicious operates is a fresh of breath air. Trend setting rather than trend following, Vicious has always pushed and promoted unique artists in unique ways. “Blogs were starting to happen at the time of Avicii’s rise”, Andy tells DJ Mag Australia, “A lot of the labels were trying to close down blogs because they were listing illegal links of their songs. At Vicious we actually embraced the blogs and talked to them and got them to support our artists. DJs didn’t want to just listen to thousands of songs on Beatport. They wanted to know what’s hot. Avicii and his manager Ash were instrumental in pushing Avicii’s tracks and demos across to blogs”. In celebration of their 21st anniversary, Vicious will be releasing a ‘21 Years of Vicious’ compilation next month. “It’s an idea that’s been floating around our heads for quite some time”, John explains, “We’re a label that looks to the future and is always putting out new music so we don’t want to bask in our previous hits too much, which is why a lot of our old stuff was never remixed before. But given it was a significant time, 21 years, for the label we wanted to connect our history with today. We kind of tried to find a way to celebrate our history and join the previous records that we’ve had and link them to the new artists that we have so now. We thought that if we do 21 remixes of 21 Vicious classics and include 21 of the originals, we’re going to have a package that really showcases what we’ve done as a label over 21 years.” 21 Years of Vicious will be available exclusively through Beatport on the 3rd of March and through all other digital sites on the 21st of March. Words: Nic Horowitz
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VICIOUS Tracklist:
REMIXES
Don’t Call Me Baby - Madison Avenue Motez Vicious21 Remix Jailbait - Avicii FTampa Vicious21 Remix Star To Fall - Cabin Crew Jam Xpress Vicious21 Remix Come With Me - The Astral Project Andy Van & John Course Vicious21 Remix Open Your Heart - Axwell & Dirty South Ivan Gough & Jebu Vicious21 Remix Getting Away With It - Sean Quinn & Gus Cullen Mr. Fluff Vicious21 Remix Gonna Be Mine - NAPT & Peo De Pit Sgt Slick Vicious21 Remix Eternal - Eternal Angger Dimas Vicious21 Remix Dreams Of Heaven - Ground Level Gooey Vicious21 Remix Believe - The Travellor & In Motion Stevie Mink Vicious21 Remix White Treble Black Bass - Sgt Slick The Phantom’s Revenge Vicious21 Remix One Of My Kind - Rogue Traders Sven Kirchhof Vicious21 Remix I Am Tha 1 - MrTimothy Avon Stringer Vicious21 Dub Electrify - Mind Electric Tempsun Vicious21 Remix We Are - Dirty South Skyden Vicious21 Remix Vegas - Vandalism & Static Revenger Reece Low Vicious21 Remix Automatic Machine - Sgt Slick Vs Pitch Dark Dirty Rush & Gregor Es Vicious21 Remix Everyday - Sgt Slick Dave Winnel Vicious21 Remix Who The Hell Are You – Madison Avenue Rektchordz Vicious21 Remix She Got It - Vandalism & Angger Dimas Filth Collins Vicious21 Remix Achtung - Dave Winnel Vandalism Vicious21 Remix
ORIGINALS
Don’t Call Me Baby - Madison Avenue Original The Way You Are - Peking Duk Original Eternal - Eternal Original Dreams Of Heaven - Ground Level Candelight Mix Coma - Pendulum Vicious Mix Believe - Travellor & In Motion Key South Mix Warp - 16th Element Original White Treble Black Bass - Sgt Slick Original One Of My Kind - Rogue Traders Original I Am Tha 1 - MrTimothy Original Let It Go - Dirty South Original Never Say Never - Vandalism Original Open Your Heart - Axwell & Dirty South VOCAL MIX Automatic Machine - Sgt Slick Vs Pitch Dark Orig (Not vocal) Everyday - Sgt Slick Digital Lab Mix Feel My Love - Quench Thirsty Rhythm Mix Star To Fall - Cabin Crew Original It’s Too Late - Dirty South & Evermore Original Don’t Hold Back - The Potbelleez Original My Feelings For You - Avicii & Sebastien Drums Original Don’t Look Back - Tommie Sunshine & Disco Fries Original
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D E E PC H I L D e has been making music over the last 3 decades, with 5 full of been investigating other projects which have been, I guess, still H length albums to his name. He also has about just as many electronic music related but on an almost darker, shoe gazey, grimy, sample libraries out. He’s just launched his own record label, and satanic tip’ he says almost questioning himself before he laughs at releases more music under 2 different names. He’s been living in Berlin for almost 5 years now, and is scheduled to tour the U.S. early this year. You’d expect Rick Bull, aka Deepchild, to be excited by all these projects, but true to form, he is trying to challenge himself, his music and his spirituality and make sense of his own career. I found him in a very reflective mood, but very up and jovial as well, constantly laughing and being extremely humble. I hadn’t spoken to him or seen him perform for almost a decade. He wasn’t a DJ back then and he had very long dreads. “Around 2004/2005 I started DJing in bars to start with, playing lots of Hip Hop, Soul and R’n’B and Dub and stuff like that. As an experiment because I have nothing to lose, and I’m not very good at it and if people think I’m shit then I won’t feel crushed. To be honest I’ve always felt unduly intimidated by the Sydney DJ scene. I felt like I couldn’t fit into it, because I wasn’t cool enough, but it worked really well and I played the main stage at the Exit Festival 2 years after I started DJing. I played at Panorama Bar the same year. I guess it kind of worked out.” That’s what I mean about him being humble, and I had to point out that with his music and dreads, how could he not be cool? And by the way, what happened to the dreads? “They were really really long” he says laughing. “I started to get fit and they were getting in the way and soaking up a lot of sweat and grime. And I was starting to get weary of being asked for weed the whole time”
And life in Berlin? I’ve been in Berlin now for 4 years, kind of living the dream. It’s been up and down. I was back in Australia in June last year and the shows were just massive, then I was booked heavily till October when it became really quite. This has been the pattern for the last couple of years I have these months of really solid bookings then some months of just nothing.” So are you writing more? ‘I’m writing so much. My income has shifted from relying on touring to doing sample packs at the moment. And then, I have a couple of sneaky aliases that I can’t really talk about, which have been picked up most recently by Billboard Magazine, which is interesting. So I kind
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his own description. Then he quickly adds ‘just as an experiment, and they’ve been going remarkably well. That’s also being distracting me and potentially generating some income. I feel like the game is changing so much. You know since I’ve been in Berlin I’ve played Burkhand twice, The Panorama Bar once, Detroit Music Festival blah blah blah, which you know are all these big clubs, but it’s been really difficult to find consistency in it all.” Here I had to ask what he meant. Consistency in DJ gigs or Live gigs? “Both. I guess there’s a generational shift and I’m not going out as I used to, as well. In the best possible sense, everything that I’m writing and producing is being better received than ever, and it’s really nice to have these sort of secret side projects, that people don’t know is me, but in terms of monetising it I’m trying to work out new strategies.” My mind was still wondering what he meant by ‘satanic tip’ and the music he was producing under a different name that gets picked up by Billboard Magazine. “So are you telling me this whole satanic thing is you producing pop or commercial music that makes it to the Billboard Charts?” “No, no, it’s the absolute opposite. If anything, it’s more instrumental, akin to the territory that labels like Blackest Ever Black is exploring, or say some of the stuff on Warp, or artists like Actress for example or old favourites of mine like Vladislav Delay. It’s either kind of downbeat or it’s like drone music. This is the curious thing, its way less accessible than the Deepchild stuff. I got be careful as to what I say because people may be able to work it out.” I couldn’t help but laugh here, and he joined in with me, then he tried to explain it a bit more, “OK, for a the longest time I’ve had this fascination with the sounds of intercepted transmissions. You know, like Cold War Russian ships. I don’t know if you’ve heard I’ve been doing this sort of regular monthly podcast called ‘Diversions’ which is on my Soundcloud page. I’m just about to do the tenth episode, it’s a two hour episode and it’s all exploring music you couldn’t play on the dance floor. Anything from contemporary classical music to drone shit to spoken word. A lot of poetry like Linton Kwesi Johnson, like dub poetry shit. I know this sounds really pretentious but I’ve been including bits of Baroque music, excerpts from the Royal Shakespeare Theatre Company. Soundtrack music by like Hans Zimmer, classic sci-fi.
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D E E PC H I L D Anyway, sort of as a result of doing this podcast I kind of thought well…, and yes,’ he remembers another source of material for his podcast and this music he produces under a different name, ‘Archive recordings from the Lomax archive. I mean, I think Moby made a hatchet job of it. I have to tell you I’m not a massive Moby fan, but he was exploring these archive recordings in one sort of way, which I would very very cautiously suggest he was bordering on cultural hijacking, with his use of old recordings like Vera Holtz. I’m not trying to judge that, but I’m interested in going through cultural refuse and re-appropriating it in a different way. That’s what I’m trying to do with this podcast series, and partly with Deepchild and very much so with these projects that I’m doing. That’s the short story long. And to dove tail into that there is a Berlin true line, that since being here my taste in music has broadened a bit and my understanding of what Techno can achieve has also broadened. That’s lead my own productions into stuff that you might hear on the Pleasure System label or Stroboscopic Artefacts, and again Blackest Ever Black. This stuff it’s got roots in techno and industrial music, but is starting to mess with it. And of course everything that Burial has done in the last few years is also paralleling this perversion of the form. And that’s exciting for me right now. Whether it be Dubstep, Techno or House I’m seeing an emergence of people who are reverting to a puritanical take on House, like ‘This real House” or “This is real Techno” or whatever, who haven’t necessarily had that historical engagement with the form, and so it’s kind of frustrating. I’m not interested in making real House music or real Techno. I’m interested in creating new mythologies particularly now as EDM and whatever is big business, the forms are becoming more calcified and restricted. What is saving me is trying to find routes to fuck with my own shit a bit. Or my own notions of historical authenticity.” Deep stuff, but that’s what to be expected from Deepchild. I remember his live sets weren’t pre-recorded music pieces that he’s written but his analogue gear set up and the music was half created on the fly with no preconceived idea of what he was going to do or where the music was going to go. “Which sometimes backfired, but only in a good way” he said with a chuckle when I reminded him and asked how is his new source of material, which appears to be all digital, fit in with his old analogue ethos, or is that now a thing of the past? “I wish you could see my studio here because I produce a lot with analogue equipment still, I have more analogue than ever, but Ableton is my DAW that basically I’m cutting up loops of the stuff with, but the sound sources is less important to me. To be honest a lot of my sounds I’m getting from, like I was saying, archive recordings, YouTube rips, really fidelity independent stuff. Often the more artefacts in the sound the more I’m drawn to it, still. That’s remained a constant, the old Deepchild stuff is noisy and dubbing and I’m still pretty partial to that kind of sound I guess. Earlier that day there was a status update from Rick, excited about tuning religious chants. This isn’t out of place, as he is regularly posting material and quotes from Buddhist scripts or his Buddhist mentors. “Oh yes, it’s definitely a perpetual sort of theme pillaging recordings and thoughts from various traditions. I’ve been practicing meditation for about ten years and doing yoga for about six, and aside from music that’s what I mainly do. Yoga takes up a lot of time, but I’ve always been interested and its exactly the same in music in kind of looking at a tradition and then planting some seeds of dissent and I don’t mean that in a nihilistic or destructive way. Buddhism has been really special to me as it has taught me to challenge my assumptions and to challenge my intellectual understanding of things and to try to root it again, in more pragmatic experiences and I’m aware of the myths that have really defined my life and how bound I’ve often been by them.
I find it confronting going through sacred recordings and fucking around with them, but I also feel that it is also necessary. I found it’s easy for me to get bound by ideology and to say this is sacred and this is profane, and again Buddhism has been a real gift in introducing me to thinking about things in a non-dualistic way, which I found helpful, I see dogma prop up in religious practice, in music, in politics, in my own life and I’m interested in what may lie behind that. What am I trying to say? These things that have hardened into dogma just started as stories. Often stories around a fire side or anecdotes from people’s lives and I’ve seen the way in which my own tradition, the Judea-Christian tradition, the way a lot of the things that say Jesus said have been turned into weaponry and a lot of beautiful stories have been fortified behind sort of scholastic walls or something. These walls have been erected around them. I see the same happening in Australian politics. So for my part in music I’m interested in going back into some traditions like the Blues tradition, Gospel, Soul and a lot of Middle Eastern music which is dear to me, and reframing it. Not in a way that’s couched in nostalgia, which again is something that I think Moby has done really well, or someone like Endorphin with an album referencing Satre. I mean that’s cool, fair enough, but what lies beyond the nostalgia for tradition? Boards of Canada are a great example of people messing with these sort of ideas of nostalgia, these flickers of memory, these visions of a future that never happened. And I feel like Detroit Techno at its time was a wonderful example of this. A profoundly dystopian take of technology which was a real reaction against the way that technology was being used and framed at the time in the late 80s; technology will save us, technology will protect us, technology is this brave new human world. And to me part of this conversation outside a musical context wants to have a discourse about dominant narratives within religious and ideological traditions, in my own little way. What is something that frightens me in terms of a process that I can experiment with music? What are the texts that are taboo for me to mess with? What are the assumptions that might potentially undermine my own music? Because these are the things that I sort of have to touch or I can just make another Jackin’ House track that says that in the beginning there was jack or something or this is real house music or put your hands up for Detroit. These things could sell records you know, but is music here to create a false sense of history so we feel safe with stasis? Or about cracking open new ideas? I think it has to bridge the divide between these two things. But the more house or dance music becomes exploited, or becoming tools to make easy cash, like name dropping Detroit or name dropping Chicago or name dropping Berlin just because you can, the more I feel like the important conversations birthed in these places gets lost. I don’t want to fall into a trap of saying ‘Lets talk about real Detroit Techno, or whatever’ that’s happened that’s been and done. There’s a new Detroit emerging that’s not in the 80s or 90s. There’s a new Berlin emerging. You know, I live in an area that has the highest percentage of Turkish people outside of Turkey, why is this missing from the cultural conversation in Techno? These are all the questions that I have for myself. How do I become part of a place and not exploit what it has given me, How do I remember the lessons of Berlin? How do I remember how terrified I was growing up in the church and not turn that into cynicism and bitterness? You know what I mean?” He asks me laughing then continues, “How do I redeem some of this darkness and make sure as I get older I don’t fall into this trap of being a cynical old musician who is misunderstood? Because I want be understood. It’s very interesting times for dance music, I’m seeing the best and the worst, hearing such
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amazing stuff, but sometimes I see this sort of cultural imperialism that can stunt the conversations that electronic music was creating for me years ago. ‘So you don’t want to follow the dogma of today’s dance music, which you are comparing to religious dogma, but you’ve always done that. Deepchild music was always about pushing the boundaries for me,’ I tell Rick, ‘yet being accessible.” ‘Yes, definitely. I have no wish to; ironically, dogmatically alienate anyone by making “unlistenable” music. I’m really interested in having a populist conversation, which is also the same reason that I have a deep love of contemporary R’n’B. I just did this Alicia Keys bootleg, and you know Beyonce’s last album is dope. I’m really fascinated by what popular music says about us and I’m interested in entering into a conversation that isn’t setting out to alienate people.’ So why won’t you tell us about your aliases if you want to engage in conversation? It’s a bit contradictory isn’t it? “It is a little bit contradictory, I guess at this stage the alias thing is a bit of an experiment, particularly as one of them is being reasonably successful. The experiment is also a personal one because I’m always so quick to seek validation saying ‘This is a Deepchild track or something’ so it’s an experiment in restraint for me. How do I feel if the music that I do is well received or people critically acclaim it, and it’s not written by me. At the moment that’s how this experiment is being framed because if people don’t know it’s me, then in a sense it’s not me, so it’s a bit of an ego challenge. I want hear my own music differently as well. What can I learn by putting out stuff then surrendering recognition, because I really want people to know it’s me’ he says, which leads us both to laugh at the irony of it all. “I want to hear my own music differently because I think it might help me create new risks that my name has been a blockage to. I’m definitely more aware when I release Deepchild stuff.” Is it a bit like playing your friends a track that you’ve done without them knowing it’s you? “Exactly. I mean the other thing is people hear your music differently if they don’t know it’s you, and that’s neither good nor bad. I had been working on some Deepchild stuff, and I played it out and people would say,’Yeah, this is very cool’ but then when I release it as an alias they are besides themselves going ‘Wow, this shit is amazing!!’ I do the same. I guess we’re all the same.” Tell me about the sample libraries that you’ve done:
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“I think I’ve done 5 or 6 in total. It’s a really interesting experiment, again talking about these secret aliases, doing sample libraries is kind of a funny experiment in-between in as much as, I’ve done sample loops which I’ve heard and have used in some really popular charting artists. A couple I know they wouldn’t want me to mention their names, but someone like Thomas Schumacher wrote to me saying he’d been using my sample packs, so that’s cool. It’s another way of having conversations with some artists, who I didn’t realise were using sample packs, but it’s a funny thing, there was one artist who used the material, which is a good thing that’s why I make them, but didn’t want to be identified when the track went well. I was just interested and said ‘Hey this is a Deepchild sample’ and they were like ‘No it’s not!’ and I pointed out what the sample was, which they used verbatim, which is cool. I guess I’m in a time of flux where a lot of the things you assume will work well in your career as an artist haven’t and sometimes that’s because your name has been around for too long and people have expectations of what you are going to do. In certain territories that works really well, like the U.S. I have great bookings there. But in another context it’s like, well, Deepchild does this. People want the novelty of the new and I can appreciate that. I’m experimenting with new things and some of the things I didn’t think will work out have been unlikely successes. My goal is to try and make music and be unfazed by the vagaries of the scene. The fact is, here in Berlin in particular, the fees for headline gigs have gone down. There are so many great DJs moving to Berlin to become Techno DJs, that you are starting to see something that has been happening in Australia for a long time which is 10 or 20 artists on a line up. In Australia I would play some gigs where it would be a 45 minute set. It hasn’t gotten to the point where it’s like that here but it’s changing and particularly with a lot of ex-pats coming here to be part of the music scene. We’re seeing nights dominated by Australians or New Zealanders or whatever, and getting more artists squeezed into a line up for less money. It’s easy to moralise about that and that’s what I want to avoid. It is what it is.’ So when can we expect some new Deepchild music, is there anything in the pipeline? “Yeah there is some stuff in the pipeline; in about 3 weeks is the next release. It’s a two track release on a label that I started about a month ago called Seppuku, which I’m running with my manager, which is good so I can focus more on the creative stuff. You can hear a preview on Soundcloud”
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YOU CAN GO YOUR OWN WAY
E
rol Alkan was 27 when he received his first album offer. Kylie Minogue had just performed his ‘Can’t Get Blue Monday Out Of My Head’ bootleg at the BRITS. He and his club night, Trash, were getting breathless write-ups in the nationals (“He’s the man at the forefront of the recent wave of bootlegging, or ‘plunderphonics’,” gushed the Guardian in 2002, “one of the most exciting musical adventures in a decade”). Style bible The Face had even crowned him “the new Fatboy Slim”.
But when a major label came knocking at Alkan’s Tufnell Park bedsit, offering a £75,000 advance for an album aimed at exploiting the burgeoning bootleg scene, he kept the door shut. It was a prescient decision. Bootlegs quickly went from diverting experiment to laughable cliché. The Face folded. “I wouldn’t be here now if I did that kind of stuff,” Alkan says. “I was happy in my one-room bedsit. I could get by.” Alkan’s career can be mapped in a succession of hugely hyped scenes he fomented, then unshackled himself from before they hit their commercial peak and artistic nadir. He’s like a combination of canary and Cassandra, warning when a sound becomes stilted and steering the way, against the crowd, to something more vital. In the process, he’s achieved that rare feat of being, if not a contrarian, then at least willing to swim against the tide, while still garnering fanboy levels of obsession (there is, we discover during our research, a sizeable pocket of erotic fan fiction centering on Alkan and the extended Trash family). “He’s always been that lone ranger figure,” says Daniel Avery, a former
He was the Electrifyin’ Mojo of the indie disco. The bootleg king. The electroclash god. But when each of those scenes imploded, Erol Alkan stepped from the wreckage unscathed. Releasing his own tracks for the first time and with his label Phantasy Sound hot property, he tells DJ Mag about his urge to evolve, and why he just wants to keep the kids dancing… Words: TOM BANHAM Pics: KEVIN LAKE & RAYMOND VAN MIL
Trash club-kid turned Alkan collaborator. “Erol’s only ever done stuff that’s truly excited him. It’s the only way to retain a level of vitality in your work. The second you start doing things because you think you have to, you’ve lost it.” It’s a neat summary of Alkan’s philosophy. His shifts in sound — from a teenager playing Verve B-sides in London’s indie discos to breaking electroclash bombs like ‘Silver Screen Shower Scene’ at the decks of Trash, through the excesses of Ed Banger electro into his current take on psychedelic techno — have been driven by a refusal to settle. A nomadic itch to pack up and move when things get comfortable. “I try to encourage myself to do different things and new things. Not get bored. If I get bored, people are going to hear that. I don’t want to put out music that’s going to bore people.” If that seems trite — and there are few producers who actively embrace dullness — it becomes less so when you consider that Alkan’s take on boring is often at odds with what his audience expects. As Avery points out, at the height of his late-’00s “noisy” period Alkan produced some of his most psychedelic remixes; his takes on Scissor Sisters and Hot Chip, and that mesmeric rework of Connan Mockasin’s ‘Forever Dolphin Love’, sit oddly against blaring remixes of Justice and Daft Punk, or his guttural electro collaborations with Boys Noize. And while those in the scene around him were engaged in an arms race of harder, dirtier, heavier, Alkan steered into deeper waters. He peppered his sets with groovy house and wonky disco. He dragged down the tempos even as his fans railed against djmag.com.au djmag.com 057
“Erol Alkan’s drowning beats”, a term he admits he “absolutely loved”. Now, that electro growl he veered from has all but disappeared outside EDM circles, and deep is du jour. “He’s never done anything that’s outstayed its welcome,” says Rory Phillips, who ran Trash’s second room for seven years. “He has a very good sense of knowing when to stop. He’s always looking to the next thing to challenge himself.”
CHASING PERFECTION
We’re sat in the kitchen of Alkan’s North London home, a step up from the bedsit, just a couple of miles down the road, where he lived before Trash exploded and he became one of the most in-demand DJs on the planet. Alkan’s six foot and then some, a looming presence onstage, but in person he seems somehow slighter, less imposing. It’s perhaps because he stands slightly hunched — a legacy of 20 years leaning over decks set up for smaller DJs — and in his black-on-black jeans and hoody holed at the elbow, an almost teenage uniform, his slim frame seems even slighter. His parents are Turkish but Alkan was born and raised in North London, and an accent lightly colours his quiet, deliberate voice. The longer we talk over cups of tea, 058 djmag.com.au
the more he tries unsuccessfully to smother yawns. We’re speaking in the wake of a heavy finish at the Warehouse Project where he closed after the Chemical Brothers (“they’re not, you know, an easy thing to follow”), then a much-delayed, much-diverted train back from Manchester. When we part ways three hours later, Alkan’s heading up the stairs to bed almost before the door closes. Such is the life of the touring DJ. His schedule’s been cut back recently though, after two decades of playing “at least twice a week, sometimes eight times a week”. He smiles. “Once you bring children into the world, you can’t be at Heathrow every weekend. Or you don’t want to be. I want to enjoy all this.” There is, currently, much to enjoy. Alkan’s label, Phantasy Sound, celebrated its sixth anniversary in 2013 with two of the year’s strangest yet strongest albums — indie oddball Connan Mockasin’s ‘Caramel’, and Daniel Avery’s ‘Drone Logic’. But most excitingly, it also saw the long-awaited release of Alkan’s first solo material. When we spoke to him 18 months ago, Alkan hinted at hard drives cluttered with his own music. But pressed on release plans, he worried that it was something “people wouldn’t expect from me”. Back
then, alongside his string of entertainingly named re-workings (Erol’s ‘Durr Durr Durrr Remix’ of ‘Waters Of Nazareth’, for example) he’d released a smattering of collaborations with Switch and Boys Noize, and was promising more. In fact, he promised us “a release a month until the end of the year”. No dice. Nothing, in fact, until last December’s ‘Illuminations’ EP. A trio of tracks that, frankly, sounded exactly like what you’d expect from Erol Alkan. It’s not that they rehashed old ground. From the serial evolver, that would be unexpected indeed. Rather, when you dissected them and held individual organs up to the light, you could see their gestation in, say, the acidic tweaks of his remix for Tame Impala. In the interwoven melodies of his take on the Klaxons’ ‘Golden Skans’. Even the anthemic, slap-bass spin he gave Metronomy’s ‘The Bay’. The trio of tracks on ‘Illuminations’ have, Alkan admits, “been knocking around for a while”. Both ‘Bang’ and ‘A Hold On Love’ started as elements from other tracks that Alkan pillaged and reworked, and ‘Check Out Your Mind’ has gone through various iterations. Later, when Alkan takes us down into the Phantasy Sound Studio, which he recently finished building in the garage at the
started with A, B and C. So I was like: ‘Oh right. That’s easy. ABC, 123’,” he laughs. “Sometimes you need a little thing like that going ‘Hi, it’s fine, this is it’. “It may have just taken to this point to feel that I did have the right things that I wanted to share with people,” he continues. “I didn’t want to add to a pot of music and it be like, ‘Oh, right, well here’s my bit’. And then there it is for like two weeks. Disappears. It’s very important for it to resonate in a way that I felt was right for me. I wanted to make a record that had an emotional weight to it on one hand, but also had a strangeness and obtuseness to it.”
PHANTASTIC MAN
It’s largely the success of Phantasy, which has gone from a singles club to an album-releasing imprint, that has put him in a position where he not only feels comfortable putting out his own records, but also has control over how they’re released. Equally important are the artists around him on the label, who all work closely together. Alkan is executive producer on Avery’s album, which was recorded in the Phantasy Sound Studio and co-written with James Greenwood, aka Ghost Culture. Greenwood’s currently putting the finishing touches to his debut album in the same room, and Alkan’s in the same executive producer role. Avery sees this kind of “stable” set-up as akin to labels like Factory, Creation and, more recently, DFA. “It allows the artists room to grow and develop in their own way, I think it’s very important. It’s a constant flurry of ideas between us all, and I find that very exciting.” Alkan’s been painted as a sort of mentor to this group of young producers, but Avery counters that reading. “I’ve learned a lot from him over the years,” he says, “and he’s full of great advice, but I’d imagine that he’d rather be seen as someone who can simply encourage artists. He’s very much into letting acts get to places in their own style.” Alkan likens the studio process to cooking with someone, where roles aren’t demarcated and creativity is the sole aim. “It’s like you’d ask them, ‘Can you whisk those eggs?’ or ‘I’ll go fetch a pint of milk’. You both have to be prepared to change your shape to accommodate the input of the other person. But it’s never about a defining, clear line. ‘I do this, you do that.’ Because that’s just horrible. You start off in a creative situation, then you’re outlining things, and saying: ‘Actually, if you have an idea, it might not be as good as all the ideas
I have’. Which is nonsense.” Partly, this stems from Alkan’s experience helming indie bands like the Mystery Jets, Long Blondes and Late Of The Pier, all of whom have recorded albums with Alkan behind the glass. As when working with dance producers, he sees his role as part collaborator, part enabler: “Understanding what this band or what this artist wants to say”. At heart, Alkan’s still a frustrated indie kid who wound up making dance music — he coyly admits to having “shared some stages with some big names” as a teenager — and he takes pleasure in the fact that his guitar work has found its way onto some of the records he’s produced. “So it’s never bothered me when people go, ‘Why’s he producing Mystery Jets? He does techno music’,” Alkan says, his voice rising. “You know what? I spent my formative teenage years in and out of bands as a guitarist. I know more about a guitar than I do an 808. It’s weird when people seem to think that I’m kind of this indie music fraud: ‘He’s got no right to mic up a guitar’. Fuck off. I’m interested in learning new things. In unlearning things. I’m interested in thinking I know how something works, then realising I’m wrong and finding a better way of doing something. All this isn’t — shouldn’t be — one big exam. You’re allowed to make mistakes.”
PUSH THE BUTTON
Mistakes, newness and discomfort are Alkan’s big motivators. He revels in strangeness, in discovering new things. “The thing I enjoy most about being in the studio with Erol is that it’s pure experimentation,” says Avery. “Trying out weird processes and, sometimes, something amazing will come out that you never would have achieved if you’d simply ‘followed the manual’. There’s a certain pulse and energy that Erol creates.” Like Brian Eno, Alkan admits that he often manufactures awkwardness to force inspiration. Like the time he grew tired of doing remixes, so only accepted records he didn’t like, revelling in the challenge of turning them into something that grabbed him. What he looks for in a record is something that “pushes his buttons”, whether good or bad. “People sometimes forget, what is the point of a track? For me, if you feel cold listening through to something, it hasn’t really done anything. It has to be — no matter what emotion it was — that it at least takes you somewhere.” It’s why he has little time for
end of his garden — a Narnia of synths hidden behind half-empty paint cans and forgotten sports equipment — he shows us works in progress that prove he’s working with an embarrassment of ideas. Given working titles like ‘Semi-Detached House’ (“That will probably change,” he grins, and we feel a twinge of disappointment), some tracks boast Chemical Brothers synth riffs that emerge suddenly from thrusting rhythm workouts, then cross into multi-layered alt-disco that evokes the oddness of In Flagranti. Then there’s deep, throbbing techno that breaks down into rave chords over not-quite-breakbeats. Dutch electro mixed with deep house chords and acid. Each track seems to contain an EP on its own, and as Alkan flicks through the hundreds of Logic files that clutter his computer, it’s clear that his thin discography doesn’t stem from a paucity of material. Alkan accepts that it’s partly perfectionism that’s kept his solo work hidden. “It ties you down. It can be a vicious circle. Perfection?” he asks. “What is perfection? So earlier [last] year I definitely kind of thought, ‘To hell with perfection’.” Ultimately, though, a neat coincidence gave him the nudge he needed. “There was a kind of sign there. Because the tracks all djmag.com.au 059
tools. For Alkan, every record has to say something distinctive. We ask if it’s that lack of strangeness that makes him see a scene as played out. Does he grow too used to a sound, and to his ears, does what was once exciting collapse into something formulaic? “Sort of. The language of the music changes, but it’s the fact there’s some kind of message or something in there, that kind of works for you. But it’s never been something that’s contrived. Once you’re surrounded by music that’s devoid of the quality that you desire from it, you feel like you’re at a party with a load of strangers you can’t really get on with. If you just want to stay at the party then fine, it might actually be good. But most of the time it’s my cue to leave.” His musing is suddenly punctured by laughter. “God, that’s such a crass thing to say.” Our interview’s riddled with these moments of self-editing. Alkan’s speech is at times ponderous, racked with pauses as he searches for the precise phrase, and occasionally he’ll double back to clarify something he said. When he’s telling stories the gaps evaporate and he’s fluid and funny, in a self-deprecating way. There’s the time the Long Blondes’ Kate Jackson couldn’t nail a vocal, “So I asked, ‘The character in the song, where is she?’ ‘She’d have got out of a taxi and she’d be outside, and kind of had a couple of drinks.’ ‘Ok, fine. That’s what it’ll be.’” So Alkan poured a bottle of brandy down Jackson’s neck, and pitched her into the alley outside the studio where he’d set up a mic. “Went up, nailed it in two takes,” he says, taking a victory sip of his tea. Or there’s the time the bootleg of Dr Dre and Sugababes he’d knocked together on a Monday afternoon to play at Trash found its way onto the XFM A-list for six weeks. “All from a little accident.” He sighs. “I wish I could do that again now...” It’s when we dig into more conceptual areas that he slows. It’s clearly not that he’s considering the ideas for the first time. Rather, he seems concerned with ensuring he’s properly understood. He’s not, he confesses, a fan of interviews. Alkan may be approaching his fifth decade, but there’s still something teenage about him. His beard is flecked with grey, but the way he plays with it and he fidgets under questioning — at one point he draws his feet under him in his chair, his six-foot frame curled like a comma — is a little like a sixth-former being quizzed by a great aunt. Not that he isn’t witty, erudite and forthcoming. We just get the sense he’d rather be doing something else. And when we head down the garden to his studio, it becomes clear what. Once the speakers start humming, Alkan’s like a kid eager to show off his toys. This is the bit he enjoys. Not talking about the music, not dissecting or analysing the music. Sharing it. Giving it to others and
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seeing how they react. That’s why each time he finds himself at that party where the music’s become a stranger, he wants people to follow him somewhere new. Somewhere exciting.
TOTAL PSYCHE OUT!
Erol Alkan is a psychedelic rock nut too — as evidenced by his Beyond The Wizard’s Sleeve project with Richard Norris. Here are some of his favourites from across the decades... CALEB
‘Baby, Your Phrasing Is Bad’ “One of my favourite records of all-time. Apparently he is Finley Quaye’s uncle, and also played guitar for Elton John in the ‘60s. Legend also has it that Elton plays keys on this. The whole track sounds like it’s been through a dozen phasers and vari-sped down in tempo.”
FRED WIENBERG
‘Animosity’ “Psyche but of an electronic nature. Fred was more of a sound architect and studio genius than a musician. Not a million miles away from what the BBC Radiophonic Workshop were also pioneering around the same time.”
GORKY’S ZYGOTIC MYNCI
‘Methu Aros Tan Haf’ “Gorky’s are a band I’ve loved for years. Much of their catalogue is sung in Welsh which is good for me, as it’s my favourite accent in the world. We had the pleasure of writing a song with the singer Euros Childs, a really beautiful song named ‘Door To Tomorrow’ which I love. For me, one of the best bands of the UK.”
SECOND HAND
‘The World Will End Yesterday’ “Beautiful backwards, stoner rock from 1968. Sounds a bit like early Primal Scream and almost a proto shoegaze record.”
SPACEMAN 3
‘Revolution’ “This is the point where psyche and punk collide. It’s the Sex Pistols on acid. I’ve played this record in a set alongside many different types of dance music and the reaction is always something incredible.”
For Rory Phillips, it’s what makes him such a good DJ, a talent he honed week-in, week-out, playing alien records to kids at Trash. “He’s very good at reading a crowd. He’ll know exactly what to do. But at the same time, while still staying true and not dumbing himself down. He’s very tuned in.” It was where he learnt to trust in his judgment, even when a record like ‘Silver Screen Shower Scene’ cleared the floor. At least, it did the first time he dropped it that night. “If you play something and think it’s brilliant and people are nonchalant about it, if you believe in it then you’ve got to see it through,” he says. “I’ve always believed that clearing a dancefloor isn’t negative. Isn’t a bad thing. You clear a dancefloor by playing something you don’t really care about, then maybe you need to rethink why you’re playing what you’re playing. But if you believe in something? I’d have no problem putting out a record and no one else got it, it sold five copies or whatever. As long as I believe in that record, that’s fine.” His own role, as he sees it, is to connect with people through music. To inspire a reaction, good or bad, and create a connection. It’s the through-line of his career, from the first mixes he fashioned for school friends, and then into DJing. “It was like making a tape for all my friends at one given time. That’s how I’ve always tried to look at it.” It’s why, for each string he adds to his bow, playing records in dark rooms remains so important to him. And why he looks at the way dance culture’s heading with dismay. “DJing has become a career option, there’s a lot of smoke and mirrors to it. You can crowd-please for 90 minutes and people will be happy. But is that what DJing is? If your answer to that is yes, then fine. There’s lots of that. But there’s also DJs who feel that DJing is a far more transcendental experience. Or it can be.” On New Year’s Eve, we see him play alongside Avery in London for Broken and Uneven. It’s a set where most DJs tend to deploy the bangers; two hours of guaranteed rabble-rousers, grab the cheque and scarper. But an Erol Alkan New Year’s set doesn’t follow the formula. Instead he dips into rough, body-rocking percussion jams and rippling acid, with his own records appearing occasionally to huge response. “These parties are always about celebrating the past,” he says when we catch up with him after his set. His hair’s slicked back by the sweat that’s also beading the walls, and we’ve had to peel him away from the lighting board, where he’s taken over duties as Avery takes things towards tunnel techno five feet away. Fans clamour for photographs with their hero, and he smiles at us. “But why not celebrate the future?” Why not indeed?
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GTA are the explosive Miami duo who’ve risen as if from nowhere to clinch stadium support gigs with Rihanna, sign an album deal with Warners and cement a reputation from slamming, thoroughly modern anti-genre sets. But how did they get here? And where do they go now? Words: ALLY BYERS kay. Sorry for all the running around, dude. I think we’re ready for the interview now.” DJ Mag arrived at London’s mega Earls Court venue 80 minutes ago, planning to interview GTA before their set — they’re the warm-up act for the Tiësto & Calvin Harris main event. As it turns out, there was no need to apologise: GTA — Julio Mecha, Matt Van Toth and an entourage consisting of manager Stevie, two other artist managers, a tour manager, an agent and a let’s-not-ask-about-my-day expression-wearing girlfriend had arrived minutes later in a blur of backpacks, leather jackets and emergency double-measures of tequila before heading immediately to the stage. “Do you guys know what you’re gonna play?” we ask, backstage. “Nah. We’ll work it out,” explains Julio, manager Stevie helping him with his bag and handing it to DJ Mag as the duo walk into the spotlights at the already packed venue. Total time between arriving and opening track? Eleven minutes. It may be enough to make even the most seasoned promoter’s unwashed hair stand on end, but if GTA thrive 062 djmag.com.au
on anything, it’s pace. Their first ever Soundcloud track as a duo in 2010 was scooped by Afrojack’s Wall Recordings following a “complete shot in the dark” email to him. They were signed to an international agency — that would later become Three Six Zero group — that same year before they’d fully agreed on a name, and their Facebook page sat at some 36 likes. Skip forward some 18 months and GTA (which the two agree is a great acronym, but are undecided on the meaning. Good Times Ahead is Matt’s front runner, though recent fan suggestion Grand Twerk Audio is a personal favourite for Julio) have toured the US, supported Laidback Luke, toured the UK and at the time DJ Mag meets them, have only recently finished as the official support act for Rihanna’s European tour. We’re sat in Calvin Harris’ dressing room. The two have finished their set — a crazed, four-deck, house-party-esque performance to a fistpump-frenzied crowd and now Matt and Julio both stand, holding tequilas — four and six respectively, — watching the ink dry on eight separate pieces of paper that the two have just signed confirming an album with Warner Brothers for 2014. So far, we’ve been here 83 minutes.
ORIGINS Julio starts telling DJ Mag how he harbours intentions of being heavily involved in the design of the planned GTA merchandise — pointing out logos on his own customised JWLS jacket — before the duo are literally yoinked by the scruff of their necks by manager Stevie (who at an easy six-foot five, with the build of a US college football player, dwarfs both Matt and Julio by almost a foot), and held in position while Rita Ora takes a brief intermission from arguing with Calvin Harris on the choice of music on the iPod (obscure ’90s hip-hop, by the way) to take a photo with the newly signed-up pair. “Calvin’s a big fan of you guys,” she coos, tactically adjusting a vintage hat toward the brooding Scotsman. “Wait ‘til we massacre one of his tracks, now we have sample rights!” shrugs Julio, necking his tequila in one while Stevie roars with laughter and manhandles Julio and Matt with one arm — and now DJ Mag with the other — out of Calvin’s dressing room, into Tiësto’s dressing room (“It’s fine, we’ll give it back,” he explains, picking up a litre of Belvedere vodka and a box of sugar waffles) before plonking the group onto the two facing sofas of GTA’s own dressing room. “Now you’ve seen us perform, sign to a label and hang out with Calvin, in like one hour or something, you should probably get to know us,” suggests a visibly bewilderedlooking Matt. More tequila is poured. Stevie kindly offers to do the whole interview for the duo. DJ Mag kindly declines. Paloma, Matt’s girlfriend, suggests she contributes. DJ Mag suggests she doesn’t. Paloma glares at Matt. Matt asks DJ Mag to pass him some tequila. Stevie passes around beers. “I need you guys to say the right stuff. Talk about the tour, talk about your role in changing…”. DJ Mag glances at a suddenly uneasy looking Matt and Julio, and asks the girlfriend, the manager, the PR, and the tour manager to let GTA, the main fulcrum to all this, actually speak. The pair, feeling observed, quickly burst out laughing, then make an honest attempt to appear sober whilst talking, the whole while egging each other on. “We met on Facebook. I played guitar, I couldn’t find anyone else to play with, and I’d dropped out of Florida International University and rolled onto Miami’s School Of Audio Engineering. There I got really into messing about with music software, naturally,” explains Matt, who at 23-years-old, in black jeans and a fitted black jumper, appears to be the quieter, more thoughtful of the pair, in comparison to the vinyl-jacket, floorlength t-shirt and leather slip-on-sporting Julio of the same age, who chimes in. “I met this kid on Facebook. And I was like ‘Dude, you’re like, a king of dance music, and I’m like, a king of hip-hop. Let’s do this’. So we went to his mom’s house and started recording beats.” Both are now in hysterics, before Matt suddenly becomes frustrated, and sets about his task with renewed seriousness. “I’d been a DJ at some awful downtown bar, and I’d been producing under the name Van Toth. Just as a bedroom producer, for like a year. Julio was also just a Soundcloud guy but had a big following with the whole moombahton crowd as JWLS.” Wolfgang Gartner had played one of Matt’s productions as an opening track at Coachella in 2010, around the time of the pair getting in touch on Facebook. Soon management swept in and offered to take on Matt, who in turn insisted on only playing ball if he could take Julio with him.
Within a matter of months, the pair were booked to play LA’s Avalon at Halloween 2010. After that came a US tour, a string of gigs supporting Laidback Luke, UK dates, and then the ultimate prize, atourwithRihanna. DJ Mag struggles to get a handle on all this. Thankfully, so do GTA. “There’s like, no way we could prepare for what happened to us. We went from three gigs a month to three months without a single evening’s break. When Rihanna’s people approached us, suddenly in like weeks we were playing to audiences 10 times the size of what we were used to. Twenty thousand, thirty thousand. We’d get on stage and just have to learn to read the crowd super-fast. To read each other super fast.” RAPID ASCENT It certainly goes some way to explaining how smoothly they manage to get the several thousand-strong crowd from nought to sixty as the opening act in the course of about two songs. The duo are fascinating to watch: Julio head down on the mixer, adding in precise switches between everything from EDM drops to hip-hop to Alice Deejay and Junior Senior loops whilst Julio jumps around, yells on the mic, drinks champagne from the bottle and drops in vocals and tribal cuts. Having pulsed the crowd into a suitably electric state, they leave the stage like most would leave for lunch. “It’s all happened, like, so fast,” reflects Matt. “I mean, tonight’s awesome, right? But it’s like the smallest show we’ve played. We’re genuinely amazed as to how all this has escalated. I mean, we’re sitting here talking and less than 14 minutes ago we signed a long-term deal with one of the biggest record labels on earth.” Both take another hit of tequila. This time there’s less laughter. DJ Mag are as yet uncertain as to whether they’re drinking to celebrate or to decompress. As, we suspect, are GTA themselves. Their performance ability is flawless, their production innovative and their own friendship appears watertight. There is, however, a sense that there hasn’t yet been a spare moment to enjoy it all. Do they feel that way? Matt (when Stevie’s around, Julio does the bulk of the talking, in mostly joking tones. When he’s absent, Matt talks with more authority for the pair, an arrangement both seem to be happy with) puts down his beer and turns to DJ Mag, almost conspiratorially. “Yeah. Yeah it is very, very fast. But here’s how we see it. We’ve covered so much, so quickly, that we’ve got the attention of a major label who’ve now signed us to do an album. You know what that means?” Julio now leans in and completes the sentence with a grin. “Sample clearance. We’re gonna remix whoever we want, however we want. It’s going to be ours, and it’s going to be totally unique. Spring in the studio, then, next summer, we’re going to do this our way.” The two quickly shoot back into position as Stevie returns, more tequilas are passed around. So how would GTA sum themselves up? “Oh,” Julio laughs, glancing at Stevie, “We just wanna make girls dance! Right?” “Right!” grins Matt, giving DJ Mag just the tiniest of eyebrow raises as Stevie once more picks the guys up like How to make ‘no-genres’ a toddlers, yelling “Afterparty time!” and leading music style them out. Watch closely. GTA have something planned... GTA’s rise and rise has been largely due to their taking a musical style and developing it toward an obsession. Their recent success may be in part due to their own style of mixing, which they privately refer to as “open format” and publicly market as ‘Death To Genres’. “We try and make the crowd put their hands up every single drop, rather than building stuff up,” explains Julio. “It’s not about ‘is it pop, is it underground, is it anti-EDM?’, it’s much more simple than that. It’s a house party vibe.” This hasn’t been the result of some chin-stroking rebellion against convention, rather “It’s how I learned to play at my local cheesy-bar residency,” clarifies Matt. That said, it’s surely this total opposite sound to the often formulaic EDM sets — so beautifully surmised by the Epic Mashleg Soundcloud stunt that’s got everyone from EDM stages to Rihanna to London entranced. The challenge to play as wide as possible seems to be taking hold in the bass producer community already. Hold tight, the US may surprise us all just yet.
OPEN FORMAT
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12” The Fuller
In a world flooded with three-minute radio edits and dance tunes that weigh in at no more than eight or nine minutes tops, DJ Mag unearths 10-of-thebest longest ever tunes in electronic music… Words: CLAIRE HUGHES
“W 01. Donna Summer
‘Love To Love You Baby’ (Oasis, 1975) — 16.50 minutes When it came out on 7-inch in 1975, it was so popular in discos that it went on to be one of the first disco hits to be re-released in extended 12inch format. American singer Donna Summer had been living in Germany in the early 1970s, and that’s where her fortuitous meeting with synthwhizz and co-producer of this tune Giorgio Moroder first happened. Inspired by Serge Gainsbourg’s ‘Je T’Aime… Moi Non Plus’, Moroder had said he’d “wanted to do a sex song” himself. Recorded in Moroder’s Munich-based studio, Summer’s softlysung, breathy vocal for this swirling, winding disco opus so convincingly simulates an orgasm that, when it was first released, Summer was asked several times by music journalists whether she’d been masturbating when she recorded the song. This only served to make it work better in the discos, and ‘Love To Love You Baby’ went on to be Summer’s first-ever US hit.
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e wanted to make a really long dance single, so we called up the Gallup chart and asked them what the official longest length of a single could be,” says The Orb’s Alex Paterson. “They said 40 minutes, so we made a track that was 39 minutes and 57 seconds long. That ended up being ‘Blue Room’, we released that in 1992.” When that single came out (in two parts, on Big Life Records), it quickly reached No.8 in the UK charts. “Because we’d made it into the Top 10, we were invited to perform on Top of the Pops,” remembers Alex. “The thing is, they wanted us to mime a performance, because none of the acts played live on that show, even though it was broadcast live. So we got there, set up our equipment on stage and then, when the camera started rolling and they played a recording of ‘Blue Room’, we just sat there on stage, whipped out a chess set and started playing chess.” The version of ‘Blue Room’, played on Top of the Pops on BBC1 that Sunday night, was only three-minutes (or so) long. It was an edited version of the full-length ‘Blue Room’ that eventually appeared on The Orb’s ‘U.F.Orb’ album. After The
Dr Alex Paterson
02. Brian Eno ‘1/1’
(Virgin, 1978) — 16.30 minutes This was the only track on Brian Eno’s ‘Ambient 1: Music For Airports’ album that other producers had a hand in. Co-composed by Eno and former Soft Machine drummer and vocalist Robert Wyatt and engineer Rhett Davis, the single piano melody in ‘1/1’ is set on a loop. Eno described the then-revolutionary process of looping an electric piano piece to make a tune to journalists, saying: “To make that piece of music, I cut that part out, made a stereo loop on the 24-track, then I discovered I liked it best at half speed, so the instruments sounded very soft, and the whole movement was very slow”.
Orb’s performance on stage at Top of the Pops, Gallup shortened the official length of a single to 26 minutes. And, says Alex, The Orb were never invited to perform on the show again. Dance music as we know it first hit the UK headlines in 1988, as the soundtrack to the youth movement that the British public dubbed ‘acid house’, after The Sun newspaper ran a headline for a story about the rave scene in August of that year citing ‘The Evils of Acid House Barons’. And what helped make the acid house movement sound so potent back then was that the music behind the headlines was fuelled by a spirit of
rebellion that hadn’t been seen since the late1970s uprising of punk. One of the reasons acid house flew in the face of popular chart music of the time was that the tunes flipped a firm twofingers up at the traditional verse-chorus-verse structure of your average three-to-four-minute rock or pop tune. “We started DJing in 1989, doing hour-long mixes in ambient rooms in clubs and we were too lazy to keep changing the record,” says Alex. “And when we were making music, we realized that once you took the drums away the track could go on forever.”
Brian Eno
03. Manuel Göttsching ‘E2-E4’
(Inteam, 1984) — 59.20 minutes The ambient keys and noodly guitar (played by Göttsching) set over synthesiser patterns and percussion that make up ‘E2-E4’ were recorded in one take, back in 1981, when the German musician (formerly leader of krautrock band Ash Ra Tempel) decided to distill his musical influences — inspired by the likes of Steve Reich and Philip Glass — into a tune that went on to become a proto-rave track and one of Paradise Garage DJ Larry Levan’s favourite tracks. When the hour-long continuous recording, subdivided into nine tracks, finally came out in 1984 it filled the post-Eno ambient gap and landed during the height of the UK’s synth-pop era — but no-one seemed to get it. Pop critics slammed it as ‘elevator music’ but its pioneering hypnotic, repetitive groove — made using a sequencer — wrote the DNA for dance music as we know it today. Orbital
Pic: NICHIKO NAKAO
04. Klaus Schulze
06. The Orb
(Brain, 1986) — 24.40 minutes As the standout track in German electronic music composer Klaus Schulze’s 19th studio production album ‘Dreams’, this piece of music was where his orchestral influences best collided with his first forays into digital music for a track that pre-dated and directly influenced the UK’s ambient electronic heyday, pioneered by bands such as The Orb and the Ozric Tentacles offshoot Eat Static. The soft and subtle sequencer line and haunting, twinkling keys in ‘Klaustrophony’ take shape around a dark synth. Violins, percussion and an acoustic guitar are all woven in too. Klaus had previously been a drummer in a band called Psy Free. He also did a brief stint as the drummer in Tangerine Dream before joining forces with Manuel Göttsching to form Ash Ra Tempel in 1970.
(Big Life, 1992) — 39.57 minutes Known for their extended-length tracks (‘A Huge Ever Growing Pulsating Brain That Rules From the Centre of the Ultraworld’ didn’t just have a long name, it was also 18 minutes and 43 seconds long), The Orb became the first, and most successful, UK ‘ambient house’ band largely due to this spaced-out single, with a mesmeric siren intro that eases into a blissed-out track filled with cosmic samples and a vocal loop. With leader Dr Alex Paterson (who started The Orb with the KLF’s Jimmy Cauty back in 1988) at the controls, Jah Wobble on bass and Steve Hillage on guitar, the pared-down version of ‘Blue Room’ ended up being the best single on ‘U.F.Orb’, arguably the band’s bestever album.
‘Klaustrophony’
‘Blue Room’
05. Orbital ‘Desert Storm’
(ffrr, 1991) — 12.05 minutes A lesser-sung highlight of Phil and Paul Hartnoll’s 1991-released eponymous album, the dubbed out, synth and piano stab-laden ‘Desert Storm’ famously samples the ‘Blessing of the Bomb Almighty’ from epic movie Beneath the Planet of the Apes. It isn’t the longest single the Orbital duo released (that was the 28-minute, orchestral techno offering ‘The Box’, released in 1995), but it was the longest techno track on their first, un-named album; the LP that also featured their careerstarting hit ‘Chime’ and the sublimely chilled ‘Belfast’.
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07. Autechre
Radio Slave
‘Windwind’
(Warp, 1993) — 11.15 minutes The art of introspection is perfectly captured in this slice of deep, touching, melancholic ambient techno taken from Manchester duo Rob Brown and Sean Booth’s ‘Incunabula’ album. One of Autechre’s finest moments, it lasts much longer than that — undulating between dark and light and hitting a squelchy, bleepy breakdown just past half-way through that spooks out before winding up again into mellow, 1990s ambient techno bliss. Cut from the same cloth as Aphex Twin’s ‘Selected Ambient Works II’ and released at the height of the first wave of Warp releases, this track stands out as one of the finest in that genre.
08. Jaydee ‘Plastic Dreams’
(R&S Records, 1993) — 10.35 minutes When Dutch house producer Robin Albers first released the instrumental house tune ‘Plastic Dreams’ under his new moniker Jaydee, it went straight to No.1 on the US Billboard dance charts. Its unique twist was its Hammond organ-style synth melody. It quickly became an early house anthem that just kept getting remixed (check the Rhythm Masters version) and adapted via cheeky white label bootlegs to make it work and work again on the dancefloor. The single was DJ Robin Albers’ first release and, because of its success, he immediately started a label called First Impressions, though nothing he did after ‘Plastic Dreams’ achieved that same level of success. The long version of the tune is hard to get hold of on vinyl now. Otherwise you can easily grab a taste of ‘Plastic Dreams’ in its many versions.
09. Ricardo Villalobos ‘Fizheuer Zieheuer’
(Playhouse, 2006) — 37.09 minutes Based on a horn sample taken from a gypsy folk song titled ‘Pobjednicki Cocek’ by Serbian group Blehorkestar Bakija Bakic, this minimal techno tune builds and builds in a slow, hypnotic groove. Spread over two sides of vinyl, this 4/4 mega-track hits a high point on the first side with a horn fanfare before heading into a 20-minute percussive chug-athon on the second side. After it was released, Chilean producer Ricardo Villalobos said his inspiration to make ‘Fizheuer Zieheuer’ came after listening to Manuel Göttsching’s ‘E2/E4’.
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The idea of an endless track hadn’t started there. In the 1950s, Stockhausen was making 45-minute long, experimental beatless tracks that filled one whole side of a record. In the 1970s rock band Yes, headed up by Rick Wakeman, were doing the same thing. And then, in the 1970s, Giorgio Moroder took that concept and applied it to music with sequenced beats, creating extended, synth-driven opuses such as Donna Summer’s ‘I Feel Love’ and ‘The Chase’ that were perfect for discotheques, where people danced all night to music segued by DJs into a seamless mix. ‘I Feel Love’, weighing in at 16 minutes and 50 seconds, still sounds fresh now, nearly 40 years after it was first made. A few years after ‘I Feel Love’ was released, in 1981, Manuel Göttsching, the then-frontman of krautrock band Ash Ra Tempel, wanted to make a long piece of music he could listen to while he was travelling. He called the hour-long piece of music he composed ‘E2-E4’. This improvised piece combined synths, guitar and keys in a minimalist groove that went on to become an underground club anthem in Europe and America after it was released in 1984. A few years later, the tune was re-worked by Italian production outfit Sueno Latino for their eponymous tune that became a rave-era, Balearic classic.
‘E2-E4’ left a legacy that echoes through productions we all still dance to today, penned by artists as diverse as Ricardo Villalobos and Basic Channel. Danny Tenaglia infamously played Göttsching’s ‘E2-E4’ one year at his birthday party at the Crobar in NYC, adding his own effects then picking up the mic half an hour into the tune to explain its history to a main room filled with sweaty clubbers. Around that time, Göttsching was interviewed expressing surprise that ‘E2-E4’ was considered a ‘rave’ tune. He said, “When I found out ‘E2-E4’ was being played in clubs, I couldn’t imagine people dancing to it, there’s not a strong bass drum and the rhythm is very subtle”. Citing influences such as Steve Reich and Philip Glass, Göttsching recalled how critics had even dissed the tune when it was released, calling it “muzak”. Göttsching’s ‘muzak’ went on to inspire dance music artists including Leftfield, LCD Soundsystem (check their ‘45:33’ tune, dedicated to Göttsching’s opus) and Prins Thomas (who produced cosmic disco tune ‘Göettsching’ in direct tribute). Dance music has travelled a very long road since the first-ever extended versions of tunes started getting played in clubs and — much like the 10 tunes above — it’s a constantly evolving, shifting entity with a long way till the run-out groove...
10. DJ Hell feat P.Diddy
‘The DJ (Radio Slave 28’30” Minutes Of A Remix)’
(International Deejay Gigolo, 2009) — 28.29 minutes “I actually wanted to create a 60-minute mix but quite literally ran out of time in the studio,” says Matt Edwards, also known as British house producer Radio Slave. “My idea was to create a mix that took the listener from a very heavy club track into a lighter tune — as if the sun was coming up and filling the room.” Matt asked Thomas Gandey to record some piano parts and put these into the second part of the tune to “create a softer feeling” for this big room version of DJ Hell’s electro original, complete with P.Diddy’s potty-gob lyrics. It stands as the longest remix of an electro tune… ever.
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One of the world’s biggest superstars linking with the West Coast’s premier funkateer? It’s happened — ‘7 Days of Funk’ by DAM FUNK and Snoopzilla (aka Snoop Dogg) is the most surprising and brilliant collaborative album we’ve heard in a long while. Breezy futuristic grooves and LA hip-hop of the finest kind, it’s set to be a 2014 classic. We talk to DAM about musical evolution, how music can offer escape, and Los Angeles’ distinctive sound... Words: NEIL KULKARNI usic, for so long, has focussed only on what’s ‘real’, has been all about being ‘realistic’ and ‘keeping it real’. I think music should also help people to escape, should be something mystical that gets you OUT of where you are right now, that enables you to look beyond your surroundings and . . . dream. I want music to recover its mystical edge, that ability great music has to take you out of the window you’re looking out of and fill you full of light.” Amen, hallelujah and you’re absolutely goddamned right: Damon G. Riddick, aka DAM FUNK, is spot on in both his diagnosis and proposed curative to the modern malaise of mundanity rendering so much of what we hear from our decks and speakers so resolutely, tediously stuck in the here-and-now. His latest shot to your decaying system, the astonishing ‘7 Days Of Funk’ LP, is a full-phat curative to any tendency for 2014’s music to tie itself down to the lumpen and customary. In collaboration with Snoop Dogg (rechristened Snoopzilla in a neat homage to P-Funk/Bootsy Collins-style characterisation), ‘7 Days’ is the year’s first true masterpiece, a record that will engross and engulf and enrapture you in equal measure, even as it’s also seductively loosening your brain and booty. The 42-year-old Pasadena-native (now based in LA) has been producing his unique brand of forward-looking funk for well over a decade now (check out the stunning ‘Adolescent Funk’ collection for a fantastic précis of his early work), working odd jobs to support himself and his music, never changing his game or chasing the transitory illusion of ‘crossover’ or commercialism. Hooking up with Snoop (after Mr Broadus was impressed with DF’s DJing at an exhibition by sleeve-artist Joe Cool) on opening track ‘Hit Da Pavement’, both realised what they were on to was way too good to simply be a one-off, and they lashed down the pocket supernova of ‘7 Days’ quickly, naturally, as free from radio-friendly constraint or concern as they could be when one of the players is one of the biggest superstars on the planet. “The thing is, Snoop, above all, is a music fan,
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a listener, a lover of music, a major fan of the funk,” regales Damon. “He didn’t HAVE to do this, ‘7 Days’ is a total labour of love. I couldn’t believe how hard he works, how involved he got, how he seems to be able to work so hard all the time. He’s never not working. I remember riding on the freeway a little while after the album was completed and I got a call on my phone. ‘Hello?’ ‘It’s Snoop’ ‘What’s up?’ ‘Look to your left’. I turn to the left and HE’S THERE, IN THE CAR DRIVING NEXT TO ME, smiling! He can be everywhere at once. He doesn’t need to be so hard-working but he is because he still loves music so much. As someone who grew up listening to him, it meant so much what he did on ‘7 Days’. Snoop was the first rapper who sounded like he was from OUR world. To work with him now was really a dream come true.”
that had stopped happening or moving on. Almost as if it was considered a joke. The way funk started to be seen, through commercials and movies was as a stereotype, as something that essentially was a throwback...” ...Afros, flares, big collars... “Exactly — that kind of retrograde vision of funk, as, I think, writers and some musicians liked to promote, pushed other styles into the background and for me that was a real shame and a misrepresentation. For a lot of us, funk wasn’t some music that stopped with disco or ended before the ‘80s. For me, nothing sounded as forward-looking and innovative as ‘80s funk, things like Zapp and Prince, and I saw that as music that hadn’t been picked up on or experimented with or continued. So I decided to do it myself.”
FUNKY FUTURE
Recovering that sense of funk as futuristic music is at the key of what makes Dam Funk and ‘7 Days’ so compelling. Using a mix of analogue and digital technology, Damon crafts music undoubtedly touched by the sounds of those ‘80s funk avatars he’s mentioned, but crucially it’s a unity of SPIRIT with that music that makes DF’s sound above and beyond just the sum of its parts. There’s a track on the album that sums up what Damon demands of himself, and how as listeners we respond. ‘1 Problem’ features Steve Arrington (of Slave and solo fame — whaddayamean you’ve never heard ‘Just A Touch of Love’? Go do so NOW) and is the strangest, most compelling love song I’ve heard in years. Even though the surfaces have that divine mix of pristine filth and squelchyness you want from the best funk music, there’s a wonkiness to it, an improvisatory feel to the arrhythmic vocal that initially startles you, then tutors you, ends up being all you ever want to hear. A reminder of funk’s umbilicus back to jazz, the black science fiction of Sun Ra, Earth Wind & Fire, Miles Davis, absolutely not metronomic, absolutely filled with feel. After a while you stop thinking about how it was made, wander in the sound as pure musical universe. It’s engulfing in a way you might have forgotten in the world of quick impact and rapid moving on. You can’t move on from ‘7 Days’. You don’t want to. “Thank you man. That human aspect is because everything I make is played live in the studio,
‘7 Days Of Funk’ may well, because of that Snoop connection, get racked and filed with hip-hop releases but DF’s relationship with rap is a little more nuanced, tangential and problematic than that (hence Stones Throw being his perfect home). “Well, when I was growing up, and WHERE I was growing up, in the golden era of rap, Eric B, EPMD, Slick Rick was going on. We loved that stuff but there was something about it that in a way didn’t suit our environment. Many of us were still bound up in the funk, in the warmth and openness of music on Prelude Records, Loose Ends, Egyptian Lover, D-Train.“ Why do you think that kind of rap didn’t quite fit with where you were at? “It’s to do with environment, the climate, and the culture. LA is hot, blue skies, palm trees. It’s a CAR culture, so bass was more important to us than anything else. New York, and don’t get me wrong, we loved a lot of East Coast rap, is a walking culture, block to block. LA is a driving culture, freeway to freeway. It just needed a different type of music, and a different type of lyricism and delivery. People like Snoop gave us that, but hip-hop still, when it came to funk music, seemed to borrow from a very limited range of sounds and influences.” All those golden-era James Brown/Meters samples you mean? “Yeah. I loved a lot of it but it was as if funk was being thought about as a music
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I don’t use loops or sequencing. I record it live all the way through. The only thing I programme or sequence is the drum machine. That allows that human feel to come through, even though the sounds are synthesised — it’s the way I’ve always worked. And for me it’s important I create with those limitations because it makes you work harder to get the sound you’ve visualised. For me, that’s why that ‘80s music is so crucial to me. That music was blacker, it was totally futurist and forward-looking, often down to the difficult times that the ‘80s were, that urge to escape, to bring the future, bring the light into dark days.” Do you see sound? “Yeah, I’ve always seen sound, seen people or scenes when I’m making music. A blue sky, a swaying tree, looking out my window, it’s how I get ideas. And then I try and reflect those feelings. It was important to me and Snoop that the album went on an emotional journey, wasn’t just a musical thing. The lyrics and the feelings behind each song are really important to what makes ‘7 Days’ work.”
BUILT TO LAST
Indeed. And for anyone who thinks they’ve heard everything Snoop has to say, listen to the gorgeous ‘Let It Go’ or the sumptuously dazzling ‘Faden Away’ to hear a tenderness, fragility, vulnerability and sweetness you might not suspect. It reminds me of how Ice-T once told me — real gangsters don’t listen to gangsta rap, they listen to Stylistics and Teddy Pendergrass... “Exactly! They listen to things they can listen to with their lady, their families, things about love and heartbreak because that’s real toughness, that’s what’s really real.” Is that why the album’s called ‘7 Days Of Funk’? Because in a pop world obsessed with blowing people away it’s a much rarer, more precious thing to create something that can become interwoven with everyday life. I listen to ‘7 Days’ in the car with the kids, in the bedroom with the missus. “That’s it. It’s become a habit for young musicians to think that they have to create something that will be hot, that will take off straight away. I’m just not interested in that because I know that’s the kind of popularity that will pass by fast, will be gone quickly. I’m thinking way down the road, making music people can live with and grow up with. “I’d rather have made something that will stand the test of time, years, decades from now, like the music I love, than try for some radio-friendly hot track today. The title of the album is really down to how long it took us to make it. I’m not someone interested in tweaking everything I make forever.
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Once it’s done, it’s done. The key is recording in a relaxed, natural way, that’s everything. If you do that then humanity, and personality, can come through.” ‘7 Days’ is picking up major plaudits everywhere it’s heard, and DF finds himself in 2014, after so many years ploughing a lonely furrow on the margins, as an in-demand DJ and producer. Is there anyone you’d like to work with in the future? “Paddy McAloon from Prefab Sprout. I’m such a massive fan of his. I’m keen to explore other kinds of music. When I was growing up I was into everything from Todd Rundgren to ‘80s British electro-pop to metal bands like Iron Maiden, Rush, Sabbath, Crue, Kiss. Like metal is to rock, funk to me has always been like the dirty relative
of R&B and soul, the dark room in the house where all those genres get mashed up. It’s not just a genre of music, it’s an attitude and a way of life and a way of thinking. I had posters all over my wall as a kid of all these artists and that’s how I listened to music, looking at the posters, looking out the window, escaping. I hope people can feel the same way about ‘7 Days’.” Thee best launchpad out of here and far out there you’ll hear all Spring. Get some Dam Funk in your trunk and consider yourself armed for the future from the best of the past. No looking back. Looking UP.
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ON THE FLOOR
The on-the-pulse guide to the deep, down and dirty gyrations of global clubland
ARMIN ONLY! Intense!! June long weekend... EDMUND PATTON WALSH
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rance fans in Australia are eagerly anticipating the long weekend in June, because that is when Armin van Buuren brings his ‘Armin Only – Intense’ show to our shores. Although Armin is a regular headliner at Australian festivals, there is something very special about an ‘Armin Only’ night, as those who were in Melbourne on New Year’s Eve 2010 for the last such event will attest. After more than three years waiting for our next helping, we can expect an even more extravagant show in 2014, The show is inspired by Armin’s latest artist album, ‘Intense’. But the ‘Armin Only’ concept – where, as the only DJ, he plays from open to close – goes back many years. As Armin says: “Unlike today, now that it’s all based on short sets and quick highlights, it used to be all about the long sets, the musical trips. That’s what ‘Armin Only’ is based on – taking clubbers on a 6+ hour journey into music.” However it’s not only about the music, nor is Armin the only performer – he is joined by several collaborators performing live. And the visual spectacle is sure to dazzle fans. Armin again: “The basis of ‘Armin Only’ will always be a DJ set but to make it more interesting for the crowd, I’m going to try and really make the live moments almost like you would witness them in a theatre!” Armin has teamed up with famous Dutch theatre director Jos Thie and creative mind Sander Reneman to develop, choreograph and implement the concepts of the show. If the opening instalment of the world tour (in Amsterdam’s Ziggo Dome last November) is any guide, we can expect an extravaganza of lights, lasers and video at a level far above anything experienced before. The show starts with Armin playing a warm-up set, concealed from view, as the arena fills. With the dance floor full, the main show starts and Armin is revealed as the DJ and host to the many guest performers singing and playing their instruments live. Among others, his brother Eller, on guitar, and Laura Jansen, on piano and vocals, will join Armin on stage. Topping off the show is a team of dancers and acrobats to thrill the audience.
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However, at the show’s heart is the music – and Armin himself. Fans can expect a showcasing of his recent album, with tunes such as ‘This Is What It Feels Like’, ‘Forever Is Ours’, ‘Who’s Afraid Of 138?!’ and the title track, ‘Intense’, bound to feature. These will be mixed with current tunes from Armin’s favourite producers and a large selection of old trance favourites. And if he follows the format of the early shows in the tour, he will finish with an old-school classics set, played on vinyl – which is sure to delight the purists! Trance fans around the world will agree that there’s always something special about any Armin van Buuren performance; but an Armin Only night is the very pinnacle of what he can do. As the start of June gets closer, the excitement will keep building towards fever pitch. With fewer than 20 shows scheduled around the world, Australia is lucky indeed to play host to three of them. Armin Only – Intense is at Brisbane Entertainment Centre on Wednesday 4th June (all ages), Saturday 7th June at Melbourne’s Hisense Arena and on Sunday 8th June at the Exhibition Hall, Sydney Showgrounds.
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ON THE FLOOR
Camo & Krooked and Metrik
International drum and bass heavyweights at Chinese Laundry. . .
NIC HOROWITZ
It was a Hospital Records double-header affair at Chinese Laundry featuring international drum and bass heavyweights – Camo & Krooked and Metrik. London born Tom Mundell, aka Metrik, has made a serious name for himself in the world of drum and bass with names like Zane Lowe, Eric Prydz & Annie Mac all being fans of his work. His original productions and remixes are explosive to say the least and this was certainly well reflected in his performance to a packed sweat drenched room at Chinese Laundry. Aggressive tech rolling bass-lines coupled with thick and powerful drum textures set the scene for an almost strictly drum and bass set from Metrik. DJ Hazard’s ‘Mr Happy’ & Metrik’s monstrous collaboration ‘Lazerbeam’ with Shockone were clear crowd favourites with a good percentage of those attending actually singing along to the synths from Lazerbeam. To say 2013 was a big year for Camo & Krooked would be a massive understatement. The Austrian pair Reinhard “Camo” Rietsch and Markus “Krooked” Wagner have become some of the most widely acclaimed drum and bass producers in the world, heralded by UK DnB legend Grooverider as “one of the biggest talents in drum and
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bass”. The release of their third full length studio album ‘Zeitgeist’ in September amassed huge support from DJs around the globe - and for good reason. This 15 track boundary-pushing journey draws influences from all across the genre spectrum yet still manages to stay true to the signature Camo & Krooked sound their fans have grown to love. Camo & Krooked took to the decks straight after Metrik whilst synchronously almost every punter that was scattered throughout the entire venue squeezed their way into the dark sweaty dungeon that is the Laundry – the perfect environment for a good drum and bass fix. Camo & Krooked were nothing short of maestros nestled away in the booth, puppeteering the testosterone-fuelled crowd with a healthy dose of all things electronic. Their set could only be described as brilliant. Seamless transitions accompanied by an eclectic and appropriate track selection led to a very satisfied crowd, captivated and sweating profusely for the entirety of the ninety minute set. Camo & Krooked delved deep into the electronic spectrum throughout their performance. Drum and bass enthusiasts left more than content with a large serving of
jump-up, neuro and liquid satisfying their innate cravings. Camo & Krooked’s minimal tech infused drumstep hit from their new album Zeitgeist ‘All Night’ created some serious dance floor mayhem which was followed up by their remix of Doctor P’s classic ‘Sweet Shop’ turning that mayhem into near riots. Even the girlfriends of the aforementioned enthusiasts left happy with an unexpected sing-along, as Flume’s hit ‘Sleepless’ was mashed with the Dead Prez anthem ‘Hip-Hop’. The accumulation of perspiration on every single surface in the Laundry by the end of the night was a testament to crowd’s adoration of two of Hospital Records’ finest production and DJing talents (and the crowd’s total disregard for common hygiene practices). Words: Nic Horowitz Photography: Ashley Mar
ON THE FLOOR
Future Music Festival Asia Slated to be Southeast Asia’s biggest music festival ever...
ESTELLE GONZALEZ If five stops on the Future Music Festival tour simply aren’t enough for you insatiable merrymakers then you’ll be pleased to hear that Future will be topping off the tour with three huge days in beautiful Kuala Lumpur, Malaysia. Slated to be Southeast Asia’s biggest music festival ever, the event promises even more punch and a cosmic show that will seal Future Music Festival Asia as Southeast Asia’s biggest and most epic music festival. The theme for the Malaysian Future Music Festival extravaganza this year is Safari, fittingly for a country renowned for its incredible jungles. Make sure you pack your most inspirational safari themed outfits so you’re ready to take on the tropical heat and the incredible line up that will unleash on the hungry pack of party animals with a stampede of transcending genres. The line up features the majority of the acts from the Australian leg of the tour including Deadmau5, Macklemore and Ryan Lewis, Knife Party, Rudimental, Chase & Status, Brodinski, Gesafellstein and Eric Prydz as well as exclusives to FMF Asia including Ghostface Killah, Method Man and Raekwon of hip hop super-group Wu Tang Clan. After the success of last year, four times DJ Mag 100 winner Armin Van Buuren will be returning to Malaysia in 2014 with his acclaimed A State of Trance show. The announcement that Future will be bringing ASOT back to Malaysia officially marks Kuala Lumpur as the only city in the world after Miami to have hosted
the show for two years running. Andrew Rayel, Markus Schulz, MaRLo, and Paul Van Dyk will also be joining the ASOT party. As well as the international superstars, the festival will be hosting the finest local talent on offer. Make sure to check them out so you can tell your Aussie mates that you were listening to acts such as Xu, Bate, Anowl, Basement Syndicate, Ramsey Westwood, Bunga and Deer Society before they even heard of them. Malaysia is the only country to ever host Future Music Festival outside of Australia. Last year saw crowds of over 55,000, making Future Music Festival Asia the largest music festival to ever hit Southeast Asian shores. This year will be bigger still, with 75,000 partygoers expected to descend on the Bukit Jalil National Stadium. Jason Ayoubi, the Director of Future Music Australia said, “I believe we have got a phenomenal line-up and I don’t think Southeast Asia, let alone Malaysia has ever witnessed a gathering of musical talents in a single event of this proportion and scale.” The best news is that Malaysia is just an eight-hour flight from Sydney and flights are surprisingly affordable. Speaking of affordable, a VIP ticket to all three days will only set you back about $200 AUD. There are limited 3rd release tickets still available. You can check out the full line up and purchase tickets at the Future Music Festival Asia website. Either single-day passes for the 13, 14, or 15 March or three-day weekend passes are available. http://www.futuremusicfestival.asia
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ON THE FLOOR
BOXING DAY BREAKFAST!
We asked DJ Philly Blunt to tell us about his day at this local phenomenon...
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here is no other festival that provokes so much excitement amongst its fans, as Breakfest does in Perth. It is now a local tradition every Boxing Day for so many people, the festive period would be incomplete without it. We asked DJ Philly Blunt to tell us about his day at this local phenomenon. Boxing Day for the past 13 years, has meant a long and no doubt hot drive, 40 minutes out of the city to the Belvoir Amphitheatre. Arguably Perth’s best concert venue, it sits on the river in the heart of the Swan Valley and is a 4000 person arena cut into the side of a hill, reminiscent of the open cut mines our state is famous for. Many an interstate and international DJ has stood stupefied at the top of Belvoir in amazement, without even realising that the view from the stage, at night, in front of a packed house is a million times more awe inspiring. The weather on Boxing Day in Perth is usually brutal. The hottest Breakfest hit 46+ degrees, but luckily this year we were at a cool 36, and thus, people were lined up before gates. This is a good thing for me as I was playing in the bowl an hour or 2 after that. Being a Breakfest veteran - haven’t missed one - and working my way from underage kid, to “local stage” DJ to playing in the bowl
for the last few, has been a great ride and has resulted in meeting so many likeminded crew along the way. So much so that the festival is a general catch up for the whole community - new and old. As much of the day is spent running into crew as it is watching the DJs… but let’s talk about that shall we? Upon arriving, local ghetto funk beat smiths Tonic and Bezwun were giving the early arrivals some bang for the their bucks with some heavy, glitchy, filthy shit, with insane scratching over the top, and generally making it hard for all those that followed. Which was me. My side project Black & Blunt, with big man on campus Micah, was lucky enough to score a Xmas Beatport (breaks) #1 and we were in the mood for celebrating - lucky for us the crowd was too. 808s and bmore beats warmed up the dance for Nick Thayer who unleashed his big bass sound on the early afternoon crowd. Like many of the DJs on the day, Nicks set spanned multiple genres of broken bass music which flowed onto the (slightly) more subdued breaks of Mafia Kiss. Mr Kiss has had a big year with a few Beatport top 10s and a recent signing to the Stanton Warriors’ label Punks, his tunes were already a favourite with the Perth crowd and his set didn’t disappoint. Then it was time to run up to the 2nd stage to catch
Photography: Mastu Photography
Deekline. A man who knows how to rock a party - the encroaching sun onto the tents dance floor didn’t SCARE any punters whilst he ran from 2step to breaks to dub without missing a beat. Back to the bowl for LTJ Bukem who’s set was marred by some technical difficulties, but as the past few years have proved - liquid dub in the amphitheatre as there sun goes down is a mix made in heaven. Featurecast stepped up next for what was probably the most anticipated set of the day. After a few years of broken tour promises, he was finally here and it seems he’d spent that time polishing his set as he quite simply, smashed it. No doubt winning a bunch of new fans to go with the hungry supporters that were salivating his Jackmaster arrival - it’s safe to say he’ll be back a lot sooner this time. The headline acts of the Plump DJs and Stanton Warriors are both veterans of breakbeat and of Breakfest, and it showed. Bringing home the festival as they know how. There’s a reason Breakfest has won so many awards, year after year and maybe it’s something to do with the old ethos of: if it ain’t broke, don’t fix it - or is that ‘don’t drop it?’ Then it’s a long drive back to the city to do it all again at the after party. Words: DJ Philly Blunt (facebook.com/iamphillyblunt &
soundcloud.com/philly-blunt)
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ON THE FLOOR
DJ DIARY With ANDRE CROM Malt Club, Perth I arrive at Perth airport late in the night after a long trip from Bangkok over Singapore. This gives the border security a lot of time to grill me with questions and search my bag more thoroughly than I experienced ever before. After making sure I’m not a drug dealer, I’m allowed into the country and drop dead into bed. Next day sees a beautiful trip to the endless stretches of Scarborough beach, some nice seafood and a fun chat with local promoter Brandon - I begin to fall in love with Australia and the legendary hospitality and friendliness of its people! It’s Thursday, 31st of October, and the party’s a Halloween special. People really put effort into their costumes and make-up; it’s not a party that you’d like to experience on LSD. Great fun to play to a crowd of vampires, jokers and sexy witches in tight dresses, I think some of them cast a spell on me! Next day’s morning is a bit rough: checkout time 10am and no begging or money could help to arrange a late checkout! Writing a review for this hotel made me feel like a devil myself.
Trinity Bar, Canberra Next day sees a trip to Canberra, which is uhm... not exactly hailed as the party capital of Australia. So I was pleasantly surprised to see a packed indoor/ outdoor venue with a great sound system and a motivated crowd and lots of smiling faces on the dancefloor! Only drawback was the fact that the night ended already at 3 am, so we headed to an after party in a pub-ish venue where I lost my room key, which led to an intense discussion with the amazingly unfriendly hotel clerk, almost expected to have to camp in front of the place... luckily this was pretty much the only unfriendly person I encountered in the whole trip.
Spice Cellar, Sydney OK, according to what all people from Perth and Canberra said, Sydney is another level of parties. I get welcomed warmly by my Australian tour booker Mike, and we have a nice late lunch, while we chat about the Australian scene and general culture. Close to King’s Cross station, we chill outside and take in the parade of excitingly diverse people of all nationalities races, cultures and sexual preferences. This place again proves the image of the laidback and relaxed Aussies which let everybody live as they like... reminds me of Berlin, only with better weather and the beach nearby! The night starts with Spice’s promoter Murat Kilic, Mike and me enjoying what was probably my best DJ dinner to this date. The enjoyment was only raised by me and our waiter doing an accidental tag-team in destroying wine glasses - seems we both had a bit too many nights out recently! Spice was said to have a really European feel, and I can totally confirm that, this club could also be in London or Berlin. A multicultural audience fills the packed place, and my set from 2.30 - 5.00 is great fun. But afterwards I literally drop dead, 3 nights of parties and little sleep take their toll. So I hand over the decks to Murat and catch up with sleep before heading to the last tour stop...
Revolver, Melbourne All the stories about Revolver suggest something like the Australian version of Berlin’s Bar25 or Kater Holzig; and that’s not the worst places to compare a club to. It turns out, the stories prove true. Two big cavernous darkly lit rooms with some amazing original street art by Banksy play host to an endless extravaganza, which often stretches over the whole weekend without closing down. This kind of parties attract a certain audience which loves to really let themselves sink into the music and to lose track of time... an audience that is the dream to play to for most underground DJs. So I give all remaining energy to take over from fellow Berliner’s Chopstick & JonJon and to play a long set and really fall in love with the Aussie party crowd. After my final power is spent in a b2b set with resident Katie Drover, I fall into bed for a long sleep.
Next day sees a relaxed recovery afternoon with a late lunch with all promoters and DJs involved in the night, nothing better than a fresh coconut to get your juices flowing again and get ready for the long trip back home. Thanks Australia, that was an amazing debut!
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High Five. WRITTEN BY: SUMEDHA PAGADALA
NAME: Spice with Mark Henning at The Spice Cellar WHERE: The Spice Cellar (Basement Level/58 Elizabeth St, Sydney) WHEN: Saturday 22nd February, 2014; 10pm onwards. THE LINE-UP: Mark Henning, Michelle Owen, Dean Relf, Murat Kilic, and Robbie Lowe TICKET PRICE: $25 (Approx.) LINK: www.thespicecellar.com.au Mark Henning. Photo : Inthemix
Move D. Photo : Marek Petraszek
Skream. Photo credit is OWSLA
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With the increasing mainstream exposure that the electronic music scene has been receiving in recent years - both globally and locally, it’s no surprise that DJs have started to take more initiative with the types of venues they choose to play at. This is in stark contrast to less than a decade ago when DJs did not have the same degree of exposure both within and outside of the music community. Amongst many things, this is reflective of, and has influenced, higher quality standards within this music scene and its various subgenres. DJ Murat Kilic, one of Sydney’s foremost respected DJs, a coowner of The Spice Cellar, and one of the featured artists for this line up was more than aware of this when setting up a club. The upcoming gig in late February with will be playing host to internationally renowned DJs like Berlin-based underground – and now mainstream - artist Mark Henning (new EP Blackout, under Soma Records) is sure to continue this legacy. Joining him on the main stage with her vibrant lyrics and house tunes will be fellow Berlin-based DJ/ Producer Michelle Owens. With respected records at her back like Moodmusic and Exploited; and her recent EP featuring Kruse & Nuernberg and Isis Salam ‘We Find Deep’ getting numerous hits on Beatport – be sure to expect some eclectic and sophisticated tunes. Hailing from the South Coast Dean Relf – a name that was featured on The Spice Cellar’s Top 51 DJs list last year, and a member of the fore thinking Parkside Collective from Wollongong; is sure to bring some incredible ‘smoky’ house tunes to the floor. His previous mixes Elesdee (Original Mix), Shapes (Original Mix) and an EP from his collaboration with Scuba Stew: Wanna See It (Original Mix) continues to garner a stable audience on Beatport. And Robbie Lowe’s recent Monkey Business Mix with Gelato Messina and his 20 Year Anniversary Mix with Pulse Radio place him among the ranks of the most dedicated and progressive house DJs in Sydney right now. In the ever-burgeoning house music scene in Sydney, The Spice Cellar’s front liners keep the eager fans of the genre on their toes with their generous, versatile tunes and acclaimed artists. It’s venues like this to keep an eye on: its proof of Australia’s pull on established acts. Catch them if you can.
NAME: Skream (UK) (via Auditree) @ Bowler Bar WHERE: Bowler Bar (388 Brunswick St, Brisbane) WHEN: Friday 21st February, 2014; 10pm-5am. WHO: Skream TICKET PRICE: $20 + Booking Fee LINK: http://www.residentadvisor.net/ Set in the midst of Fortitude Valley, Bowler Bar’s exclusivity as an underground venue within dance music continues to showcase some top quality local and international talent within indie, techno, and dubstep music. Skream, (also known as one-part Magnetic Man, a London native, and a key to the identity of dubstep today) is one of the most enigmatic names within dubstep globally – both as a DJ and Producer. Despite some controversy (based on dubious sources) last year on his future in dubstep, Skream is back in full blast. His recent work featuring Sam Frank called Rollercoaster garnered music acclaim for its ability to successfully synthesise and amalgamate elements of house and disco. While not from his traditional dubstep roots, his ability to branch out into new sounds could mean an exciting new experimental stage in his career. Get a taste of what’s to come.
NAME: Future Music Festival – Perth WHERE: Arena Joondalup (Kennedya Drive, Joondalup WA) WHEN: Sunday 2nd March, 2014; 12pm onwards. WHO: Deadmau5, Hardwell, Paul Van Dyk, Knife Party and many many more TICKET PRICE: $160 + Booking Fee (1st Release only) LINK: http://www.moshtix.com.au/ This year’s ‘Safari’ theme has set the stage for a legendary line-up from across board: including electronic dance heroes to chart toppers Macklemore & Ryan Lewis. Deadmau5’s legendary techno sets with their original beats and scintillating rhythms. Also gracing us with his ever growing presence will be Hardwell, DJ Mag’s No.1 man of the moment, who will be releasing a much-anticipated album later this year. One of trance’s golden boys and Grammy nominee and self-described “audio architect” Paul van Dyk as well as Big Beat’s Knife Party will be sure to put the crowd in tuneinduced craze with their layered House and Dubstep notes.
NAME: Summer Series with Move D at Revolver Upstairs WHERE: Revolver Upstairs (229 Chapel St, Prahran, Victoria) WHEN: Sunday 16th March, 2014; 7pm-6am. WHO: Move D TICKET PRICE: $25 + Booking Fee LINK: http://www.revolverupstairs.com.au/
NAME: Adelaide Unsound Festival WHERE: Adelaide Town Hall (128 King William Street, Adelaide) AND Queen’s Theatre (Gillies Arcade / Playhouse Lane, Adelaide) WHEN: Thursday 6th March (8pm onwards); Friday 7th March & Saturday 8th March, 2014; 7:30pm onwards. WHO: Jed Kurzel, ft. Stars of the Lid, Luke Savisky, and Zephyr Quartet and Friends (on the 6th @ Town Hall); Morton Subotnick, Nurse With Wound, The Haxan Cloak, Cut Hands (on the 7th @ Queen’s Theatre); Moritz von Oswald Trio ft. Tony Allen and Max Loderbauer, Emptyset, Gardland, James Ferraro (on the 8th @ Queen’s Theatre) TICKET PRICE: $59 (Adult), $49 (Friends and also for Concession holders), $30 (Fringe Benefits) LINK: www.adelaidefestival.com.au/2014
Moving on to Melbourne with Move D (aka David Moufang): one of Germany’s renowned techno exports. If his Sandmann (ft. Maetrik) under K7 is anything to by Melbourne’s techno fans are in for a treat! With its reliance on masterful use of synthesizers and greater technical dexterity, techno music’s character and evolution is almost directly proportional to the evolution of Gen Y. Revolver Upstairs has a history with providing some of the best live acts in VIC, and across the board. Techno beats have been creeping up our charts recently, and leaving a prominent imprint on dance music. So what better way to end an Aussie summer in the ‘Sunshine State’ than on a techno high?
Newbie Unsound Festival makes up in artistic and tasteful line-up what it make lack in longevity – having only been established in 2013. It is heavily supported by the Adelaide City Council itself, suggesting a much more forgiving landscape that nurtures and refines the hidden gems within the local dance music landscape. Unsound 2014 will be kicking off with Jed Kurzel’s soundtrack to the critically-acclaimed film Snowtown (2011) on the 6th at the Town Hall. Queen’s will be playing host to the likes of Subtonick’s 60’s cult remastered Silver Apples and The Haxan Cloak’s moody Excavation. And show will end on the notes of Oswald’s incredible experimental techno and the likesofEmptyset’sMedium amongst others.
MUSIC SINGLES
February’s tracks tested. p.82
ROCK ON
Planningtorock’s righteous disco. p.94
UTTERLY BUTTERLY
Black Butter’s flavourful new comp. p.99
Renegade Master Damian Lazarus’ Crosstown Rebels celebrate a decade in dance. p.98
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First ever clubbing experience?
WaxLyrical
My first ever ‘clubbing’ experience dates back to when I was 15 years old. It was the golden era of the happy hard / hardcore rave scene in Sydney…. You know those party’s dominated by Rush’n ravewear tee’s, kappa pants and the 0055 numbers you had to call on the night of the party to get the location. After a taxi ride that almost killed us from an aspiring F1 driver cabbie we ended up at a warehouse in Leichhardt and pretty much entered into a world that I haven’t looked back on. Endless vibe, amazing people, solid tunes, hours on hours of dancing… before I knew it the sun was up and I left there well & truly with the bug.
Do you remember the first house record you ever heard? And what was your reaction? I guess the one of the first electronic records I heard that really had a major impact on me was Technotronic – Pump Up The Jam.
I was quite young when I first treated my ears to it, and I remember thinking to myself wow this has some real energy, so infectious it didn’t even phase me that at the time I was thinking by Jam they were referring to the delicious conserve. My ‘Pump Up The Jam’ Cassette single used to ride right up front in my treasured cassette box and still till this day I listen to it regularly, even giving it the occasional spin out when I can. A timeless classic!
What’s the defining dance record of all time? So far… For us there is one record, which is pivotal to what we play, produce and love. It is a release that really speaks to us and inspires us on so many levels. I guess it wouldn’t be a record that would be considered defining for most people, however for us it’s an absolute CLASSIC Hugg & Pepp – Snabeln
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Wax Lyrical
POW! POW!
Three records (or tracks) that don’t leave your crate? Extrawelt – Titelheld Audion – Mouth to Mouth Magda - Oblivicleas
If you could invite anyone you want over for dinner, dead or alive, who would they be?
Would have to be Mr T… That way we could get some proper tips on how to lift our fashion sense and how to treat our mother right. What’s your lights up, end of the night tune?
At the moment we are finishing our sets with Ame – Rej A magical, emotional & all round faultless record …
The response everytime we play it is goosebump worthy
When you absolutely, positively must decimate the dancefloor, these are the tunes you need…
Black Loops ‘Simplon EP’ Gruuv
soundcloud.com/gruuv WITH the house/garage sound getting hammered to high heaven, making it sound fresh ain’t easy. Although Berlin duo Black Loops have managed it on the ‘Simplon EP’ for Audiojack’s Gruuv. The title track is crisp house on a percolating bed of sub-bass, while ‘Cabron’ is a curvaceous groover with organ keys and enormous industrial pipes, and Sidney Charles’ remix has a rave-y New Jersey vibe. ‘Up On You’, however, is the one. Its murky ‘Spin Spin Sugar (Armand Van Helden Remix)’ synths and evil growls are what any self-respecting MC would call a “cheeky bubbler”.
STONE COLD KILLER — track of the month
The White Lamp ‘Ride With You’ Hotflush
hotflushrecordings.com SOME argue the download generation is taking emphasis away from remix packages and onto individual tracks, but that hasn’t perturbed Scuba and Jack Haighton from Hotflush from packaging this exceptionally well rounded release. Roping in rejuvenated exUnderworld veteran Darren Emerson under his The White Lamp guise — his grubby soul collaboration with vocalist Peter Josef that first landed on Futureboogie in 2012 — they’ve packaged his latest film noir effort with remixes from Mike Dehnert, enigmatic Berlin trio ItaloJohnson as well as an extended re-rub from Emerson himself. Dark, moody and spacious, the original is a lumbering slice of grainy, countrified funk. Falling somewhere between the drowsy drawl of Iggy Pop and David Lynch’s odd-ball philosophising, Josef’s gloomy tones depict a world of dusty streets and lonely saloon bars, while Emerson’s capacious touch makes for an atmospheric bottom-heavy comedown cut. ItaloJohnson’s remix, a vinyl exclusive, is a corrosive soundsystem
banger bouncing with viscous texture. Intricately layered with steely snaps, cracking dustbin lids and a thumpin’ 4/4, it’s expertly topped with spooky synths and eerie vocals from the original. Turning out a devastating slice of minimalism, the ever-excellent Denhert strips things back, enhancing its finer elements. Built out of piercing wooden pops, metallic hi-hats and meaty iron synths, the Fachwerk boss pieceby-piece constructs a coal-black engine of interlocking pistons and undulating arms, while, on his ‘Dub Extravaganza’, Emerson injects some heavy funk into the heady, progressive sound of his days as a mainstay jock for Global Underground during the ‘00s. Dispatching four very different — but equally playable — bombshells, download this package (or purchase the vinyl) on sight.
Maxi Mill
‘Lost and Found/Speed Balance Weight’ Voyage Direct (Rush Hour)
rushhourmusic.com HARD to believe Amsterdam’s Maxi Mill is a new talent. Having debuted on Tom Trago’s Voyage Direct in 2011, his latest could just as much come from the venerable hands of one of Chicago’s finest. The deep analogue funk of ‘Lost and Found’ is like a tastefully decorated mansion — roomy, luxurious and decked with antiques. ‘Speed Balance Weight’, on the other hand, is more uncouth. Rupturing house with a vintage electro sensibility, it’s a choon even Model 500 would be proud of.
Blatta & Inesha
Patrick Topping
Blood Music
Hot Creations
‘Low Will Tear Us Apart’
‘Get Beastly EP’
soundcloud.com/blatta-inesha THIS Sicilian duo used to make breakbeat and electro but judging by this intimidatingly ferocious sound, they’ve developed an obsession with obsidian bass tones. Don’t be fooled by the drifty Detroit pads of the intro — when it drops, it’s all about the guttural cone-crushing jungle bass and 4/4s. Watch pandemonium ensue...
hotcreations.com CUTTING his teeth as resident at Motion in Newcastle, Patrick Topping has obviously been inspired to even greater heights by his DC10 debut in the summer. With three straight-up dancefloor bombs, ‘Get Beastly’ rides a garagey arrangement through off-key FX, while ‘Strights Up’ is leaner and meaner, built from pushy bass and reverbing claps. Best though is the indecently driving ‘Stop’ with its high-pass cuts, mega drops and bouncy melody.
Rat Life 1
Max Graef
Rat Life Records
The Gym
soundcloud.com/uncanny-valley-dresden/ sets/rat-life-1 AN offshoot of Dresden’s Uncanny Valley, Rat Life emerges from its underground lair with an offering as scuzzy as the name suggests. A-side ‘Pink Blunted (Credit 00 F**k Up)’ is a rousing post-punk stormer built around great pounding drums and a bare-chested explosion of a chorus half-way through. On the flip, ‘Disco Train (Dunkeltier Edit)’ is a similarly intoxicated voodoo drum funk workout. For fans of Optimo or Comeme, this is the real shit.
soundcloud.com/max-graef THIS young producer is making power moves. As an apertif for his forthcoming debut album for Tartelet, ‘Rivers of the Red Planet’, Max serves up this short-but-sweet release for Brandt Brauer Frick’s label The Gym. The A-side, made especially for BBF’s forthcoming ‘DJ Kicks’ comp is a dark, smouldering house slow-burner with more than a touch of midnight smoky jazz flavour. Livesounding hats and ‘70s film score tinkling piano loops create a Lalo Schifrin vibe, while ‘No.5’ mixes hip-hop drums and 4/4 kicks.
‘Pink Blunted (Credit 00 F**k Up)’ ‘Bummse EP’
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HOUSE REVIEWS
HUSKY house@djmag.com.au
Jazzanova Feat Ben Westbeech ‘I Can See’
(Konstantine Sibold Remix)
Adri Block ‘All I Do’
8.5
7.5
Objektivity
Highly respected German outfit, Jazzanova link up with Ben Westbeech aka Breach to lend his incredibly sublime vocal touch to ’I Can See’. Originally released in 2008 on Verve Record, this track has been re licensed to Dennis Ferrer’s label, Objektivity and sublimely remixed by Konstantin Sibold. This remix hits all the right notes for the deep house, 909 and organ bass revolution of late. A great anthem that has just had the perfect revival. All class.
James Dexter
Coming Home EP Large Records
9.5 A hint of excitement creeps into my body when I find a large promo in my inbox, especially one that has James’s name on it. This EP does not disappoint, with 4 banging tracks sampling his signature deeper house style in ‘Air’ right through to the ‘Chicago’ styled track ‘Don’t Wait’. Rising synths, hypnotic vocals and cleverly executed arrangements help this EP rise above many. A must have!.
John Devecchis ‘Drop One EP’ with a garage style bass and a pitched ridden top line, this mix leads the charge. Sonny’s Mix sticks to the moodier side of things, with pitched down vocals aiming more for the darker side room. All round a great pack here.
Gorge
QUICKIES
Instinkt Records
8.0 The 4th release for John’s own Instinkt Records already has him carving out his intentions. Calling Sydney home, all the tracks on this EP are reaching for John’s deeper house roots.
Guesthouse
Disco house at it’s best. Clever sampling mixed with snappy drums and a funky bass groove equals this party starter. Guesthouse solidifying the labels reputation as providing the rare party jams.
Shur-I-Kan ‘Jazz Club’ EleFlight records 7.5
Groove Cartell Feat Samantha Mogwe
Best known for his amazing deeper touches, this one threw me, but in a great way. An amazing jazz influenced record from Shur-I-Kan, proving his talents lie far beyond his favored genre. The remixes on the flipside help to make this a really nice EP for the ipod/bar/club.
Guess Records
Jacques ‘Got To
‘So Far Gone’
7.5 Smooth release here from UK Spiritchaser’s label. The original slides into the soul category with more focus on the smooth vocal from Samantha, while the Spiritchaser lads rock their trademark moody yet dance floor focused sound.
Believe’
Let’s Play House
7.5
NYC is alive and kicking here! 90’s sounding and a bassline that sounds right at home for the mood 2 swing lovers amongst us; this is a great throwback sound. Jacques knows his way around a big tune.
‘Wont Hurt You Tonight EP’ 8BIT
Poncho Warwick & Wally Callerio ‘Split Personalities EP’ DFTD
8.5
LA based producer, Wally Callerio teams up with his alto ego, Poncho Warwick for an epic battle, normally reserved for an episode of the ‘United States of Tara’. Swing jazz elements, combined with a stripped down house groove has this EP rocking and rolling and reminding us of Wally’s earlier success with his own Dufflebag Records. A classic remix by Defected’s recent favorite, Guti helps push this release into a broader DJ’s repertoire, and some well deserved charts. Expect to hear this EP everywhere, even a Saloon, cause it’s dope like that.
Basspin Feat Dyanna Fearon ‘One To watch’
Beatdown/Issamin
8.5 All-thriller, no filler from Sonny Fodera’s label, Beatdown with this release, which features a remix from UK house don Grant Nelson and Sonny Himself. Grant excellently cuts up Dyanna’s summery vocal while combined
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8.0 Released in December, I’ve only just stumbled on this, but a record that’s a few months old should never be overlooked, right? George had a huge year in 2013, with his original works and of course his label, 8bit with Nick Curly. This EP’s star is the lead track ‘Won’t Hurt’, with its warehouse beats and throbbing chord that drives this track into that part of your mind that want’s to dance into a pool of your own filth. This EP should shout to any techy house follower.
Alley Oop ‘Bells EP’
Exotic Refreshment
8.0 Australian-born and raised, Alley Oop has landed this slo-mo, disco infused houser into the laps of respected label Exotic Refreshment. Alley’s release ‘Bells’ bears a tight package that comes complete with remixes from other Sydney house purveyors Nicc Johnson & Tikki Tembo and an equally groovy mix from Daniel Ferdinand. It’s the original cut for me though, with bells on ;)
Using cut up moody vocals, muted synth pads and rolling bass grooves, this EP is one for the big sound systems and deeper house heads. The legendary, Brothers Vibe are recruited to remix the lead track and guide it nicely to a deeper and darker place. A nice addition to a well rounded EP, with my pic being the last track, ‘Now Or Never’.
Nick Olivetti
‘Looping Machine’ Dirtybird
8.5
Kicking off the year true to form the Dirtybird only gets dirtier. A great EP here from Nick who has had a steady stream of releases on labels like Kling Klong, Great Stuff and CR2. This one comes stuffed with the usual pops and bleeps we’ve come to love from the Dirtybird camp, combined effortlessly into a bass heavy crowd pleaser. Both tracks are very solid here, but ‘Looping Machine’ just has me imagining the lasers cutting through the thick smoke in a heaving club. Guaranteed sweat marks here!
FRED EVERYTHING 01.KAYTRONIK Belined AtJazz Karizma at his best. Timeless feel on this future classic.
02.SHUR I KAN Blue Giraffe (forthcoming) Lazy Days Wait until you hear this one. Very unique piece of music. Out in february.
03.CRAZY P Virtuality Future Boogie
Been a fan of Crazy P since the Penis(es) days and I particularly enjoy their clubbier outings. This is modern disco at its best.
04.MARC DE PULSE FT. HOLLIS P MONROE & OVERNITE No Need To Worry (Fred Everything’s Lazy Dub) Noir
One of my nice meetings at ADE this year. Was happy to get on this Remix for Noir feat. Montreal’s Hollis P Monroe and Overnite.
05.MOUNT KIMBIE Made To Stray (DJ Koze)
What can I say? DJ Koze is a (mad) genius. Everything he touches is pure gold.
6.CRISTOPH Big H (Nacho Marco Remix) Nordic Trax Nacho Marco has been in pure form lately. This is no exception
7. NACHO MARCO Midnight Man (Fred Everything Remixes) Classic Music Company Speaking of the devil, Nacho covers Flash & The Pan’s 1985 Midnight Man and they kindly asked me to remix it. The result is quite…deep, for lack of better words
8.LEIGH D OLIVER Blood Will Never Heal That Wound (Max Graef Remix) Large
Large has been on a roll lately and it’s good to see current hero Max Graef on a rare digital release. His music is a breath of fresh air.
9.NO REGULAR PLAY El Dorado (Jacques Renault Remix) Wolf + Lamb A bit of a secret weapon. Jacques Renault’s Remix is pure drug. Love this to bits.
10.HONESTY & DANIEL PAUL - Atrium (Konstantin Sibold Remix) - Cabinet
Another one who doesn’t seem to do no wrong these days. Konstantin Sibold is a name to watch this year. Love his 2 different versions, one techno and the other Dub.
DISCO REVIEWS
JONATHAN BURNIP jonathanburnip@gmail.com
QUICKIES Cratebug
Cratebug Edits
Blamma! Blamma! feat Kristina Train Zsa Zsa (Remixes)
Echoes
Bug Records
Fight The Feeling (Remixes)
The Cratebug edits team tackle new and updated treatments of perennial disco classics such as Martin Circus' 'Disco Circus' and Macho's 'I'm A Man'.
Wall of Sound
Eskimo Recordings
8.0
Kitsuné
Pleasure Planet
Heralds of the modern disco scene come out of a quiet period with a remix package from duo, Blamma! Blamma! — inviting the likes of Andy Cato, Psychemagik, Kiani vs Red D and Eelke Kleijn to do their bidding. Groove Armada's Andy Cato serves up a Balearic ace alongside a slow electro manoeuvre from the Psychmagik boys. Two rousing deep house remixes from Kiani vs Red D and Eelke Kleijn round off this tidy return.
House of French disco and electro release a beginning-of-year primer featuring new music from Pyramid, Horixon feat Robert Owens and Techniques. The superb Kiwi remix of the Robert Owens vocal 'Lifeline' is the EP's highlight.
Throne of Blood
Christian S
Chirpy disco/deep house three-tracker from new label signing, Pleasure Planet. Title track features a vocal delievery from the one-and-only Kim Ann Foxman.
Comeme
7.5
Various
Kitsuné December Package 8.0
10
Brilliant label debut from London-based synth-pop duo, Echoes, gets remixed and remodelled by Capracara, James Trystan, Boderline Jack and WLD.
Animals 8.5
ZAF BBE 01. STEPHEN ENCINAS ‘Disco Illusion’ Invisible City Editions “Despite being the first person in the country to own this record on an original 12”, in 2012, this is still my favourite track of the year.”
02. VARIOUS ‘Philly Re-Grooved: the Tom Moulton Philly Groove Vinyl Boxset’ Harmless Records
“Too many killer cuts on here to ignore... a different cut becomes my favourite after every listen.”
03. CANDIDO ‘Thousand Finger Man/Dancin’ & Prancin’’ Sunshine Sound
“Unreleased versions of these two classics, previously only available on acetate, Disco Patrick kindly shared these with the world, essential!”
04. JOVONN ‘Body ‘N’ Deep EP’ Dogmatik Records
“House music just like I like it... from the veteran... remember buying his first-ever record!”
05. VARIOUS ‘Under the Influence Volume Three: A Collection of Rare Soul & Disco’ Z Records
“Compiled by my mate James Glass, there are some tracks on this that I do not own!”
06. SOUL RENEGADES ‘Now You’re Gonna Save Me’ Restless Soul “Finally on vinyl, been dancing to this for a very long time, bangin’ Phlash in full effect!”
07. VARIOUS ‘African Shakedown’ African Shakedown Records
“Absurd Afro tracks from the ‘90s... rocked many a party this year with this.”
08. LEON LOWMAN ‘Liquid Diamonds’ Rush Hour
“Taken from two different original LPs, this superb record proves there is enough killer music still to be unearthed.”
09. WILLIAM ONYEABOR ‘Who Is William Onyeabor?’ Luaka Bop “Outstanding compilation of all his best cuts... amazing triple vinyl!”
10. DEGO ‘Find A Way’ 2000 Black
“Slaughtered this tune in many dances since its release... genius!”
Pitch Rider 9.0
Christian S's curdled house classic 'Jagos', from 2010, made a recent appearance in Ben UFO's Essential Mix, giving this very underrated artist some deserved exposure. So prepare yourselves for some more of that brilliant pitch-bent, proto-house madness on this first solo release from the Colognebased DJ/producer. The lead title tune twists broken hi-hat passes through stammering drum programming and foggy DX stabs. Frenetic percussive touches punch through the likes of 'Drifting' and 'Die Durch Die Nase Lachen' and the thoroughly oddball 'Rhumba' takes you to a dizzying finale. Comeme entering a new year and showing that they have no end of new tricks up their sleeves.
Factory Floor
Turn It Up (Remixes) DFA
8.5
Laurel Halo trumped most last year with the brilliant, longplaying 'Chance Of Rain' on Hyperdub; now she applies some of her maverick talent to Factory Floor's latest single. Remodelling the primitive pulse of the band's arcane drum machines, Halo's version reaches a giddy climax with nebulous synths and smudged dub tones. In contrast, Detroit techno hero, Carl Craig, reduces the groove to a darkened, hypnotic club tool.
Fini Tribe
DeTestimony (Remixes) FFFt
8.5
25 years on, Fini Tribe's metal dance/Balearic anthem comes around again, with support from new remixes by Optimo, Justin Robertson, A Finiflex Production and Robot84. Glaswegian production duo Optimo twist a
Dan Beaumont The Trip EP Classic
steely, industrial version with clattering effects and fuzzing leads. Operating under his Deadstock 33s guise, Justin Robertson produces a Balearic house fix, while Finiflex and Robot84 temper the mood with their slo-mo mixes.
La Mverte
Through The Circles EP Her Majesty's Ship
8.0
Making a debut on Astro Lab previously, La Mverte embarks upon a solo journey on Her Majesty's Ship with four tracks inspired by Italo-disco, minimalsynth and coldwave. Immediate highlight is the mid-tempo, industrial-tinged title track that nods to Dopplereffekt's classic 'Infophysix', but there are other great moments to subvert your dancefloor with — the flickering acid-disco of 'Crash Course', both in original and Acid Washed remix versions.
Munk & Rebolledo Surf Smurf
10 British house music stalwart, Classic, is back with its doors wide open for business again with this strobing disco homage to NYC house music. 'Dan's Jam' and 'This Feeling' lament one of the Big Apple's greatest clubs, Sound Factory, with dark, wild-pitch touches, nodding to Farley & Heller's Roach Motel. Clearly titled, 'Trippy Pumper' lets loose a fierce bass arpeggio to get a Balearic overhaul from Justin Robertson's Deadstock 33s and a brilliant, techy dub version from Caravan label boss, October.
controlled chaos of Rebolledo's wild, wigged-out giddy dub version of the title tune that steals the show.
Various
I-Robots pres The Balance EP Opilec Music
Gomma
7.5
Pachanga Boy, Rebolledo, takes a break from writing with Superpitcher for a whimsical collaboration with Munk. As the title hints, expect a tongue-incheek combination of disorienting surf rock and weighty disco rhythm, steeped in a showering of sleaze. A touch of acid-disco creeps in with the lively bonus track, 'Got It Baby', but it's the
Picked up midway through 2013 for Chez Damier's Balance label, this four-track EP gets issued again on Opilec with extras. Alongside the spikey punk-funk of I-Robots' 'Streets Of Dongguan', Jordan Fields' 707-propelled proto-house tune and Federico Gandin's take on the old school Motor City sound, sits a new version of Klein & MBO's 'Last Call', remixed by the I-Robots.
9.0
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ELECTRO REVIEWS
DAVID MCCARTHY electrodjmag@davidmccarthy.com
QUICKIES
between the pair and are definitely worth checking out.
Paul Blandford
h2so4
Death Proof Recordings
self released
Eclipse (Spatial Awareness Remix)
'Minimal' doesn't really have small enough connotations to accurately describe the insistently sparse attack of 'Haunch'. The hypnotic bassline merges with the drum track to form a kind of soft wall of sound that grows harder the more it continues to play. Paul Blandford is the co-owner of the label and this is his first release under his own name, with his own sound. The result is some delicious dubby darkness.
Interesting noises on a Kraftwerkian groove, with the result sounding a little like a dancified Spiritualized. Comes with a dub that some more inventive DJs could put to good use.
Stripped Recordings
Takeydo & Nick Wolanski
Featuring K-Hunt on a strong vocal performance, 'Reflections' is the debut from M.U.I.R. on his own label. It's a late-nighter rather than a partystarter, but nice and atmospheric.
Darkforme EP 7.0
Renegade Master NumberOneBeats
5.0
Azure Protocol Arcade Pony Records
9.0
DPPLGNGRS change gear and label with this, their fourth ‘Moneyshot’ and their first release on Arcade Pony. Now that every chancer from hardstyle cheese merchants to inspirationless ‘house legends’ have laid claim to EDM and laid bare its heavy metal level of subtlety, ‘ecelectro’ is the buzzword for 2014. And what better example of a new vision could you have than the subtle blend of garage, techno and electro that is ‘Azure Protocol’ and ‘Billion Dollar Brain’?
Birdee
Just Call Me Vicious Bitch
8.0
Birdee has had quite a bit of exposure for his previous releases on Southern Fried, with Radio 1 airplay and support from the likes of Laidback Luke and Crookers. 'Just Call Me' is an accomplished bit of what is probably called 'electro house' by Beatport, but in fact, the subtle blend of dirty basslines and funky grooves goes beyond that limiting term. It's the funk that is brought to the fore in Fare Soldi's remix, which really kicks things into overdrive.
Danton Eeprom
Biscotto & Chimpanzee Infine
7.0
Featuring a duet with Kitsuné's Birkii, this is a little genre-defying gem that isn't dancefloor material in its original form, but certainly should be on radiowaves all over the place. It's the kind of smart 084 djmag.com.au
and well-executed stuff that should be the 'pop' face of dance music. Fairmont (of Border Community and My Favorite Robot production fame) brings an almost Death In Vegas feel to proceedings with his remix, which is a very good thing indeed.
Giorgio Moroder vs I-Robots
Utopia (The I-Robots Reconstructions) Deeplay Digital
7.0
Giorgio Moroder had quite a year, with the Daft Punk link-up and finally finding himself behind some DJ decks in his seventies. Here's something from THE '70s, worked up by Opilec Music boss I-Robots. The track was originally included in a partially mixed album in 1977 and here are newly extended versions. '1977 Reconstruction' is simply the original extended to almost seven minutes; the '2014 Tape Reconstruction' brings things upto-date with beefier production.
Lewis Bergen The Jetyr EP joyGAIN
7.0
A result of a collaboration between Brit Lewis Bergen and North American electronic producer Taperecorder, the tracks came about by the now-common international file-sharing creative process. 'Hoi Polloi' comes in two flavours, the first Lewis' own version, a really nice atmospheric outing that balances ambient noises with a hefty 'oomph' really well. The other tracks point to a good working relationship
Wildchild's 'Renegade Master' was a Top 20 hit in the late '90s and at the time was something of a genre-crossing ear-opener. Fatboy Slim did a great remix in his own inimitable style too, and even today both versions still stand as great dancefloor tracks. Nick Wolanski & Takeydo really bring nothing new to the party, and in fact leave quite a few good bits behind. Points awarded are for reminding me of the previous versions.
She Weirds Me Out 6.0
M.U.I.R feat K-Hunt Reflections
Deaf By Records
6.0
Napalm & D-Phrag
7.0
Spatial Awareness follows his own recent debut single with another classy remix outing, this time bringing a bubbling acid feel to his stripped-back legacy beats.
Wiggle Ratio
Kick Out The Bins MP3
7.0
Who knows what the MC5 would have made of this squelchpunk Prodigy-esque cover that has its tongue firmly in-cheek? Weirdly, a little dancefloor humour can often work wonders.
TR20
Road Sines KYUBU
8.0
A brand-new record label, KYUBU kicks off with this smart blend of tribal electro-tech that definitely qualifies for the 'eclectro' tag. Joshua Tobin and Jack Rutherford make up the duo and this is their own label, which aims to feature output from likeminds alongside their own material. Barry Jamieson has touched up tracks by everyone from Sasha to Madonna, New Order and Depeche Mode, and his strippedback, more traditional dark housey version is a perfect flipside.
Years & Years Real EP Kitsuné
3.0
When I used to see the Kitsuné mark on a release it was a reason to check it out with a high level of anticipation, but for quite a while now, their output seems to have lost focus. 'Real' sounds like some bad Brit-school attempt at the kind of pop-dance crossover drivel that takes up the majority of Radio 1 airtime. Part Coldplay, part The Voice, it isn't one to be remembered as a landmark release for the label.
LARRY TEE ULTRA MUSIC 01. RAINER ‘Satin (Absolute Remix)’ Kissibility
“This vocal beauty shimmers with the touch of new London star-of-the-moment producer ABSOLUTE! A treat!”
02. SHOOK ‘Demon’ Help Yourself
“Gritty and demonic-sounding indeed. This one grinds the floor hard in an off-kilter way.”
03. GREEN VELVET ‘Bigger Than Prince (Hot Since 82 Remix)’ Circus “Green Velvet. Enuff said. Catchiest vocal of the year.”
04. LIGHT YEAR ‘Pumpt’ Twin Turbo
“A techno-electro bitch that drives and throbs in all the right ways.”
05. SUPER ELECTRIC PARTY MACHINE ‘Icons’ Carnage
“Noisy car crash and the names of everyone from Obama to Kurt Cobain makes this a disturbing must-hear!”
06. CLAIRE ‘Games (Rey & Kjavik Remix)’ Capital
“A sublime groove that gently takes over the floor. Boops and bleeps you into Nirvana.”
07. SOUND OF STEREO ‘Funk’ Dim Mak
“Dirty, ripping, nasty, growling monster! It’s pure fun and trashy as hell. Oh well.”
08. LOGO ‘Fabrice’ Kitsuné
“When the deep vocals interrupt the song with “RELAX’ near the end, it makes you know the drugs have kicked in.”
09. LES TRONCHIENNES ‘Hab’En’ Mahtrasher
“Driving track from one of the underrated prodcuers of the moment. Effective and so so satisfying.”
10. MKRNI ‘Humedad (DJs Parejas Remix)’ Different
“Funky, fun little indie dance track with cute Euro-trash girl vocals. Light but lovely!”
TECHNO REVIEWS
RICHARD BROPHY, richardbrophy@gmail.com
QUICKIES Ajukaja & Andrevski Rare Birds
Asok
Poltergeist
Vril
Vortekz Delsin
Levels
7.0
The title track starts off with a reduced rhythm but gradually the duo introduce gentle keys and chords. 'Expensive Shit' is dubbier and more teasedout, but overall 'Birds' offers minimal house imagined through a hazy, dreamy filter.
Vril can usually be found releasing for Giegling, but despite finding a new home on Delsin, it's business as usual. 'Vortekz' is powered by splintered beats and buzzing percussion, while more impressively, 'Y7-10' boasts the severe unpredictability of a Surgeon track.
7.0
Various
Genesis Tracks Sistrum
8.0
Patrice Scott's Sistrum ventures down a darker, more tracky route than usual with Johannes Volk's 'Steam' and the gurgling 303s of 'Future Acid Test' from the mysterious Shariff Anderson. However, fans of Scott's deep sound need not fear as his 'Quasar' track as Modular One is up there with Sistrum's finest.
Miltiades Stmete EP
MOS Deep
7.5
MOS owner Aroy Dee has a knack of finding producers who share his musical vision, and 'Poltergeist' is no exception. The work of a Liverpool producer, tracks like 'Project Poltergeist' and 'Smash Dimensions' feature the interplay between grainy basslines and spacey chords that has become the label's common sound. Thankfully though, Dee is not looking for copycat artists and 'Walker' sees Asok deliver a more abstract, woozy take on the sound, while similarly, 'Captain Blood' focuses on Suburban Knight-style bass menace rather than airy melodies.
Ellis de Havilland
Echovolt
Born Out Of Cheapness & Frustration
It's deep, reflective techno on offer this time from the consistent Echovolt label. Ignore the Reflektor's pacy rework of the title track and head instead for the sun-kissed, sublime grooves of 'WA4.Sun' and 'Da3w.U'.
Bunker 4000
8.0
8.0
In the strange world of the Hague's Bunker, it's always hard to separate truth from fiction. In this instance let's assume that the late US producer Ellis de Havilland did actually exist and that he made the lo-fi, murky grooves that inhabit 'Cheapness'. Sounding like they were recorded in the basement of a crack house on Chicago's south side, each track verges on the puerile, but de Havilland manages to infuse his grimy acid adventures with just enough Steve Poindexter-style funk to make them palatable.
John Daly
Solar Sailing One Track
8.0
TR-ONE APARTMENT 01. RECLOOSE ‘It’s Too Late EP’ Delusions of Grandeur “Recloose on form... as ever...”
02. LEROSA ‘Woman Flew Home EP’ Photic Fields
“Big brother Leo, Dublin’s favourite Italian, delivers a killer EP. Kind of how we imagine Guinness-flavoured pizza tastes.”
03. ECHO 106 ‘Choco and Cherry’ Mathemathics US
“A fantastic slept-on LP of electro goodness. One of our favourite records of the year.”
04. CHRIS TURNER ‘Fly Love (Andres Remix)’ Rebirth “Classic Andres shuffle and funk.”
05. NEW JACKSON ‘Of A Thousand Leaves’ Major Problems
“A 10-minute musical journey that builds and builds... wait for those strings. This track caused eruptions in our sets together earlier in the year.”
06. SEVEN DAVIS JNR. ‘One’ Must Have Records “This shit swings hard.”
07. COLM K ‘Love EP’ Bastard Jazz
“Quite simply the record of 2013. Take note.”
08. AUTOMATIC TASTY ‘The Joys Of Departure EP’ Photic Fields “Ludicrously deep music, probably about fields. Not much out there as beautiful as this.”
09. SUBMERSIBLE MACHINES ‘Isobaths’ Lunar Disko
“Lunar continue to show why they’re one of the best labels in the country.”
10. BENEDEK ‘Untitled’ PPU
“Debut release from Benedek, and one of the strongest records yet on the unrelenting PPU.”
John Daly's latest release for One Track showcases the Irish producer's ability to merge musical elements with DJ-friendly arrangements. The 'Full Tide' version of 'Sailing' is informed by Detroit techno as dreamy, woozy chords unfold over a raw, humming bass and tingly percussive slivers. The 'Deep' version brings the chords to the fore, placed over doubled-up claps, while the 'Rhythm Section' version focuses on dense percussion and rolling conga drums. Fans of vintage Kevin Saunderson should seek out 'Sailing'.
Magic Mountain High Tiny Breadcrumbs Off Minor
8.0
Move D's ongoing collaboration with Juju & Jordash yields more out-there grooves. Like previous MMH material, this release is the result of improvised jamming, and all of the tracks have a spontaneous, raw feeling. 'Avalanche' features the sound of the wind screeching through a forest over a primitive drum beat, while 'Don't
R-A-G Life Cry For Me Argentina (No Compromise Mix)' sees ghostly Moog lines run over a stripped-back rhythm. The most impressive track to come from the trio's live jams is 'Riptide', where spaced-out acid lines arc and ride over a trippy, modulated rhythm.
Qoso Jura
In Paradisum
7.5
The work of a new French producer, 'Jura' takes up the baton where Truss left off. The title track is a tough, functional number, powered by heavy claps and thundering kicks, but it's only a prelude for 'Laphroaig'. Harder, faster and heavier, waves of discordant acid wash over distorted drums, like a gabba version of Richie Hawtin's F.U.S.E project. 'Ardmore' is even more intense and consists mainly of what sounds like a malfunctioning jackhammer scraping against a steel wall.
Yan Cook Morse EP Ann Aimee
7.0
Like Marcellus, Cook is part of a new wave of European producers — can he distinguish himself from the established set of techno artists? In truth, 'Lighthouse' and 'Nylon' are well-executed but hardly revelatory, revolving around tough, dubby beats, doubled-up claps and mysterious, droning textures. However, when Cook departs from the script, he really impresses. In particular, 'Morse' shifts from stepping rhythms to a pulsing, buzz-saw bass, while 'Suspense' features the kind of jarring riffs and wild siren wails that makes it sound like vintage Joey Beltram, updated for 2014.
Young Male I Lost My E
Work Them Records
7.5
There's been a lot of talk about Young Male and the White Material label — but is the hype justified? On
Lux Rec
9.0 The R-A-G techno supergroup — Aroy Dee, G Strings and Ma Spaventi — deliver a low-slung killer for Lux. Less pre-occupied with the musical finesse of their releases for Dee’s label, ‘Life’ opens with the build-up drums and acid climaxes of ‘Disorder’. Spaventi lends his unique touch to ‘Repression’, bringing the menacing bass to the fore, while ‘OD’ stands out thanks to the tape hiss and its murderous bassline, which gradually recoils like a panther stalking its prey.
the evidence of 'I Lost My E', it's clear that Young Male is highly capable of making high-quality club tracks with some unusual signatures; the driving 'Finesse' goes out of time as it closes, and 'Depraved Thoughts In Depraved Times' boasts the kind of eerie soundscapes that Silent Servant might conjure up. Whether or not Young Male and his associates deserve the attention they receive is questionable.
Prostitutes
Truncheon Cadence Part One Mira
8.0
It’s true that some of the most innovative recent electronic music has come from outsiders and James Donadio doesn’t fit the typical techno bill. Previously a noise rocker, his loose and fast approach to arranging is refreshing. On one hand there’s the dense drums of ‘Unanswered’, while by contrast ‘Led Up Garden Paths’ is a frazzled, droning affair and ‘This Whole Affair’s So Fucking Unfair’ is a gnarly, broken beat workout, its punishing drums and nausea-inducing subs introducing a level of unease rarely experienced in techno. djmag.com.au 085
DRUM & BASS REVIEWS
WHISKY KICKS whiskykicks@live.co.uk burns the imagery of a shower of rockets loudly illuminating the backdrop of a black night sky. Behind the overwhelming screams roars a beastly pulsating throb of continuous sound, leaving only a subtle tinge of the track it once was.
Mediks
By A Thread (Hybrid Minds Remix) AudioPorn Records
8.5
Hidden Element & Liquid Break feat Kiyomi I See The Light Burelom
9.0 If there’s one part of the universe that understands drum & bass like its British creators and guardians, it’s Russia. From St Petersburg comes a new label. Their first release certainly sets an unorthodox, exceptionally high precedent. Tumbling breaks pay homage to the Amen-dominated days, while a poltergeist-frosted vocal soars angelically over the rough and rugged backdrop. This stunning track is a soul searcher and will cause as much devastation to the dancefloor as it will enlightenment through your headphones.
Drumsound & Bassline Smith Nicaragua
Technique Recordings
8.5
While waiting for their telegram Drumsound & Bassline Smith celebrate their turn of the century by releasing Tech 100, 'Nicaragua'. Plucking elements from their experience of the scene since the '90s, the track is a mix of underground and mainstream, which blends nicely to create a metaphor to symbolise their own personal journey to today's position in the scene. The entire EP needs to be listened to, but finale track 'Neighbourhood' is something quite special.
086 djmag.com.au
Frankee
Harlequin VIP Ram
8.5
What a 12 months Ram have had. Another year passes, packed full of successes, and to celebrate this they have released their 2013 annual, which of course includes everyone's favourite colourful character Frankee and the exclusive VIP of his track 'Harlequin'. As we've come to expect from the boy wonder, we have a mix of infectiously catchy drum patterns and a dark pounding bassline, with seemingly effortless excellence.
June Miller Empathy Ram
8.0
Few artists have such an explosive effect on the scene so quickly, but since signing to the mighty Ram little over a year ago, Anglo/ Dutch outfit June Miller have gained complete recognition, bringing us to the second offering from the label in this month's reviews. This stunning vocal track has thundered in the sets of boss Andy C since the summer, and is finally out for release. Big bass, monstrous drops and perfect production.
Loadstar
Eat My Tears (Rene LeVice Remix) Ram
9.0
Following suit, every good debut album deserves a remix album, and Loadstar's 'Future Perfect (Remix)' delivers some tasty cuts. Label mate Rene LaVice lights the long wick of 'Eat My Tears' and sets the track on fire. This screeching monster of a tune
Like a satisfying soup on an icy winter's day, this is a drop of heart-warming liquid that will surely thaw even lovers of the darkest, coldest drum & bass. Calming, sweet and emotional vocals stitch the track together with gently plucked strings providing the core melody. Crashing cymbals and a graceful drum pattern implement the percussion. Both Mediks and Hybrid Minds are turning the heads of the scene's most influential tastemakers, so this is not an EP to be missed.
Mindstate Vibes
QUICKIES D-Region & Code feat Adria Kain Fly Away Emotif
7.0
Despite the predictability of this track, from the lyrical content to the choice of pads and patterns, this little dancefloor number isn't too terrible. It serves its purpose well and unashamedly, and although not generally to the taste of the more seasonal club attendee, it should satisfy the palate of the fresher meat.
Ed:it
Sound Killer SHG:LTD
9.0
voiced warning of the 'Sound Killer'. This hugely layered track draws influences from seemingly every possible direction. Dub-style vox, wailing monks, crashing thunderous drums, techy metallic samples, you name it, it's here.
Matt & Kendo Booster
Dubbed
5.5
Fresher floorfiller bass, best used for a string of clubs named after a pair of big jungle cats or huge aquatic regions. In saying that, the bassline is thumping, but the synths used are just too hands-in-the-air.
It prowls powerfully before quickly pouncing with an almighty drop, signaled by the deep-
Liondub International
8.0
The jump-up crew love a rough and dirty feel, something to summon the skank and warrant a war face. With its drilling sub, ragga vox and utter bombardment of dub sirens, 'Vibes' certainly delivers the goods. Dark in atmosphere, this track will have no issues tearing down the dirtiest dances; however, its drum pattern, paired with the dub elements, take this track to the more accessible level of ravers outside of the jump-up arena.
NFM & HLZ Rota
Horizons
8.5
With previous releases on Headz, Playaz and Shogun to name the bare minimum, NFM & HLZ really need no introduction. Horizons are now the latest label to be added to that list. The sound of 'Rota' is classic and clean and precise to the point of medical obsession, with an air of malice which ominously lingers like a reaper over a bed, before snatching its prey, dropping into the descending helter-skelter of bass.
DRUMSOUND & BASSLINE SMITH TECHNIQUE
01. DRUMSOUND & BASSLINE SMITH ‘Nicaragua’ Technique
“The first track taken from our ‘TECH100 EP’. The narrator’s epic introduction heightens the excitement here and all builds for a blazing drop.”
02. FRICTION & METRIK ‘Legacy’ Hospital
“Lush nostalgic chords set the tone perfectly, then escalate into a euphoric roller.”
03. LYNX ‘Take Back The Night’ Ram
“His debut single on Ram does not disappoint. Funky intro, topped with a beautiful vocal, leads to a naughty ‘trademark Lynx’ drop... big tune!”
04. DRUMSOUND & BASSLINE SMITH ‘Breakin’ Badboy’ Technique “Another ‘TECH100’ track. The intense build-up always seems to capture the imagination here. Just how Heisenberg likes it.”
05. HAZARD ‘Mark Q’ Playaz
“Been around for a little while now, but it’s another killer from the man like Hazard. As expected, pure vibes and essential selection.”
06. TAXMAN FEAT DIANE CHARLEMAGNE ‘Rebirth’ Playaz
“Sampler taken from his forthcoming album ‘No More Anthems’. Taxman showing another side artistically here, and boy is he on top form. Stunning vocals from Diane Charlemagne too.”
07. DRUMSOUND & BASSLINE SMITH ‘Can You Feel It VIP’ Technique
“We’ve reworked one of our classics, given it some 2014 love and the response has been incredible.”
08. DIMENSION ‘Crowd Reaction’ Cyantific
“A young producer who’s been simmering for some time now, and 2014 could just be his year.”
09. DRUMSOUND & BASSLINE SMITH ‘Serious Business’ Technique “It’s a back to your roots, jungle homage here. This is not for the faint-hearted.”
10. THE PROTOTYPES ‘Pale Blue Dot’ Viper
“Arguably the hottest producers in drum & bass right now.”
BREAKBEAT/BASS MUSIC REVIEWS
CARL LOBEN, carlloben@hotmail.com
QUICKIES Fisso & Spark feat BBK
Earthquake (Drumattic Twins Remix) Ground Level
7.5
The Drumattics take the straight-up, noisy, wobbly breakbeat original and turn it into an electronic disco-funk piece that’s got way more funk. Krafty Kuts
Could You Be Krafty
Madd-Inc vs Sax3 FreQ Nasty feat Spoonface
Why? (Mr Bill Remix) High Chai
7.5
The FreQ lets Mr Bill loose on his drum & trap-step original, leading to a jerky glitch-garage reworking that somebody like Si Begg might have come up with. B-Side feat Kymberley Kennedy
free download
Dope Rider (General Narco Remix)
A Krafty bootleg of the Robert Nesta Marley singalong classic, with added beefed-up beats and an MC filling in a few gaps in-between. Krafty always makes an unexpected bootleg work.
Ghetto Funk
7.5
8.5
The ghetto funk original is spiced up by General Narco, who orders plenty of hyper-kinetic beats and sends a bad-ass b-line out to battle with the feelgood vocals of Kymberley Kennedy. This General is set to be a major force in beats, bass and breaks.
The Dubkinetik EP feat Papa Levi & Daddy Colonel Sub Slayers
9.0
“Typical huge Pyramid production, sounds huge in a club.”
03. SCHEMA FEAT CHESHIRE CAT ‘Fumin’ Sub Slayers
“Really feeling this, big Cheshire Cat fan and Schema have taken good care of him.”
04. JACKAL ‘Shake Down (Je Boogie Edit)’ IBWT free download “Squeaky little number.”
05. MADD-INC FEAT SAX3 ‘Dubkinetik’ Sub Slayers “Great jiggy reggae vibes to get the gyal dem movin’.”
06. SLYDE FEAT MAKIIN ‘I Cant Help It (Deekline & Laidback Remix)’ Rat Records
“Solid Deekline track, love the space in this one and the top line is a killer.”
07. VINYL JUNKIE & SANXION ‘Wages of Sin’ Sub Slayers “Dutty — simples.”
08. DJ FIX ‘Dollar Bills’ Illeven Eleven
“Kinda Miami vibe on this one but super solid, very warm and pleasing.”
09. BREAKING NEWS FEAT ALASKA MC ‘Freeze (Se7en Deadly Breaks Remix)’ IBWT
“Always gotta rep the Se7en Deadly Breaks, going from strength to strength.”
10. SCRUFFIZER ‘Kick It’ Black Butter
“Both mixes of this are sick, little slice of Black Butter goodness.”
Those dastardly RadioKillaz start ‘All Massive’ with some skanking breakbeat riddims, echo, delay and natty ragga vox. A deep burrowing bassline soon joins the fray before fizzy electro synths glide it into the first drop. Scything tear-out bass and blistering beats then transport the dubwise sensibility into a full-on hardcore assault that can’t fail to nice up any dance. ‘Don’t Wanna 9-5’ on the flip has a Rasta vox expunging the joys of unconventional working over flicked drumstep beats, with mournful horns adding to the outlaw feel. Wicked and bad.
7.5
Rebel Sketchy has been feeding breakbeat tracks into the scene for a good few years now, yet with his ‘Goodbye Gravity’ album he’s cast his net a bit wider. ‘So It Goes’ calls on Californian rapper Bukue One to rhyme over a bass music bed, with vocalist Agne Motie purring sweet sonnets in-between. It’s quite commercial, radio-friendly and poppy, yet will still pick up early doors club play. The Bert On Beats remix tickles with a tropical underbelly, while Kwerk turns it into more of a straight-up electroid breakbeat banger.
7.5
02. PYRAMID ‘Leads To Nothing’ Funkatech
9.0
Ground Level
Top Drawer Digital
“Very proud to have this on Sub Slayers, Jane Fraser and Class A on vocals.”
Rkz Recordings
So It Goes feat Bukue One & Agne Motie
In the Dark EP
01. ED209 ‘Electric Friends (Remix)’ Sub Slayers
All Massive/ Don’t Wanna 9-5
Rebel Sketchy
Lucas
ED209 SUB SLAYERS
RadioKillaz
Hardcore legend Lennie De Ice and Kool FM’s Madd-Inc come together with a couple of vintage ragga chatterers — Papa Levi and Daddy Colonel — for a dubwise juddering growly bashy original that contains all the elements to make it ripe for some Sub Slayers mainstays to overhaul. Liondub turns it 175bpm jump-up jungle, while King Yoof takes it into the realms of 140bpm future jungle with his trademark steely beats and reggae stylings. Leading d&b figure DJ Rap, no less, turns in a slightly out-of-sorts electro-dubstep revamp, and MaddInc himself ruffs it up into deebee too. Killah!
The title track on the Top Drawer Digital label bossman Lucas’s new EP is dark dynamic neurofunk, kinda like a Photek album track battling it out in a cave with cartoon demons. ‘Sweeney Todd’ features a sinister spoken word vocal sample, which could actually be a demon barber whispering in your ear as you sit in an electric chair that vibrates to a vintage Depth Charge piece. Finally, ‘Scared’ is gnarly breakbeat that could function equally at a late-night free party or in some of the more grimey clubs. Freestylers feat Laura Steel
Falling
Rub-A-Duck
8.5
An artcore tropical breakbeat intro to ‘Falling’ is soon augmented by some lush Laura Steel vox, and then the gently menacing wobbly bassline enters the fray — lurking like a Predator behind a tree. This original is very
simply constructed — but sometimes simplicity is just what the doctor ordered. The Stanton Warriors carve out cavemen beats for the intro of their overhaul, giving the vocal space to breathe before dropping down into a rolling, trap-inspired disco-funk cut that features ‘Good Vibrations’ yelps and pared-down block-banging. Wickaman supplies the d&b version. Dutty Moonshine
Rauchestra Vol 2 Rocstar
8.0
Feelgood party ghetto-funk cut ‘No Doubt’ featuring Jimi Needles kicks off this collaborative EP from the Dutty duo of Michael Rack and Alex Furley. It’s followed by ‘Real Thing’ featuring Captain Flatcap, which is bona fide electro swing with flutes and everything — and this page loves a bit of electro swing sometimes. Rocstar bossman Cut La Roc guests on ‘Keep the Crowd Hype’, a funloving breakbeat-funker with a neat b-line and Beiderbecke horns in the background. Rico Tubbs
The Return Bass=Win
5.5
This is indeed the return of Rico Tubbs, although put alongside his bass music classic ‘Gangsters’, it does seem to be going through the motions a tad. The template is the same and the constituent parts — wobbly bass, hype slippy-slidey garage beats, arcade game noises etc — are all present and correct, but it doesn’t quite gel.
Schema
Fumin’ feat Cheshire Cat Sub Slayers
9.0
These Jersey boys sure have been quiet for a couple of years, but return here with a rolling minimalistic steppa that calls on legendary rapper Cheshire Cat (Leftfield) to deliver some on-point irie conscious rhymes. The stripped-down nature of the original is quite a surprise, but the remixes up the ante in various ways. Sub Slayers mainstay Toronto Is Broken turns it freewheelin’ drum & bass, while Gella excels with a burbling bashy bagatelle drumstep piece. Jinx In Dub starts in dub before building it into a raw polyrhythmic junglist slab, and Atomic Drop turn it anthemic dubstep. NAPT & Roska
Roar/Mr Oscar Fool’s Gold
9.0
So this is what Roska has been up to, collabing with the NAPT boys Tomek and Ash — with pretty wicked results, too. ‘Roar’ intros with a pretty neat build-up, pivoted around sparse rolling beats and a pressure-cooker siren wail. After the first drop, the hype bashy beats and “Hup” yelps are joined by cowbell — gotta have more cowbell! — and then clanging old hardcore keys. Impossible to genre categorise, ‘Roar’ would make Katy Perry shrivel up behind a bush. ‘Mr Oscar’ is a pared-down percussive feast, part-funky bashy bass and partclanging deep tech house.
djmag.com.au 087
BASS REVIEWS
OLI MARLOW, info@sonicrouter.com
QUICKIES
Lockah
If Loving U Is Wrong, I Don’t Want To Be Wrong Donky Pitch
DJ Vague
Porsche Trax
7.0
In a weird way ‘If Loving U Is Wrong…’ is exactly the type of thing you’d expect from an artist who’s gearing up for an album release: it ably shows a diversity from his previous material, whilst cementing a very certain production sheen that he’s made his own. ‘Ayyo Tricknology’ is again wantonly different, even from the A-side, asking a few not-so-subtle questions of the direction of that forthcoming long-player.
Templar Sound
More hammer and tong monochrome techno from the Ilian Tape camp is always welcome, and these three original tracks from Stenny are no exception, with the snatched snare drums of ‘Boulders’ the highlight.
Mr Mitch
Things Next Door
7.0
The Room Where I Belong Gobstopper
8.5
Crackazat
Candle Coast EP
MONETY!
SHO
Local Talk
8.0 Sure, there are points on his ‘Candle Coast EP’ where Ben Jacobs sounds like a lot of other producers making happy, overtly musical 4/4, but then there’s also ‘Dancrodile’ — a guitar-flecked marimba-driven funkster of a production that’s a proven grey-London-morningpick-me-up. It’s the glaring hit in the middle of a solid three-tracker that just builds and builds melodically to the point where you can actually taste the serotonin seeping into your central nervous system. JETS feat Jamie Lidell
Midas Touch Leisure System
7.5
Thankfully, Machinedrum and Jimmy Edgar (known collaboratively as JETS) manage to properly harness the strength of Jamie Lidell’s vocal line without ever eclipsing it on this vinyl-only drop. The original track — one that previously opened Machinedrum’s Essential Mix — ‘Midas Touch’ is fraught with a sense of space and driven by a simple boogie, but Machinedrum’s version is a little more crammed with shocks of colour, his wedges of synth sitting clipped between the vocal. Mumdance
Springtime EP Unknown to the Unknown
8.0
Turns out, there’s even more of a sweetboy side to Jack Adams’ work as Mumdance than his penchant for
shoegaze and structural grime would have you believe. These two cuts for the UTTU label rely on very different things — ‘Springtime’ leans heavily on layered warbling, low bit-rate, almost skweee synthesisers, whilst ‘It’s Peak’ makes overwhelming use of stabs and a big pounding kick drum — delivering a hard-edged variation on anything you might’ve been expecting. Buz Ludzha
Love Repetitive Rhythmics All City
8.0
Recording here as Buz Ludzha, The Cyclist’s debut drop for the All City label dishes out two slices of the type of scuzzed-up, rippling techno we’ve come to expect after his album dalliance on Leaving Records. A little more linear than that material, ‘Rave With Love’ and ‘Basslines For Death’ are hard-hitting, functional tools. Their character lies primarily in combustion, creating two shots of exemplary, crunchy, gritty house music. Ratcatcher
Somehow/Motion Peach
6.0
There’s definitely a time and a place for lusciously produced, polite house music but oddly enough, sometimes the people you expect to do something impressive with the form just seem to conform instead. There’s nothing drastically wrong with ex-C.R.S.T member Ratcatcher’s two original offerings here, it’s just they’re so vividly overshadowed by the drum work and melody of Leon Vynehall and Benjamin Damage’s remixes that it’s hard to really embrace them properly.
For all this talk of the renaissance of alien instrumental grime that’s being flung around at the minute, there’s not been a statement that’s really encapsulated it as perfectly as Mr Mitch does here on his latest fourtracker. Like Logos, he’s got a very unique command of space, like Murlo he’s got the earworm melodies, but then Mitch has also got these moving pieces like his digital funeral march, ‘The Lion, the Bitch & the Bordeaux’.
8.0
Some people seem able to make any rushed session sound like one of the most vital things ever and that fast and loose approach pays dividends for Helix, as his three-track 12” for Templar Sound as DJ Vague showcases. Alis
Astro:dynamics
7.0
Three slices of slightly empirical drone and one super delay-laden drum track make up Alis’ long-awaited debut on the gloriously formed Astro:dynamics label, ‘Things Next Door’. Shabby and brittle to a fault, it’s eerily reassuring. Stenny
Eternal Restriction
Leyland Kirby
Breaks My Heart Each Time Apollo
7.5
As a patchwork of internally comtemplative electronica, Leyland Kirby’s work excels with tracks called things like ‘Diminishing Emotion’ and ‘Breaks My Heart Each Time’, built expertly out of a delightfully corroded sound palette; but as a listen, it’s nothing if not fractured.
Ilian Tape
Timbah
Flow Poke Bad Taste
7.0
Nottingham resident Timbah’s newest EP ‘Flow Poke’ is a little bit naïve, but it’s that very wide-eyed experimentalism that marks him out as one to watch. There’s a lot going on across the tracks, with Timbah attacking numerous abrasive beat styles with vigour, but Murlo’s remix feels like it’s a country mile ahead of the original material, with the London producer’s unique command of rhythmic switch-ups and melody proving to be consistently impressive. Clap! Clap!
Tambacounda EP Black Acre
7.0
The Black Acre label’s genre footprint seems to keep smushing itself out sideways — which is never a bad thing — and Clap! Clap!’s debut EP for the imprint is the perfect case in point. One part tribal drums, one part jazz deviation and the other part modern, taut electronic production, there are moments, like on ‘Tamacounda’s White Magic’, where Digi G’Alessio does all of them at once and it’s astounding and abrasive — all at once.
MR MITCH GOBSTOPPER 01. DARK0 ‘Skelly VIP’ Lost Codes
“I don’t think I’ve played this without wheeling it.”
02. MR. MITCH ‘The Lion, the Bitch & the Bordeaux’ Gobstopper “Probably my favourite track from my new EP, I zone out to it.”
03. FINN ‘Keep Calling’ Local Action
“THE best grime R&B edit of the last few years for me.”
04. STRICT FACE ‘Fountains’ Gobstopper
“Close your eyes when you listen to this and you’ll swear you’re floating.”
05. MR. MITCH ‘Bowser’s Snout’ Gobstopper
“Sounds weighty on a system whenever I play it out.”
06. MATTWIZARD ‘Mathematical’ Gobstopper
“Mattwizard with some great jazz/funk vibes at 140bpm.”
07. DARK0 ‘Mako March’ Gobstopper
“This song is so epic, you can’t go wrong with some Final Fantasy vibes.”
08. JT THE GOON ‘Twin Warriors (Murlo Remix)’ Oil Gang “Flutes galore. Madness.”
09. RABIT ‘Climax Of The Wolf Spider (Moleskin Edit)’ Dub
“Somehow this Usher edit works so well, out to Moleskin for putting it together.”
10. MUMDANCE FEAT NOVELIST ‘Take Time’ Rinse
“One of the best vocals I’ve heard in a while, grime in its purest form.”
088 djmag.com.au
DUBSTEP REVIEWS
MARKLE markgurney@gmail.com
QUICKIES Gantz
Gobstopper Records
Deep Medi
Easily one of grime’s most exciting producers, pushing the boundaries with style and confidence. Sick EP.
Spry Sinister 7.5
8.0
Madly syncopated dubstep from the Turkish producer will boggle and delight in equal measures. Great to Ed West hear some experimentation Telephone Riddim in these quarters! Reggae Roast
7.0
Versa
Esoteric Shanti Tone
8.0
Taking time out from making angular electronica cum techno garage hybrids du jour, Versa starts a new label for his love of dub. Everything irie! Check. Mr Mitch
Modern dancehall riddim with a hint of roots running throughout. Check the FLeCK remix for a jungleinspired version at 140bpm.
The Room Where I Belong EP
Deadbeat & Paul St Hilaire
The Infinity Dub Sessions BLKRTZ
9.0
If, like me, you are a dub fanatic, then this will have you foaming. Those who know Paul St Hilaire aka Tikiman from the legendary Rhythm & Sound recordings will know he’s one of the best, most rootical of vocalists in the world today, and over eight superb tracks of Deadbeat’s throbbing dub creations waxes lyrical in fine style. Outer-national sounds at their best. Basic Channel-esque dub tech bliss. Mumdance
Springtime UTTU
8.0
2013 was Jack Mumdance’s year, hands down, with huge releases on Tectonic and Keysound that pummelled the dancefloors across the globe. Tunes alongside Logos just lately have our attention piqued. Whilst you’ll recognise the agitated machine swing of ‘Its Peak’ on the b-side here, with its palette of weird scrapes, dystopian atmospheres and pneumatic drums, you’ll be most surprised by the melodious charms of ‘Springtime’, a mellifluously hazy tribute to the welcomed warmer months and, perhaps, a hint at a new sound for the producer? Cooly G
Clap! Clap!
Tambacounda EP Black Acre
9.0 Kicking off the new year in style, Black Acre offers up Clap! Clap! with a four-track EP of polyrhythms and Afro-centric missiles. Opening track, ‘Elon Mentana’ is a tempo-shifting, mind-boggling tune, while ‘Tambacounda’s White Magic’ starts off slow but detonates midway through with a collective assault of infectious Afro rhythms and huge bass weight. ‘Kalauma’ rounds things off with a nod to footwork. Essential music.
Hold Me Hyperdub
6.5
MELLA DEE SCCUCCI MANUCCI 01. MUMDANCE & LOGOS ‘Legion’ Tectonic
“Seriously heavy stomper, not for the faint-hearted this one.”
02. SQUAREHEAD ‘4 Tune’ Tump
“Squarehead always comes correct, brooding Steel City sounds.”
03. VOLTA CAB ‘Fantazia’ Hypercolour
“Trip back to being a kid, buying old rave tapes, really nice stuff.”
04. DIZZEE RASCAL ‘Strings Hoe (Wen Refix)’ Keysound
“Probably the best refix possible of a grime tune, nice curveball for sets too.”
05. MAK & PASTEMAN ‘Dither V.I.P’ Dub
“Tasty V.I.P that brings new life to the original, never fails.”
06. U KNOW & THE DRILL ‘Stackin’ Papers’ Slapfunk Records “Seriously mental, bassline meets techno kind of vibe, so good though!”
07. MALA ‘Bury Da Bwoy (Mella Dee Edit)’ Dub “My own edit of a classic, techno’d out refix for 2014.”
08. WINSTON HAZEL ‘Break Up (Squarehead’s Deadline Dub)’ Shabby Doll
“Sheff legend meets Sheff up-and-comer, so good, play this every time at the moment.”
09. MELLA DEE ‘MOAT’ Sccucci Manucci
“Inspired by a certain stage at an overseas festival, full-blown UK techno.”
10. JOEFARR ‘Pocket Face’ Hypercolour
“Seriously tuff techno vibes, one for the late night stamina crew.”
A dancefloor directed three-tracker here from one of South London’s finest beatmakers, with a track featuring the effervescent Scratch DVA called ‘Oi Dirty’, a rolling bassheavy number with flighty percussion and grime inflections. Title track ‘Hold Me’ features Cooly’s own vocals with a simple lyrical refrain, but fast-forward to ’Molly’, which builds nicely with decayed chords and tech flourishes. Buz Ludzha
Love Repetitive Rhythmics All City
7.5
The ever-consistent beat cornucopia that is Dublin-based All City, occasional home to Daedelus, Machinedrum and Onra, drop their first release for 2014 with a new non de plume for Ireland’s The Cyclist. Think Mylo but on a very very good day, and you’ll get the feeling: the warm fuzzy glow of ‘80s house, disco and electro all wrapped up in a sleazy soul-glo box. It’s all cloaked in distortion and static, adding a distinctive, faded charm.
AWE
Crystals Terrorhythm
5.5
Big, synth-led number here from 19-year-old producer AWE who hails from LA and cites ‘80s movies, Hud Mo and Joker as influences. Yup, it’s all in there on ‘Crystals’ and therefore has a rather infectious nostalgia screaming out of it. And whilst it’s a bit too saccharine for my taste, it’s nothing compared to the Djemba Djemba ‘Nightcore Remix’, complete with weird chipmunk Japanese vocals and hyperactive drum & bass. Odd.
and Shifted. The four tracks you’ll find on the vinyl release are Sellotaped together with a grubby industrial stickiness that immediately appeals to an introspective headphone experience, but would sound particularly effective bleeding out of a Berlin warehouse at 9am Monday morning. Explore. EshOne
Petroglyphs Artikal Music
7.0
Tight four-tracker of meditational dubstep business from J:Kenzo’s flagship label. Discovered whilst on tour in the US last year, EshOne hails from New Mexico and is a proponent of deep, tribal halfstep with an organic feel. Check the future dub of ‘Number Nine’ for Augustus Pablo 2014, the stuttering gait of ‘Petroglyphs’, descending bass beast of ‘Hot Sauce’ and syncopated wash of ‘Watchful Eye’.
Metrist
Doorman in Formant Fifth Wall
8.0
This is still only the second release by the 19-year-old Cambridge producer, who is knocking out sounds and shapes of startling maturity. Ostensibly techno in sound, but clearly soaked in bass culture, his tunes have been supported by underground types Ancient Methods djmag.com.au 089
TRANCE REVIEWS
TIM STARK PO Box 272, Oxford, OX3 8FJ
QUICKIES
Driftmoon
Howl At the Moon Pure Trance
7.5
Opening the score sheet for Solarstone's new imprint, a now conspicuously on-the-march Driftmoon locks his studio dial to pure trance. To be fair his output is already very much in the vicinity, but on 'Howl At the Moon' those keystone components come evermore accentuated. On his 'Retouch Mix' Solarstone adds his running/ pummelling b-line hallmark and further beefs up the payoff. All in all, an impressive opener.
FKN
Triton/Stormtrooper VANDIT Records
8.0
Frode Kambo Nilsen doesn't make them very often, but when he does they tend to be well worth checking. With plenty of quick-flip drops and extended prog sequences, 'Triton' is the cooler of the two. It builds the tone at a demonstrably leisurely pace before finally hitting you with a striking lead line in the third act. Far quicker to the punch is 'Stormtrooper', whose tight tech sub riffs quickly peel away to reveal euphoric intent.
MONEY Ad Brown & Shawn Mitiska
SHOT!
8.0
A lesser-seen instrumental from the usually very vocal Ad Brown here, possibly down to Shawn Mitiska’s influence. ‘Pulse’ develops into a cool, chugging, borderline austere prog-trancer that leans heavily and confidently on the panned, phased sweeps of its minimal lead line. If it’s all too stripped down for you, Ali Wilson’s ‘TEKELEC Remix’ gives it one hefty shove in the direction of the main room.
Ilan Bluestone Spheres
Anjunabeats
9.0
Front-end, ‘Spheres’ chops and flits schizophrenically between goosepimply melodic glimmer and thrusting distorted structures. Inevitably it draws the two together, before blooming into a drop that’s alive with gauzy harmonics. Where on the melodic-to-hard scale the leadline will fall is hard to predict, and indeed it keeps you guessing right up to the cusp of the break. It’s actually closer to the former than the latter, but with just enough accentuated bleep to give it spike. 090 djmag.com.au
Dark Warrior Armind
7.0
Check your cerebrum at the door for another whistlestop tour of the Ministry of Mad Noises. All but useless for the at-home listen, but club-side, ignition is all but guaranteed.
Harmonic Rush Salvia
Monster Digital
7.0
Into the New Year and the exponential resurgence of Psy/Goa in 2013 shows no signs of abating. 'Salvia' from UAE-based producer Milad Maleki is but one of dozens of this month's crop that draws inspiration from the East.
Johnny Yono Exodus
Lange Recordings
7.0
One of those tracks that
lies in wait, doing not very much at all, before clocking you over the back of the head with one huge moment. When it comes, it's more than worth the wait.
Phase Difference Utopia
Saturate Audio
9.0
Saturate Audio doing what Saturate Audio do best. Dark, sinuous, brilliantly contoured, hyperatmospheric and ever engaging.
Zaxx
Illusion VANDIT Records
8.0
Sporting a fully cohesive, brilliantly primed set of beats, bass and perc loops, South Africa's Zaxx gathers a storm. Cranking the tension, mid-break it swallows a box of fireworks… with predictable end results.
Johann Stone White Walkers
Pulse
Black Hole Recordings
Andrew Rayel
Discover Dark
Adam Szabo & Johan Vilborg feat Johnny Norberg Two To One
Enhanced Recordings
7.5
Sat amongst the rest of the early 2014 crop, the first thing you'll notice about Szabo, Vilborg & Norberg's coop is just how exactingly produced it is. With fantastic division between its sonic layers, immaculate sequencing of its parts and a sensational mixdown, it booms like few others. With Norberg's vocal hitting emotive, authentic notes throughout, this will work most floors at most times of the night.
Dave Leyrock High Stakes #138
6.5
To the rapidly burgeoning traditional trance tempo label convention comes Infrasonic's contender, #138. Leyrock's intro is competent if largely uneventful. We can forgive him that, as the meat of the track is more impressive. The lead riff's intuitive note arrangement is well developed and with a precisely timed filter release, it lands with quite some impact at the apex of the drop.
7.0
Club owners: looking for something to strip the old paint job from your sound emporium? This should do it. Bellicose bass, marching drums, erupting acid (sulphuric, probably) and a scorching tempo — it's all here. Wrapped around a spoken vocal (Game of Thrones, at a guess), this falls somewhere between sinister and outright scary. Somewhere in amongst this is Steve Morley (of early semi-classic 'Reincarnations' fame) on the remix.
M.I.K.E.
The Motive EP Coldharbour Recordings
7.0
Triple-pack EP from M.I.K.E. on his first outing for Coldharbour. Packing in some great analogue sub-riffs at its front end, 'The Motive' ups the echo on its lead and even gets a bit of electro squelch into the bargain. Carrying a hint of synthy '80s Moroder-ism in its break, 'Spacesuit' frays, distorts and FXs its lead line with equal drama. 'Mass Freedom' is the most classically M.I.K.E. of the three, with some cool melodies, no small degree of 303 and a right whacker of a payoff.
MYON & SHANE 54 [RIDE] RECORDINGS
01. LANA DEL REY ‘Young & Beautiful (Myon & Shane 54 Summer of Love Mix)’ Universal
“Our first bootleg that in the end became an official remix. It was a proud moment.”
02. KERRY LEVA ‘Proud (Juventa Remix)’ Enhanced Recordings “Jordin Post is on fire — his remixes are simply off the hook!”
03. COLE PLANTE WITH MYON & SHANE 54 FEAT KOKO LAROO ‘Lie To Me (Juventa Remix)’ Hollywood Records
“Our first Billboard top five single. Juventa’s remix is a real festival bomb.”
04. ARTIFICIAL ‘Prototype’ Anjunabeats
“Anjunabeats’ supergroup consisting of Andrew Bayer and Norin & Rad. You can’t go wrong with that.”
05. TRITONAL ‘Electric Glow’ Air Up There
“This one is a great song in a classical songwriting sense. The crowd loves chanting it. So do we.”
06. DEMI LOVATO ‘Neon Lights (Myon & Shane 54 Summer of Love Mix)’ White
“At the end of the day, it’s more fun to remix stuff that already sounds good.”
07. WRECHISKI ‘Séance’ [RIDE]
“This guy from Brazil is unbelievable. Taken from our soon-to-come mix compilation.”
08. LTN & KOKAI ‘Cruisin’’ LowRide
“One of Mario’s closest friends made a fantastic track that evolved into this house banger with Indonesia’s very own LTN.”
09. ABOVE & BEYOND ‘Marianna Trench’ Anjunabeats “They still can do club bangers. This one is the proof of that.”
10. SEVEN LIONS WITH MYON & SHANE 54 FEAT TOVE LO ‘Strangers’ White
“Without a doubt the biggest track of the year for us, it went so much further than we ever anticipated it.”
HARD DANCE / HARDCORE REVIEWS
DJ KUTSKI kutski@mac.com
QUICKIES Argy
Off The Wall (ACTI Remix) Subground
8.0
As the Subground sound continues to cross the boundaries between hardstyle and house, this label is very much at the forefront, with Acti delivering a sterling remix of Argy's new single.
Rescue & Keyes Outta Space GTYM
8.0
Cheeky UK hardcore cover of this Prodigy classic, keeping things very much in line with the powerstomp sound sweeping the UK hardcore scene this year. Doesn't give you any time to catch your
Astrobass Astrobass Ideal
breath and goes in hard from the start.
Deorro
Yee (LNY TNZ Remix) CDR
8.0
Bouncy jump vibes on this one from one of the acts I'm tipping for big success this year. The classic vocal will get hands up every time.
Malfunction V Beamer Atlantis CDR
7.0
North Scotland representing on this one. Underground hard dance beats, hardstyle screeches and sidechain kicks and bass, with a nostalgic trance classic on the break.
8.0
Side project from Ideal frontman Sam Townend and melody genius Technikal, who strips things back from his usual energetic hard trance sound for this project featuring a funky electro bassline, chopped-up hard house vocals and lots of clever twists and fills to keep you on your toes throughout — and, of course, a cheeky main hoover drop.
Danny V & Arhetium_R
Oblivion (Tranz-Linquants Remix) Gearbox Digital
7.5
This label has really been leading the way in UK hard dance sounds, delivering consistent and diverse releases covering the full spectrum of hard dance. This new release features a remix from south Wales UK hardstyle act Tranz-Linquants, who delivers a very clever mix of euphoric, classic early 2000s European hard trance in the breakdowns and hardstyle in the drops.
Caine
Messenger Of Death TiLLT Recordings
8.0
MAX ENFORCER LOSE CONTROL 01. MAX ENFORCER ‘Lost In Paradise’ Lose Control Music
“My latest release. The amount of support and positive messages around this track is simply amazing.”
02. HEADHUNTERZ FEAT TATU ‘Colors’ HardwithStyle
“A guaranteed floor-filler. This melody will be stuck in your head for days once you listen to it.”
03. NOISECONTROLLERS & WILDSTYLEZ ‘Jets, Cats & Breaks’ Lose Control Music
“A true display of forward-thinking by these great minds. When I listen to this track I picture myself looking across an apocalyptic planet, equipped with a lightsabre, ready to take on whatever comes my way.”
With a title like this, it was never going to be a cheery affair! Heading down the raw-style route, this sinister hardstyle release makes great use out of the twisted pitchgliding pads in the main breakdown and ferocious stab sounds, before building to drop with serious power and nasty raw kicks. Not one for the faint-hearted.
Paul Elstak
Ready To Pump (DJ Paul Early Rave Mix) Rige
9.0
08. NOISECONTROLLERS & WAVERIDER ‘Have You’ CDR
Featuring on the hardcore legend's latest artist album, 'Ready To Pump' is a nostalgic nod to Paul Elstak's roots, and the early '90s hardcore sound. Bouncy kicks, off-beat percussion and pitched rap vocals bring all the good vibes of the happier Dutch sound of yesteryear, before the drop into classic Fugees track 'Ready Or Not'. This track is an old skool kick-back that doesn't sound out of place in an upfront playlist. Set finisher for me for the foreseeable future.
09. MAX ENFORCER ‘Journey’ Lose Control Music
Operation Blade (xKore Bootleg)
04. MAX ENFORCER ‘Gold (Qlimax Refix)’ Gold Records
“A special remake of my track ‘Gold’. New kicks and upgraded synths took the already great drive of this track to the next level.”
05. COONE & WILDSTYLEZ FEAT CIMO FRANKEL ‘This Is Home’ DIM MAK/DirtyWorks
“A great collaboration with a great result. Vocalist Cimo Frankel did a great topline here that complements the music.”
06. TUNEBOY ‘Six’ Titanic
“Again a great track in the ‘XY’ style by this Italian maestro. Tuneboy has been a cornerstone for hardstyle since the very beginning.”
07. D-BLOCK & S-TE-FAN ‘Takin’ Off ’ Evolution
“A supercool track that combines a cool melody with a fierce drop. Euphoric and raw-style in one track. I love it!”
“I really love this track. Both artists’ styles are heard, making it a great collab. Catchy vocals and edits combined with an uplifting melody, devastating kicks and stabs. Greatness!”
“One of my new tracks. Finishing it as I’m writing this.”
10. WILDSTYLEZ ‘Timeless (Vocal Mix)’ Q-Dance
“It’s amazing how music can fit together sometimes. Goosebumps.”
Public Domain CDR
9.5
One of the UK's hottest exports
Armin van Buuren
Shivers (Frontliner Remix) Armada
at the moment, xKore is tearing up dancefloors around the world with his fusion of electro, trap and dubstep — with a harder twist. His latest project is a rework of the seminal millennium rave classic from Public Domain. This track clocks in at a slower tempo than most hard dance music, but with such a brutally pounding kick will more than compliment a hard dance DJ's track collection. Then the curveball trap drop towards the end will destroy whatever is left of the dancefloor. Massive tune for me at the moment.
The Pitcher Gotta Feel
Fusion Records
8.5
Known for his vocal hardstyle anthems, The Pitcher is back on Fusion delivering another big hitter for the winter months, with an infectious pitched-up vocal and catchy melody in the main break and drop. Adding some euphoric sounds on this very dark raw label but steering clear of being too obvious in the intro and outro sections compliments the breakdown well.
The Prophet The Bizz Scantraxx
8.5
The head don of Scantraxx Records and all-round legend The Prophet returns with another strong single on his Scantraxx label, taking the sound of the label away from its usual melodic uplifting hardstyle with some heavier, darker beats. Featuring great use of the chopped-up
10
It's always great to see the cross-pollination of styles in dance music, and the current interest in hardstyle remixes from house to hardcore is testament to how influential the hardstyle sound has become. One of the most high-profile examples of this is Armin van Buuren asking Frontliner to remix his classic 'Shivers'. Keeping all the elegant charm of the trance anthem in the break, this remix gives you the hands-in-the-air euphoria, before the brutal hard drop with Frontliner's trademark impeccable production, that will only cut deeper the bigger the soundsystem it is exposed on. A truly awesome clash of styles.
vocal sample, screechy stabs and seriously pounding kick drums, this is going to pick up a lot of plays.
Toneshifterz Leap of Faith We R
8.5
After recently announcing they will be parting ways as two separate acts going forward, this is the first release from Tonshifterz with just Ellie at the controls. Still keeping the trademark high-energy sound, this track has an almost religious, Baptist-style vocal before unleashing a brutal-yet-minimal kick and bass mid intro. The breakdown is all about hands-inthe-air good vibes followed by pitched kicks on the drop. Great release to reassure the fans that the Toneshifterz sound is here to stay. djmag.com.au 091
HIP-HOP REVIEWS
NEIL KULKARNI, 81 Crosbie Road, Coventry, CV5 8FX
QUICKIES Bluntskinz Jehst
England (Boot Remix)
10
Gavlyn
Guilty Pleasure Broken Complex
8.5
Superb rhymes from a superb new talent from LA, Gavlyn, whose rhymes betray a vulnerability and fluidity all too rare in today’s age of over-compensating femme shoutiness — ‘Guilty Pleasure’ flows like the finest bourbon over your day, loosening those shoulders up, rolling out that stress. Sublime sax crests over perfectly tough beats, the keyboards and bass keeping things in that divine place exactly between the vertical and horizontal. Keep an eye on her, she might just make 2014 her own.
Bill Next & Paro feat Hozay Weedmasons EP
splitprophets.bandcamp.com
8.0
Badhabitz produces the teaser track ‘Villainz’ from this superb new EP from Split Prophets acolytes Bill & Paro, and good God it’s wonderful — a vibe that’s reminiscent of Telemachus/Jehst’s ‘Sheltering Sky’ but even more located away from the desert and in the heat-struck crowded streets, sax and droneing harmonium adding to the steady destabilisation of your sense of place and space. Great flows from Bill and Hozay — Split Prophets once again shaping up as one of the finest stables of talent the UK has. Go get it. 092 djmag.com.au
Rapper Big Pooh
thebluntskins.bandcamp. com
Jambalaya Hall Of Justus
Northern lights from Manchester, nice mix of reggae and thunkingly heavy old-skool beats, rampagingly spot-on lyrics lending weight to what we’ve always known. We don’t need to legalise it. In most of the country IT ALREADY IS MANDATORY.
Nice, tight 150 seconds of phatness from 9th Wonder on the mix, RBP customarily flowing freaky, 9th pulling all the right simple tricks at all the right moments. Not groundshaking but strangely addictive.
7.0
YNR
Jehst previews his boundto-be-stunning remix album with this simply astonishing slab of aggravation courtesy of Zygote and the everdependable Boot crew. Heavyas-fuck beats, mentalist doom in the backdrop, lyrics as harsh and hellacious and utterly compelling as anything J has ever spat. THIS is the sound of the UK in 2014 and don’t let anyone tell you any different. From the other side of the tracks, from where we all live, a track massive, mighty and menacing enough to righteously destroy any other music that’d dare to step in its path. Superb, staggering brilliance from everyone involved. Perversely, makes you proud to be British even as it rips the place apart.
Sweet Ganja
7.5
Paranom & Purpose Microphone Phenomenal Ill Adrenaline
7.5
Sleaze
Headz Will Know Greasy Vinyl Records
8.0
Hadn’t heard Sleaze before so it was the name of Blah Records producer Reklews who first attracted me to this, and thank God I investigated — sublimely heavy headnodic brilliance with a vocal-less chorus that’s pure bass derangement, and some sharp-asfuck nailing from Sleaze & Res of bandwagon-jumping lazy rappers and the perils of radio-friendly sell-out. Great cuts from DJ Rasp as well — the album ‘An Album Called The Sun’ comes soon and I’m strapped in ready. Great stuff.
Oddisee feat Diamond District (X.O. + yU + Oddisee) Bonus Flow
Mello Music Group
9.0
Y’know how Miles Davis used to lean on his keyboards and make a fantastic racket? That’s the needling sound that threads itself like barbed wire throughout this spacious, spooked production from Oddissee and yr damn right he knows EXACTLY what he’s doing. Great rhymes from the Diamond District trio make this way more than just a Brucie Bonus, more like a boon from the depths of hell and the heights of heaven. Love the way towards the end it all drops down to pure piano and dread. Love the way it feels like it WILL NOT STOP unhinging you. Super stoopid fresh.
Jamall Bufford (aka Buff1 of Athletic Mic League) Oh My God, Forever Mello Music Group
8.0
Sweet as fuck — the Tragic Allies hook up on a beautifully measured throb of Rhodes-laden jazz abstraction from Purpose and the results recall Premo, Diamond D & Pete Rock in all the best ways. Essential.
Nuts. Entirely crackpot. Applaud it unreservedly. Jamail Bufford raps with a kind of supra-stoned perma-surprise, free-associating all over the shop as the music does the same freewheeling moves underneath him. A sublimely slippery sound from (for me anyhoo) unheard new producer Evilldoer, constantly under threat of overloading itself into noisy arryhthmia but still staying the right side of abrasiveness, hanging around only long enough to sink under your skin. A 10-minute mix would make you puke your ring but this is unsettling, gaseous madness you should breathe deep.
Roc Marciano feat Boldy James Trying To Come Up Man Bites Dog
DOPPELGANGAZ GROGGYPACKENTERTAINMENT
Woah, Roc should produce more if this is the kind of delicious strangeness he comes up with. Nothing in ‘Trying To Come Up’ flows, rather it’s a constant stop/ start of jazzy rolls and art-rock intrigue, like something off Eno’s golden age period (think ‘Another Green World’ or ‘Before & After Science’) stumbled in on by Roc & Boldy, their lines similarly caught frozen between conclusiveness and confusion. Beyond it all the textures are just delicious, warm, fat, addictive, somewhere ‘tween late Beefheart and the Meat Puppets. Not gonna light-up the message boards, but compellingly odd.
01. AZ ‘I’m Known’ Noo Trybe
9.0
“Street knowledge for that azz.”
02. MEMPHIS BLEEK ‘Memphis Bleek Is’ Get Low “Don’t front on the Memph man!”
03. DRAKE ‘The Language’ OVO Sound
“She just wants to smoke and f**K. Is that a problem?”
04. PHILIP GLASS ‘Living Waters’ Nonesuch
“What a beautiful piece of music. It speaks to the soul.”
05. BOB MARLEY ‘Crazy Baldhead’ Trojan/Island “What else can be said about the GOAT?”
06. DOM KENNEDY ‘After School’ OpM “Makes us think about the lost soldiers.”
07. A$AP FERG ‘Let It Go’ RCA “Thank you Trap Lord.”
08. OVERDOZ ‘Lap Dance’ Polo Grounds/RCA “We totally agree. She should pay us.”
09. 2 PAC ‘Can’t C Me’ Death Row
“Pac be having playas feel invincible.”
10. KOOL & THE GANG ‘Get Down On It’ De Lite Records “Too funky to resist!”
LEFTFIELD REVIEWS
FOUND SOUNDS, PO Box 20437, London, SW16 2YJ
QUICKIES Silver Man Analog X
Boot & Tax Owiny Sigoma Band
3 Bar Fire
Nyiduonge Drums (Champion Sound)
Downtempo, samplebased cinematica from one time Tru Thoughts signing Silver Man, who offers up a taster from his forthcoming album ‘Thieves and Millionaires’.
Brownswood
Farao
Milk & Biscuits
Something Nothing Records
Lick Music
Recorded with the help of Tunng’s Mike Lindsay, this beautiful four-track EP from Oslo ex-pat Kari Jahnsen is yet another shining example of Norway’s victorious musical diaspora. One to watch without a doubt.
Music funded by a yoghurt company. Background at Fat Cat Records. Sounds like Gruff Rhys, British Sea Power etc… cassette only. If only all indies had this retro foresight!
7.0
Farao EP 8.5
6.5
A decent low-end take, but nothing quite tops the original and its hypnotic charm, that still has enough bass to get by.
Milk & Biscuits 7.0
Acido
Optimo Trax
8.5
You could argue that the music industry is already overrun with enough record labels. The fact that most of them tend to push nonsense of one kind or another is almost by the by. Who needs yet another label then, you ask? Well… wait just one minute, this particular venture is an offshoot of the ever-trusty label Optimo, dedicated to DJs and dancefloors. Quality is therefore pretty much guaranteed and true to form, release number one is a beacon of quality in the aforementioned sea of shite.
De Lux
Better At Making Time Scion AV
8.0
This has been out a while, but with all that Christmas/New Year stuff, it got a bit lost in the melee! We thought it would be a shame not to give it a little plug, so here it is: a killer three-track EP from LA duo De Lux, which is laced with infectious and inviting disconot-disco in the spirit of Talking Heads, Brian Eno and all things DFA. A touch of class.
Sharon Jones
Stranger To Happiness Daptone
7.5
YOUNG FATHERS BIG DADA 01. FRIDGEMASTER ‘House of Pride’ showlovepeoplenowkiss “It taps into the same dark places we sometimes go.”
02. LAST POETS ‘The White Man’s Got A God Complex’ Celluloid
“It needed saying then... sometimes you need some extreme art to make a balance.”
03. SUUNS ‘Edie’s Dream’ Secretly Canadian
“Live, this goes into a tranced outro. We played on the same bill in France for a few gigs and saw the moment in action. The track retains that.”
04. ASAP FERG ‘Work’ RCA/Polo Grounds
“Why? Do you really need to ask??!! Killer music.”
05. DANDY RIOTS ‘Boy’ Dandy Riots “This is our brother — take notice!”
06. LAW ‘Hustle’ showlovepeoplenowkiss “Just beautiful, our sister, just saying it.”
07. ANDY CAPP ‘The Law Pt.1 & Pt.2’ Duke
“Clattering and rattling like a Kingston tin can.”
08. VETKUK VS MAHOOTA ‘iStokvela’ Kalawa Jazmee
“Somehow being full of joy and full of menace, like a gunman urging you to enjoy yourself or else.”
09. ROB ‘Make It Fast Make It Slow’ Essiebons
“Because sometimes you need it fast... but sometimes, you need it slow...”
10. ZINJA HLUNGWANI ‘My Love Nwa Gezani’ Honest Jon’s
After the shock of a cancer diagnosis (apparently caught very early according to doctors) revealed at the tail-end of last year, which resulted in cancelled tour dates and a delayed album release, it’s perhaps a bit of a surprise to see this single released right now. Yet another anthemic soul belter, this only bodes well for this modern day queen of soul. Prayers to you Miss Jones.
Clap! Clap!
Tambacounda EP
Untold
Black Light Spiral Hemlock Recordings
8.5 Mothlite Mathair Kscope
6.5
The five tracks that make up this EP are said to be inspired by ‘Richard Alpert, Louise Bourgeois vestigial ancestry, folding inner space’. Sounds a little contrived to me, not to mention a little pretentious. If you can look past the pomposity however, you’ll find an intricate — if not slightly dated — multi-layered collection of tracks that touch on drowsy celestial folk, noodly, pop-inspired breakbeats and Phillip Glass inspired shoe-gazing, piano-driven post-rock.
Strand
Bankstaz’ Paradize Love Monk
Black Acre Records
7.0
New project from Italian producer Cristiano Crisci, focused on research and sampling tribes, bands and singers originating from Africa. According to the PR the keywords are “future roots” and “future rhythm”. Sounds like a bit of mindless genre-fication to me, but nonetheless, this is an innovative and engaging release full of idiosyncratic samples, time signatures, drum programming and bass-heavy brilliance.
Pretty much half an album's worth of material here from Spaniard Strand, who flits between varying styles on this six-track EP. It’s not the most cohesive, but there are some highlight moments that slot between some beat-led filler. In particular the Air-inspired ‘Bankstaz’ Groove’, the slo-mo horns of ‘De Sucios Desahucios’ and the party 4/4 beats of ‘Ain’t No Fun, If Bankz Can’t Have None’. Well worth having a check to cherry-pick from.
8.5
Lifted from the sonically challenging surrounds of the ‘Black Light Spiral’ long-player, ‘Drop It On the One’ and ‘Sing A Love Song’ could be the two oddest tracks you might hear over the coming months, that pay homage as much to sound design and Musique Concrete as they do dancehall or the formative jungle and hardcore background of creator Jack Dunning. Playing with loops, dark and erstwhile fx and broken patterns is the raison d’etre for Dunning now, and what a delight it is. Kinked and fu**ed all at the same time.
Timbah
Flow Poke Bad Taste Records
7.5
One of the most innovative users of sounds in his given genre, Timbah certainly isn’t shy when it comes to generating an ear-pricking top line with a progressive arrangement. So crossing the divide between some kind of apocalyptic ravecore, filthridden bottom-heavy hip-hop, grime and some 8-bit inspired samples, it’s a fresh outlook from Timbah who will certainly be asking a lot of your bass-bins. An accomplished EP.
“Why? The video shows a bank manager and his pals having a great time and then you realise it’s the bank manager who sings like angel number 9.”
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ALBUM REVIEWS
6.0
9.0
Actress
Phlash
Werk Discs
Archive
Actress (aka Londoner Darren Cunningham) is a true iconoclast, never playing the record industry game. His last two albums for Honest Jon’s, ‘Splazsh’ and ‘R.I.P’, were original, very weird outsider techno mini-masterworks. It’s clear from listening to his music that it’s highly conceptual and dredged up from the murkiest corners of his imagination. But this sequel of sorts to his classic debut ‘Hazyville’ falls flat by comparison. Gone are the submerged, stretched disco fragments; vanished are the playful electro riffs. In their place are scraping, scuffling found sound samples the like of which would give Yvette Fielding a nightmare. Dreary, moody, industrial ambient for the most part, though ‘Corner’ stands out for its ultra-slow graveyard shift, a gauzy 4/4 thump with monstrous robotic snarls that go thump in the night. ‘Gaze’ is a return to his past leftfield house splendour, but overall it’s the sound of drowning in a barbiturate soup. Ben Murphy
Phil Asher should have a blue plaque on his house for his services to house music, enduring and pretty much flawless as they have been for the past couple of decades. Reinvigorating his Phlash pseudonym for the Italian imprint Archive has proved to be an inspired move, his ‘House Phillerz’ EPs devastating dancefloors across the planet. Several of those tracks appear here, as he flaunts his mastery with an assured swagger. There is genuinely not a single, solitary duffer here. Not one. It’s got range too. ‘All I Want’ and ‘Moodswinging’ are sumptuous, Chandleresque garage, ‘Papaya Con Hierbas’ a take on Latin-tinged techno, while ‘Despacio’ is indebted to Italo and boogie. ‘That’s Right’ is dark and tribal, while ‘Alone In A Crowded Room’ recalls the glory days of Deep Dish. These are just comparisons, though. This inspiring house music is all his very own. Ben Arnold
Ghettoville
House Phillerz
Challenging, moi?
Phlash woah!
Planningtorock All Love Is Legal Human Level
8.5
Round the bend For a culture rooted so firmly within homosexuality, dance music rarely explicitly touches on its inherent countenance of gender subversion. With the commercialisation and popularisation of the club scene has come play-safe modes of music once designed to blow social boundaries outwards. Today, the increasingly homogenous sounds of house and techno pay service to what’s now a blunted tool, a catalyst that in the ‘70s (New York), ‘80s (Chicago) and ‘90s (London) pierced the valves of sexual repression and liberated a drastically marginalised section of society. On her latest full-length opus, Jam Rostron, known to most as DFAcontributor Planningtorock, has sought to readdress this balance. Most gay men and women object to the word queer to denote sexual preference, but it’s the most appropriate way to describe Jam and her music. If gender-bending is on the political agenda, the musical modus operandi here is one defined by its weirdness. The album’s opener ‘Welcome’ enters a 094 djmag.com.au
fantastical world of high-pitched synths, evoking a more traditional idea of the fabulous, closer to Sinatra than Sinitta. ‘All Love Is Legal’, with its grandiose strings and trap hi-hats, is a rousing anthem about emotional liberation, while ‘Human Drama’ is a reflective and forlorn house track indicting the unfair and unnecessary negativity attributed to sexual diversity. ‘Let’s Talk About Gender’ is a straight-up disco tune paying homage to the genre that started it all, while ‘Misogyny Drop Dead’ is an offbeat Dadaist experiment (it even repeatedly samples the word ‘Da’) that twists and bends synths into disjointed, bug-eyed melodies. Closer ‘Patriarchy (Over & Out)’, meanwhile, could be Hercules & Love Affair. A brave and pertinent attack on an issue so regularly ignored in dance music today, ‘All Love Is Legal’ is both wistful and unwavering in its exploration; a challenging, at times chaotic listen that’s as enjoyable as it is playfully experimental. Adam Saville
8.5
6.0
The Jaydes
Tensnake
Dame Music
Virgin
Ever ended up collaborating with a mate because you kept sharing so much gear between each other to keep costs down that a natural partnership developed? Not a particularly far-fetched situation to imagine, if you haven’t already been through this yourself. What makes The Jaydes’ story different is that this accidental alliance is actually quite good. Together, producers Bloody Mary and Attan trawl through house and techno’s various offshoots over the decades. From vocal-heavy proto-trance to full-on stabby rave, they use classic hardware immaculately produced and mixed down to infectious pop perfection. It’s not serious, nor tries to be weird and challenging; this is well-made, fun dance music made to, you know, have fun and dance to? Put it on and get down, whether you’re in a club or in front of your mirror with nothing to be ashamed of. Zara Wladawsky
Gesaffelstein managed to migrate to Parlophone (Universal) without changing his spots last year. Tensnake, however, has grown a new skin entirely after getting picked up by Virgin (also Universal). By skin, we actually mean a massive techni-coloured dream coat lined with rabbit fur. Those who relished the tropical steel drums of ‘Coma Cat’ can hear them on ‘Love Sublime’, featuring a standard Nile Rodgers riff, a track that’s almost passable as the Tensnake we love until the tawdry disco diva vocals. ‘Feel Of Love’, with Jacques Lu Cont, does Robert Palmer with a French touch, while Jamie Lidell does his best Andre 3000 impression. ‘Selfish’ is diluted ‘Need Your Lovin’’ with a crap R&B vocal and ‘58BPM’ is also shit, like Imogen Heap attempting witch house. It’s not all bad, though. ‘No Colour’ is like listening to the Drive soundtrack on ketamine, and ‘No Relief’ is well-made dancefloor house similar to Dusky. Adam Saville
The Jaydes
Un-Jayded after all these years
Glow
Snake me up before you go-go
ALBUM REVIEWS
7.0 Shit Robot
7.5 PLUGGER
We Got A Love
This Is Not A Record (Sunrise Edition)
DFA Records
Handy android
PLUGGER
Ripe for plunder
Much as his cardboard box helmet resembles a Blue Peter version of Daft Punk’s cyborg costumes, so Irish expat Markus Lambkin’s second album sounds as the Frenchmen might if they had a fraction of the recording budget and relied on roping in their labelmates for help rather than being able to call Nile Rodgers and Pharrell. Like 2010’s ‘From The Cradle To The Rave’ LP, ‘We Got A Love’ is heavy on the guest vocals; with LCD Soundsystem’s Nancy Whang on the bouncy electro of ‘Do That Dance’, Luke Jenner from The Rapture doing his best Bee Gees impersonation on ‘Feels Real’ and Chicago house veteran Lidell Townsfell leading a sort of rave ‘Hokey Cokey’ on ‘Do It (Right)’. Even R2D2 seems to make an appearance singing the bleeps on the retro-house rush of ‘Tempest’, and in many ways ‘We Got A Love’ is just as cute. Paul Clarke
This Italian outfit operate on an intriguing premise. All their music is based on samples — nothing new there, you might say. But the samples they use are from huge artists. Take this latest record, which uses snippets and fragments from massive megastars like the Rolling Stones, Pink Floyd, The Who, Jimi Hendrix, Led Zeppelin and Ennio Morricone, among others. In lesser hands, it could be a godawful mess, but PLUGGER’s very clever plunderphonics focus on a different artist each time, constructing sampladelic patchworks that float over (mostly) house and techno beats. ‘The Bang Bang Reprise’ is a wonderfully eerie, echoey cosmic disco desert excursion, while ‘Sweet 666’ robs the drum break from Zep’s ‘When The Levee Breaks’ and the drone from ‘In The Light’ and transfigures them into a dusted dubstep cut. How they’ll evade the long arm of the sample law is unclear, but it’s a thrilling unexpected ride. Ben Murphy
6th Borough Project Borough 2 Borough
7.0
9.0
Terrence Parker
The Clover
Planet E
Bosconi
It’s easy to forget sometimes that Detroit has a healthy house heritage as well as a shining techno legacy. At the forefront of the Motor City’s house persona is Terrence Parker, a prolific veteran whose sound focuses firmly on the soulful side of things. In ‘Life On The Back 9’, Parker is pure in his vision of uplifting, melodic vibes, revelling in sunny piano riffs and heartfelt vocal turns from guest singers. The gospel house message runs strong throughout the album, and there are only a few techy twists (primarily ‘My Virtuous Woman’ and ‘Pentecost’, both of which boast some of the strongest grooves on the album), so don’t come here expecting dark or deep dancefloor deviations. But if you’re after a smooth, soulful showcase of classic house ideals from an expert, Parker provides. Tristan Parker
The Clover’s debut album on home label Bosconi is an all-Italian affair that proves there is more to the country’s musical output than dry, endlessly churning minimal and tech house. Made up of Andrea Giachetti, Antonio Pecori and Stefano Meucci, the collective have been making music and playing live together since 2006, and both those facts work in their favour: ‘Processes’ is as accomplished sounding as it is alive from start to finish, with writhing analogue lines and ramshackle drums bring palpable dynamism to every track. Some are purposefully slow and sound like they might collapse à la Kassem Mosse, others glint and glisten at pace and come over like something Zip might play. Importantly, the same trick is never repeated and nothing sounds loopy, which means that despite this being 13 tracks deep and fairly suited to the dancefloor, it’s never less than vital even at home. Kristan J Caryl
Life On The Back 9
Soulful side of the street
Processes
Live house experiments
Delusions Of Grandeur
8.0 Retro refinery ASIDE from the obligatory ‘Intro’, lights low and make babies. ‘The Call a retro disco diva sample, you’d be Back’ is more of the same, but even forgiven for expecting Glaswegians more seductive, borrowing from the Craig Smith and Graeme ‘The Prelude Records school of boogie, Revenge’ Clark to venture further whereas ‘Read My Mind’ is throbbing into unchartered territory after indigo house built on a bassline Carl hearing ‘Our Love’, a slightly offbeat Craig would be proud of. future funk track closer to Letherette Indicative of dark, underground pub than the majority of warm, stodgy basements with low level ceilings, slo-mo disco found on their 2011 6th Borough Project’s second album debut LP under the same moniker, once again boils the original sounds ‘One Night In The Borough’. of New York, Detroit and Chicago However, with ‘U Know U’ it’s back down to their finer elements, to business as usual, but that’s no stripping them back and laying them complaint. There are few in the out into a linear 4/4 house formula. game better at languid disco with a Steady, sexy and sophisticated, vintage feel, and ‘Think It Over’ is ‘Borough 2 Borough’ presents yet 112bpm sample-based dancefloor another solid handbook, and you’d fodder at its finest. be a silly billy to miss it. Adam ‘In Your Arms’ is nothing but glitter- Saville ball class, while ‘Through The Night’ is lumbering funk with soulful strings made for no other reason than to encourage us to turn the djmag.com.au 095
ALBUM REVIEWS
7.0
8.0
Rocco
Reboot
House Afrika
Deep Vibes
The Bridge
Deep_V
Roccofella
Minimal man re-invented
Lyon’s Rocco Rodamaal has been a deep house staple since the mid-2000s, notching up releases on Ben Watt’s muchmissed Buzzin’ Fly Records, Defected and Freerange. House Afrika takes up this long-player, boasting collaborators galore. There’s Kafele from Chicago on ‘Dream Cloud’ and Ten City ledge Byron Stingily, who adorns the old school garage jam ‘Love Me Back’, wearing it like a snug-fitting glove. But it’s when he’s flying solo that this set really takes off, like on the sturdy ‘The Callini’, a chugging, heads-down groove, which melts into shimmering pads, or the tribal tech stabs of ‘Le Miroir Aux Oiseaux’. ‘Montmatre’ also has a swelling, ecstatic charm. Among that glut of vocals, it’s perhaps ‘Still Water’ with South African chanteuse Khensy that really soars, an undulating thing of understated beauty. Ben Arnold
Reboot has been one of Cadenza’s most reliable and consistent artists over the years. As a producer but also mainly a live act, he has always embodied the spirit of the label well. To kick off 2014, though, he makes a move over to Sascha Dive and Christian Schölzel’s Deep Vibes label and releases ‘Deep_V’. It’s a six-track mini album that relies heavily on field recordings collected on worldwide DJ travels. Thankfully, though, there is plenty of analogue studio trickery also employed to make this more than just a travel document. Instead it acts like a mission statement for what minimal can be in 2014 – hugely intricate, loop-based and ever evolving on a micro level, but rather than being all dry and abstract it’s organic, warm and infectious. Kristan J Caryl
7.0
8.0
Untold
Pink Skull
Hemlock
My Favourite Robot
Jack Dunning has released a lot of music over the last five years. Much of it has come on his own Hemlock, but like-minded labels including Hessle and Hotflush have also come calling. In that time we’ve seen Dunning’s sound evolve from being definitively dubstep to acerbically techno, but always it has been music that has looked forward for its inspiration, and in turn it often sounds like little else out there. That can certainly be said of ‘Black Light Spiral’, which rather than being a load of DJ-ready tools is instead a chaotic collection of broken loops, raw textures, atmospheric experiments and off-thecuff compilations that variously suck you into unsettled and beat-less spaces, batter you around the head with metallic sonic weaponry or dumbfound you with ragged rhythms and ravey sirens. It sure is perplexing, if nothing else. Kristan J Caryl
Three-piece electronic act Pink Skull have shape-shifted their way through various sounds over the years — from trippy electronic rock to minimal techno dabblings to collabs with Wu-Tang’s Ghostface Killah — but seem to have settled on the analogue-obsessed, acidwashed electronics demonstrated on latest album, ‘Huitlacoche’. It’s a strong look. The influence of Aphex (as well as newer champions of the sound, such as Legowelt) is strong throughout, but this is no tribute — ‘Huitlacoche’ is bubbling over with mischievous character and twisted dancefloor charm, thanks to Pink Skull’s willingness to experiment, with deviant disco on ‘Abalone’ and über-twitchy house on ‘Mutant Comfort’, for example. Although the straightup, 303-saluting trips on tracks like ‘Invijt’ are also massively enjoyable. The diagnosis? Raw, visceral electronica writhing around in acid and waiting to melt your legs off. In a very good way. Tristan Parker
Black Light Spiral Dark and dystopian
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Huitlacoche Acid-tongued rascal
Perc The Power & The Glory
Uner Tune 432
Poemss Hall Of Faces
Perc Trax
Diynamic
Planet Mu
9.5
8.0
It’s time for the Percolator
Balearic beast
7.5 Languid lyrics
The London-based producer returns with his second LP since 2011’s mighty ‘Wicker & Steel’, and it is a matured and rewarding expansion on the themes and sonics of the former. It defines the liminal space between techno, industrial and noise that challenges the future whilst nodding to the past and present. Zara Wladawsky
Tried-and-tested as one of the most consistent DJs on the White Isle, Spaniard Uner’s contribution to Solomun’s Diynamic imprint has culminated in a pleasingly eclectic long-player. Breezily fusing intricate, at times reptilian, minimalism with raw, funky, often slamming, tech house functionality, it’s a very impressive debut. Adam Saville
As rooted in the work of Kraftwerk and Bowie as more recent future-facing soundscapes from Falty DL and Mount Kimbie, Poemss is a collaboration from Toronto-based artist Joanne Pollock and Aaron Funk, aka Venetian Snares. Gothic, woozy and hypnagogic, it’s an entertaining listen — if at times a little disorientating. Adam Saville
Dena Flash
Radial Crux
!K7/Normal Surround
Radial Records
6.0
Swing out sister
8.0 Dutch delight
Solvent New Ways: Music From the Documentary I Dream Of Wires
Bulgarian-born Berlinbased artist Dena offers a more sugar-coated blend of hip-hop, R&B and electro-pop for those who find Grimes or MIA a bit too weird. It’s mostly PGrated stuff, and although tracks like ‘Wish Me’ might tempt you into trying some twerking, Dena clearly has more than enough style to need to ‘do a Miley’ herself. Paul Clarke
Deep, dark, minimal techno from Dutch producer Jeroen Liebregts, now rocking Radial as a solo project. ‘Crux’ is full of beefy techno workouts that showcase Liebregts’ ability for mechanical, winding sounds — a few bonus tracks explore lighter electronica moods, but generally it’s heads-down, hypnotic assaults from a pro. Tristan Parker
Suction Records
9.0 Dreamy, wiry musings
Producer and modular synth-wizard Jason Amm serves up his soundtrack to the masterful four-hour documentary on his beloved machines. The soundtrack holds its own on and off-screen as a woozy, bleepy foray into the wonderful world of these extraordinary instruments. Zara Wladawsky
REPEAT THE LPS WE CAN’T LEAVE ALONE...
Zed Bias Boss
Mental Overdrive Cycles
Lee Bannon Alternate/Endings
8.5 Stripped-back and gristly, Zed Bias’ latest LP is a sinewy treat.
9.0 When Per Martinsen’s mind goes into overdrive, our bodies do too.
8.0 Hip-hop-meets-jungle on Ninja Tune.
Swamp81
Love OD Communications
Ninja Tune
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COMPILATION REVIEWS
Henrik Schwarz Defected Presents House Masters Defected
9.0
Funky bones FUNK is in Henrik Schwarz’s bones. Anyone who’s performances feel vibrant and alive rather than dull with pianos and brassy horns. His haunting, epic mix witnessed one of his extended DJ sets will appreciate and tech-heavy, this double-disc affair finds his own of ‘Walk A Mile In My Shoes’ by Coldcut, featuring the that he is a master of the slow burn, building layer edits and remixes front and centre. Tracks you wouldn’t yearning vocals of Robert Owens, is every bit as special upon rhythmic layer, often using a wealth of his own imagine could be bent into pulsing house music or as it was when it emerged in 2006, just as Schwarz’s re-edits, remixes and original material. He is a man in urgent, atmospheric techno are utterly transformed star began its rapid ascendance. Similarly, ‘Where We control of his dancefloor in every sense. Now added to while retaining every ounce of soul. The Jacksons’ At?’, his dream team collaboration with Derrick Carter, the roster of the ‘House Masters’ in Defected’s long- ‘Dancing Machine’ becomes a 4am anthem, as his Âme and Dixon remains fresh, urgent, and mildly standing mix series, it feels like the right move to align stunning edit of Bill Withers’ ‘Who Is He?’ did before it. unsettling. And if there’s a more anthemic, masterfully him with luminaries like MK, Blaze, Derrick Carter, He reworks jazz-funk staple Omar’s ‘I’m Feeling You’, constructed remix than Schwarz’s spine-tingling take Dennis Ferrer, Charles Webster and Osunlade. He has and ‘Think Twice’, Carl Craig’s take on Donald Byrd as on Code 718’s ‘Equinox’, we’ve yet to hear it. It’s a piece just as much to say. Much like those laptop-based club Detroit Experiment. Both are crackling, the latter a of work. But then, what did you expect? Ben Arnold sets, in which he succeeds where so many fail in making shape-shifting beast, smashing subtly ravey stabs
9.0 Various
Kerri Chandler
Crosstown Rebels
Watergate
10 Years of Crosstown Rebels Crosstown traffic Ten months after Damian Lazarus appeared on the cover of DJ Mag, we have ’10 Years of Crosstown Rebels’, a three-disc commemorative compilation celebrating a decade on the dancefloor. More varied than you’d perhaps expect, each part maps the back catalogue of a label that brought career-defining underground hits from Art Department, Maceo Plex and Jamie Jones. Kicking off with Amirali, Fur Coat and Ali Love, disc one opens with the druggy and opaque tech-funk synonymous most recently with the imprint, before Kiki & Silversurfer present the first curveball (‘Shake Off’) — indie-disco that’s more Hacienda than Day Zero — before Andre Kraml offers some quirky off-kilter pop. Elsewhere, Seth Troxler (‘Love Never Sleeps’) bears his production hen’s teeth with a deep tech house beat and Guti & Dubshape get jazzy with ‘Every Cow Has A Bird’. The diversity of tech house’s most eminent label is evident, ‘10 Years’ is a definitive collection. Adam Saville
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7.5
8.5 Watergate 15
Somewhat very Kerri The house music veteran has been shaping and developing the genre since he burst onto the New Jersey scene over three decades ago, so it’s not all that surprising that the Berlin club’s Watergate label has commissioned him to mix an edition of their CD series. However, instead of going the more obvious route of drawing from early US house roots, Kerri has instead gleaned his tracks from newer artists who produce modern European sounds like Subb-an, Tom Demac, and No Artificial Colours. Although this style can suffer from being over-polished and boringly “big room”, Kerri imbues his trademark soul and swing onto the mix, and it remains rootsy and funky throughout. His own tracks, including the exclusive ‘Mama’, are typically great fare, but this release is more a testament of Kerri’s versatility in adapting to, and utilising, the present as much as the past. Zara Wladawsky
Various
BPM001 Mixed By Art Department No.19
Art departure In the same month Crosstown Rebels has reminded the world there’s more to the label than groggy tech house, one of the imprint’s main offenders have made an in-road into more upfront territory on the inaugural mix for arguably the most hyped dance festival of the year, BPM Mexico. Still, anyone who’s heard Art Department DJ live will know that their sets are never as one-dimensional as perhaps their past productions might suggest, the duo just as ready to drop electroclash classics and big room techno sounds into material on Jonny White’s No.19, the label he co-runs with BPM marketing bod (and DJ/producer) Nitin. Mixing up tribal tech house from the likes of Luca Bacchetti, Deetron and Ripperton with more hypnotic and psychedelic beats from Ten Walls, Mind Against and Eric Volta, ‘BPM 001’ contains as much to move the body as it does the mind. Adam Saville
7.0 David Rodigan
Masterpiece
Ministry of Sound
Not quite
After sterling comps in this series from Andrew Weatherall, Carl Craig, Jazzie B and Francois K, long-reigning UK reggae DJ and all-round don David Rodigan takes to the canvas. Over three discs the storied selector goes deep into his musical history with some surprising results. Disc one is mostly his inspirations, before he was bitten by the reggae bug, so we get ‘60s mod and pop tracks from the Small Faces and the Yardbirds, and plenty of lush soul from Etta James, Marvin Gaye and Aaron Neville. All brilliant, but fairly obvious fare. He’s on firmer footing when he explores the reggae greats, with roots tracks from the Abyssinians and Aswad, and the incomparable, ominous skank of Lee ‘Scratch’ Perry’s ‘Black Panta’. What Rodigan’s good at and where his rivals fall down is selecting decent modern reggae — it’s hard to find, but tracks from Luciano, Ini Kamoze and Busy Signal demonstrate that it’s not all cheesy autotuned dancehall these days. Ben Murphy
COMPILATION REVIEWS
QUICKIES 7.0
8.0
Pangaea
Various
Fabric
Black Butter
FabricLive 73
Spread Love Vol. 3
Ice-block rockin’ beats The third Hessle Audio member to take on the Fabric Live series, Pangaea’s entry is less Catholic than Ben UFO or Pearson Sound’s instalments, though in cleaving to a tighter techno script, it’s closer to the former, if less exploratory. Playing it relatively straight, Pangaea settles on 27 tracks of clean and crisp, brainily percussive (“something for your mind” as the sample from Speedy J’s classic here goes) ice-block beats. A tightly wound, almost airless set, there’s a driving sense of momentum here, with tracks from Lee Gamble, Kobosil and Bristol cohorts Pev and Kowton all forming a churning mass. It lends to a punishingly relentless if strangely dour workout, but well-judged departures like Maum’s ‘The Sun God’, Mumdance & MAO’s lazer-firing ‘Truth’, Alex Falk’s acidflanging ‘PTR’ and Forward Strategy Group’s raw ‘Clean Neckline’ keep this on the right side of stark. Sunil Chauhan
Utterly butterly Generously laid out across four samplers, the full 23 tracks of ‘Spread Love Vol.3’ smear Black Butter even wider, covering all the squeaky clean, liquid styles of garage, bassline house and broken beats we’ve come to expect from the label. Despite showcasing emerging talent BNRY, DVWLX and Lokate, most surprising is the appearance of two tracks produced as collaboration between Maxxi Soundsystem and MANIK, two relative veterans who inject a breath of Balearic warmth previously not associated with the Black Butter staple. ‘Lift You Love’ is deep, crisp funk bolstered by its capaciously hollow gut and ‘Owls’ is a little more upfront, unfolding a sexier, darker, more robotic house work-out. Meanwhile, Just Kiddin gets molten and metallic on ‘Diamond’ and ‘Gliss’, pushing the label into a more progressive garage/house realm to make for an enticingly varied package spilling with ideas — some more original than others. Adam Saville
7.0
8.0
Various
Various
Houndstooth
EPM
Rather than sum up their first year with a label primer, Houndstooth invited their artists to remix each other. The result feels like a friendly in-house soundclash. Second Storey’s ‘Quadraxx’ response to Call Super’s ‘Dewsbury Severance’ comes on like haunted-house grime, its synths now front and centre with sword slices in the background. House Of Black Lanterns get two reworks, the best being _Unsubscribe_’s take on ‘Broken’ which removes its former brittleness and leaves it somewhere between Big Black Delta and Instra:mental. The most satisfying pairing, however, is Special Request’s VIP refix of Akkord’s ‘Destruction’, now doused in simmering nujungle hallmarks that constantly threaten to boil over. A worthwhile addition to their catalogue, Houndstooth followers will find most to appreciate in these new nips and tucks but ‘HTH Vs HTH’ should also pique the unconverted. Sunil Chauhan
EPM is a modern day musical empire that encapsulates PR, publishing, digital distribution and also a label. Now for the second time they offer up a taster menu from their back catalogue, with a focus on the more techno-leaning output offered to date. It’s a fairly in-the-know selection that pairs known names like Orlando Voom and Abe Duque with forgotten experts from yesteryear, including BPMF and Inigo Kennedy, and explores a wealth of styles. From Duque’s squelchy tech funk to Kennedy’s electro-charged techno stomper via Paul Mac’s serene but equally speedy ‘Old’, this is fast-paced stuff that breaks free of modern concrete funk or industrial associations to explore the outer regions of our galaxy. Highlights include The Third Man, who recently released a full-length on the label and who is at his cerebral and cinematic best on acid-laced closer ‘Sleep It Off’. Kristan J Caryl
HTH Vs HTH Barking, with bite
EPM Selected Vol.2 Slick BPMs from EPM
Various Selected: Compiled By Fred P
Various Pop Ambient 2014
Various Crossing Lines
Kompakt
NX Records
Boards
8.0
8.0
Beatless joy
8.0 New school heroes
Lush, hypnotic house and techno, ‘Selected’ recalls a time when vinyl comps were the most valued source for discovering new artists. Unearthing fresh, timeless gems from Lapien, Ryo Murakami and Bobby O’Connell, this unmixed collection offers an insight into the textures of Fred’s magical DJ vision. Adam Saville
What better soundtrack to quell the festive gluttony than Kompakt’s annual ‘Pop Ambient’ album? Now on its 14th installment, the Wolfgang Voigt-curated celebration of beatless joy is indeed laden with drum-free bliss, like Orb man Thomas Fehlmann’s shimmering ‘Treatment’ and as Gas, Voigt’s own towering mix of The Field’s ‘Cupid’s Head’. Ben Arnold
This is a high concept release from Matthew Herbert’s Accidental Records and Goldsmiths University that sees a wealth of new talents offer up their idiosyncratic wares. The well-crafted sounds range from ambient and arty to Balearic and indie-licked. Expect to hear plenty more from everyone involved before long. Kristan J Caryl
Acid Arab Collections
Various Pure Deep House
Various Majestic Casual Vol. 1
Versatile
New State
Majestic Casual/AEI
8.0
6.0
Rock the casbah
Kiss of death
7.0 For your ears only
As you’d expect, this comp merges acid house beats with Arabic melodies and instruments. But rather than being a tepid, lightweight “world music” mess, it’s a brilliant, clever conflation. Authentic artists from both sides of the equation come together, with the Acid Arab project — duo Guido and Hervé — inviting lots of musical friends onboard. Ben Murphy
If MK topping the UK charts pissed off the purists, ‘deep house’ getting picked up for a ‘Pure’ compilation is likely to give the hardliners among us a hernia. The stars of 2013 — Breach, Dusky, Shadow Child, Duke Dumont — they’re all here, immaculately mixed, with ‘90s classics thrown together on disc three. Adam Saville
I’ll have a Fred P please, Bob
Given that it epitomises 21st century pick’n’mix multiplatform musical consumption, it seems odd that YouTube channel Majestic Casual are releasing something as archaic as a CD. But it does mean you can enjoy these tracks from the likes of Disclosure, SBTRKT and Toro Y Moi without having to skip through adverts. How quaint is that? Paul Clarke
REPEATTHE LPS WE CAN’T LEAVE ALONE...
D’Julz This Is Bass Culture
Danny Howells Balance 024
9.0 Deep masterclass from the French don to celebrate four years of his label.
8.5 The prog veteran rears a fresh face on ‘Balance 024’.
Bass Culture
Balance Music
Various Boys Noise Presents A Tribute To Dance Mania BNR
8.0 Electro stadium-filler turns attention to ‘80s acid on V/A comp.
djmag.com.au 099
words: MICK WILSON
TECHNEWS EVERYTHING IS UNDER CONTROL
Pioneer’s new CDJ-900 Nexus is the new must-have addition to the DJ controller family. p.104
IN THE STUDIO WITH... PETAR DUNDOV
The Croatian cosmic techno DJ/ producer shows us his kit.
p.106
CAN’T TOUCH THIS TALKING ABOUT A REVOLUTION
Could Akai’s MPC Element kick off a new world revolution?
p.108
SOMETHING IN THE AIR
The Hercules DJ Control Air+ controller is a welcome addition to the budget brigade. p.109
TECH PRODUCER
Assorted tips and tricks to help your productions on their way.
p.110
djmag.com 0100djmag.com.au
Numark claim that their NS7II is the best DJ controller ever built — is this a boast too far?
G
iven the amazing reputation that the original NS7 has rightfully gained, the release of the next generation NS7II has had many tongues wagging in the DJ community, especially given the fact that Numark are making the bold claim that this is the best DJ controller that has ever been built — well they would say that, wouldn’t they? But the question remains, is this really the best DJ controller money can buy? The short answer is “probably”, unless portability is high on the list of features that will sway the decision to hand over the cash.
control and the addition of eight RGB colour pad-style trigger buttons to each deck section. Of course, there were many features that the original NS7 got exactly right first time too, such as the stunning motorised platters complete with vinyl and slip-mats which thankfully have also made their way into the NS7II. The build quality of the NS7II is nothing short of breathtaking. The case is made entirely from metal, components such as buttons and faders are all of the highest quality and feel amazing to use. Many of the knobs are touch-sensitive, which means instant control and some rather fancy features like Just like the original, the NS7II is a massive controller in being able to use the EQ knobs as kill switches when the shift every way, from the intimidating size and weight to the button is engaged. The control surface is beautifully stunning amount of top-notch features and quality designed, managing to pack a dizzying array of controls onto components that Numark have crammed into its all-metal the front panel without feeling cluttered. All of the controls case. Numark have clearly gone for a no-compromise are nicely spaced and logically laid out, adding to the userapproach when designing and building this controller and friendly nature of the NS7II. have gone to town on this, their flagship controller — size and weight be damned, the NS7II is all about making the best As mentioned previously, the NS7II has a fully featured fourpossible machine for mixing, which is a refreshing change channel mixer, which is also capable of working as a standfrom the built-to-a-budget controllers so often released onto alone mixer and has a generous amount of inputs including the market. two mic inputs and four aux inputs, two of which are capable of accepting either line or phono level signals. Each mixer The NS7II is a four-channel controller with a four-channel channel has a three-band EQ, gain control knob, filter control mixer designed to be used in conjunction with Serato DJ and knob and two FX engage buttons, and its own 11 segment LED has more than a few significant improvements over the level meter. The mixer’s master section is equally welloriginal NS7. The most notable of these improvements are appointed, with a master level meter, booth and master gain the new mixer, which now has four channels rather than the controls, track browsing section with an encoder knob and eight two channels found on the original NS7, as well as built-in FX dedicated buttons to make finding and loading tracks a joy.
SOUNDBYTES
TECH NEWS
DJ DOCTOR Does it make sense to enrol on a course to enhance my DJing and production skills or am I better off just trying to grasp the concepts on my own? DANIEL ANNALS, COVENTRY
IT TAKES TWO More of an update rather than a new product, Denon have released the MC6000MK2. Building on the popularity of the original, rather compact but feature-rich controller, the MK2 now comes with tighter Serato integration as well as new features, décor and knobs that bring this controller bang up-todate. The MC6000MK2 comes with DJ Intro out of the box, but can be upgraded to DJ Pro for a small fee. dm-pro.eu
VERDICT The deck sections are equally blessed with outstanding features, including a needle-style touch-sensitive “strip search”, four encoders complete with LED ring indicators for FX control, five hot cue buttons and eight pad-style buttons that can be used for cues, rolls, loops, samples and splicer functions. The addition of Pioneer-style slip mode is the final icing on an already impressive cake, which allows DJs to scratch and cut the platter with the track resuming at the point it would have been at, had the platters not been touched. The NS7II is a thing of beauty. It manages to tick every single box and is simply wonderful to use. Even diehard vinyl purists will find this controller fun and intuitive once they get their hands on it. It is extremely rare to find a piece of DJ equipment that has been so welldesigned and executed. The designers at Numark have outdone themselves once again. This controller is absolutely exceptional and unless portability is a major deciding factor, DJs will be hard pressed to find a better purchase.
BUILD QUALITY 9.0 EASE OF USE 9.0 FEATURES 9.0 VALUE FOR MONEY 8.0 SOUND QUALITY 9.0
HYPE
A top quality stand-alone four-channel mixer and motorised platters complete with vinyl and slip-mats, pad-style triggers, touch-sensitive knobs and build quality to die for.
GOLDEN DELICIOUS If you’re feeling a little bit bling then opt for Pioneer’s limited gold edition DDJSX-N. Exactly the same feature set as the original DDJ-SX, except for the incredible gold colour scheme, this is going to split camps for sure with one of those Marmite moments, you’re either going to love it or hate it. pioneerdj.eu
GRIPE
The only possible complaint any DJ could have is the fact that this controller weighs a ton and is very big, making it less than convenient to move around. The next generation of Numark’s flagship controller manages to keep the quality high and adds some amazing new features that will delight DJs the world over.
9/10 CONTACT
numark.com numark@elfa.com.au
NOT SO CROSS DJS Android owners delight, as Mix Vibes are the first of the big name companies to take the jump to the Android platform with their popular Mixvibes Cross DJing app. Bringing ‘pro’ quality mixing to the everpopular Android devices, the new Cross DJ app offers all the usual mixing capabilities and functions that can be found on the iOS versions. mixvibes.com
Hi Daniel, When it comes to mastering the art of DJing, there is no substitute for hard work in the form of practice, and this is even more important when it comes to production — many of the top producers in the world will tell you they are still learning, so clearly there is no substitute for putting the required time in. Of course, this dedication is required even when attending a course, as the instructors can point you in the right direction but they can’t shortcut the learning process. A good course will shortcut much of the initial learning and can be very beneficial in teaching good techniques and workflow early on, before bad habits are formed, and thus will get your skill level up quicker than by doing it alone. It is important to find a good organisation and teacher, as not all schools GOT A BURNING QUESTION? are equal, so do your research first and if possible ask to be shown around to get an idea of the level of training before you pay any fees.
TECHTALK YOUR SELF-HELP FROM THE FORUM
I’m looking for a small device to record my DJ sets on, does anyone have any advice as to what I should be looking for? James Preston, Chichester If you are looking for something cheap and easy, the chances are you already own something that will do the job. If you buy the right cable you will be able to record sets onto your smart phone (assuming you own one) or computer by plugging the cable into the booth or aux out of a mixer. Just keep an eye on the output levels from the mixer to ensure you don’t overdrive your device, which will lead to distortion. Damien Parker, London If you want something super-portable that doesn’t need a computer, check out Reloop’s TAPE which lets you record directly onto a USB stick without a computer attached. Unfortunately, TAPE does require an external power supply, so you will need to take that with you too. Fred Hamilton, Crewe Both TAPE and the smart phone idea are good solutions to your problem but they will only record MP3s, so you will lose quality. If you want proper high-quality recordings check out Tascam’s DR 07 and DR 05, that record at professional 24-bit 96 kHz quality directly to microSD. Nikki Smith, Essex djmag.com.au 0101
TECH NEWS
SOUNDBYTES
APP REVIEW APP NAME : SYNTHORIAL DEVELOPER : AUDIBLE GENIUS FORMAT : VST/AU PRICE : USD $129.99
YUKSEK
CAN’T LIVE WITHOUT ROLAND JUPITER 8
“Since becoming the lucky owner of the Roland Jupiter 8, it has become the central piece of my studio. As a crazy synth collector I already have lots of Roland gear like the Juno60, Sh2, Sh8, MC202. Each one of those synths has a specific purpose. However, the Jupiter 8 has everything inside — ‘80s bass arpeggios, warm subby bass, silk pads, hardest hits etc. “It’s an eight voice polyphonic keyboard and in my opinion only the Memorymoog is equally interesting in that category, but for different reasons, they are really complementary. The Memorymoog is more ‘psychedelic’ and a bit warmer, but that’s another story. The Jupiter 8 is also more efficient and easy to use in a mix with other ‘virtual’ keyboards and modern drums. I used this keyboard on most of my previous songs and remixes released on my label Partyfine, like ‘Last Of Our Kinds’, ‘Truth’, and even the last songs I wrote together with The Magician. All those songs included a mix of real instruments, drums but also drum machine, a few virtual synths and of course the Jupiter 8 on top. “Compared to all the younger brothers of the Juno and Jupiter family this one only misses the typical Roland chorus, but as soon as you process it on an external FX it starts to sing and give its full potential. It’s really on another planet. “People often ask me which analogue keyboard they should buy to start a studio and I always say ‘break your piggy bank and go ahead’. It’s expensive, but it’s got everything you need if you want to get into fat analogue keys.” 0102 djmag.com.au
When producing tracks it is easy to rely too heavily on pre-sets and often only tweak a few settings by trial and error. So wouldn’t it be fantastic to find a way to learn how to properly program synthesisers in order to get the best from the tools already at your disposal? This is where Synthorial comes in because it is designed with the sole purpose of teaching sound design and synthesiser programming by ear. Synthorial is much more than just a tutorial, it teaches producers to stop relying on presets, and instead to program the sounds you hear as well as when, why and how to use over 60 common synth parameters. There are nearly 200 lessons included within Synthorial. Each lesson starts with a video that teaches one specific control or group of controls. Each video is then followed by
a “challenge” or exercises designed to give hands-on experience using the built-in synth within Synthorial. These challenges are rather clever and really do push users into properly understanding the lessons by making them tweak the parameters on the builtin synth to match the example sounds from scratch, thus training both the ears as well as the eyes. Synthorial is very easy to use, the design is clever and well thought-out and this app really will improve your synth programming skills in a fun stepby-step way that can be completed at your own pace. And there’s a free demo to download from Synthorial’s website.
FOCAL RANGE
VERDICT
8/10
Focal Monitors are a regular fixture in many pro-end studios, now they have taken all their industry know-how and put them into their first pair of pro studio headphones. The Focal Spirit Pro headphones have been designed for sound engineers, DJs and producers aiming to deliver a neutral sound that reflects the true nature of the audio being recorded. Made from aircraft-grade aluminium, leather and rubberised plastic, the Spirit Pros look good as well as sounding great.
DIFFERENT STROKES Editors Keys make a range of handy add-on keyboards for Mac and PC users that will get your workflow turbo-charged. The y visually put all your software shortcuts on top of the keys of a genuine Apple keyboard. The keyboards cover all the main DAW programs like Logic, Cubase, Live, Reason and Pro Tools, as well as popular video editing sof tware. Built to the highest standards, the Editors Keys shor tcut keyboards will turn any producer into a power user in no time at all. editorskeys.com ALPHA DOG AlphaSphere have delivered a novel approach to the world of controllers with their AlphaSphere control sur f ace. The AlphaSphere has 48 touchpads that can be used in a variety of ways. Giving a completely new perspective on the way DJs and musicians can operate their favoured software of choice, the AlphaSphere can also be customised using the accompanying AlphaLive control editor, which lets users programme and tailor fit the AlphaSphere to their own particular needs. alphasphere.com
focal.com
CUTE WITH A BITE
CuteDJ is yet another new DJing application for the beginner and Pro DJ alike who doesn’t want to get bogged down with all the power features that some of the top-of-the-range DJing software offers. CuteDJ offers an intuitive user interface and powerful mix engine that allows DJs to mix audio and video in a quick and easy manner. CuteDJ is open platform DJ software and can be used on a variety of controllers straight out the box. cutedjpro.com
TECH NEWS
A MOMENT OF YOUR TIME HOT SINCE 82
IN the past 12 months, Hot Since 82 has taken his productions to another level. His Green Velvet, Rudimental and Shadow Child reworks have become anthems in their own right and he was recently awarded Essential New Tune on BBC Radio 1 by Pete Tong. He’s just released the first instalment of Moda Black’s ‘Little Black Book’ project — all this, as well as being inducted into the Essential Mix hall of fame. DJ Mag wanted to know what makes this man so HOT! How did you get involved with the ‘Little Black Book’ project? “I was the first person to release a track on Moda Black, so I guess Jay and Andy felt it right that I was the first person to be handed the reins to produce, curate and complete the first instalment of this new compilation project. The guys have been putting out some great music on Moda Black via the comps and the label, and this is a cool idea for an artist-led project without the pressure of it actually being a debut album. In fact I’m interested to see who will do the second ‘Little Black Book’.” It’s quite an ambitious music project... “Indeed! I’ve not worked on a project this big before, it took the best part of seven months. I have to admit the deadline did get pushed back a couple of times, it’s a massive thing to take on board, especially as I wanted to include so much exclusive new material. It was very important that the listener goes on a bit of a musical journey, like one of my sets. That’s why I mixed it live and kept the energy and vibe that can sometimes get lost in the studio.”
chance to remix it. It’s crazy to see how well it’s done. Caj (Green Velvet) is a real legend in the game, so to work with him and see the remix become an Ibiza anthem is just incredible. I played in Chicago (his home town) recently and he got on the mix to perform it live, it was a crazy moment!”
Your Essential Mix has been received with great acclaim… “Yes, that was a real landmark for me. I’ve been listening to Pete Tong and Talking about ambitious, you’ve the Essential Mix since I was kneeworked with one of the scene’s high, so being asked to join the legendary artists, Green Velvet... Essential Mix hall of fame was a great “Yeah, that was amazing. Yousef sent moment. I spent quite a bit of time me the track and I jumped at the thinking about how to go about it, and
then just jumped in the deep end and playing... USBs, CDJs, 1210s, 12”s, mixed it live!” laptop, Traktor controller, doesn’t matter to me.” When it comes to kit, what are you using at the moment? Your sound seems to have evolved “I am currently using Logic X on a new over the years... iMac retina i7, coupled up to two “I’ve been producing for the best part Terabyte hardrives, the amazing of 10 years, so I guess my production Universal Audio Apollo soundcard, and sound has evolved a lot over the and a few synths: Dave Smith Tetra, years. There’s always something to Moog Slim Fatty, Arturia Analog learn when you’re in the studio, the Factory Experience, Mackie 824 main thing is just to make what you monitors and loads of soft synths — enjoy. If you don’t enjoy it then you Arturia’s Legacy Collection and the shouldn’t be doing it.” new Native Instruments’ Komplete Ultimate are two of my favourites. “When I DJ it all depends, as I tend to use a collection of anything, depends how I’m feeling and what club I’m djmag.com.au 0103
TECH NEWS Pioneer CDJ-900 Nexus words: LUKE PEPPER
EVERYTHING IS UNDER CONTROL Pioneer’s CDJ-900 Nexus is the new must-have addition to their vastly expanding DJ controller range family...
O
f late, Pioneer have been particularly prolific when it comes to releasing new DJ technology and one could be forgiven for thinking that this rate of progression is pushing their other products close to obsolescence far too quickly. However, upon closer inspection, the facts reveal that with some of their bits of kit this isn’t quite so. It has been quite 0104 djmag.com.au
a long time (over four years, in fact) since the release of the original CDJ900, so the release of the CDJ-900 Nexus is something that has been eagerly awaited. As the CDJ2000 Nexus has become the de facto standard in DJ booths across the planet, the release of the CDJ-900 Nexus will be of great interest to DJs wishing to own essentially the same equipment they use in the clubs to
practice their sets and hone their skills. It will also appeal to venues who don’t quite have the budget to purchase the CDJ-2000 Nexus decks but are desperate to stop complaints from DJs at the lack of latest generation CDJs to mix their sets on. Just as the CDJ-2000 Nexus provided a massive jump in terms of technology when compared with the original CDJ2000, the new CDJ-900 Nexus takes
things to a whole new level in terms of technological trickery and usability, making this upgrade very worthwhile in terms of new features and improvements. In fact, so good is the job that the chaps at Pioneer have done in adding improvements and features to the CDJ-900 Nexus that it makes it a hard decision to choose between this and the more expensive CDJ-2000 Nexus, as there are only a
TECH NEWS few noticeable differences between the two. This means DJs who are on a budget can take advantage of the cheaper price without sacrificing key features, as the £350 price difference largely buys a higher level of convenience rather than a different mixing experience. The most striking new feature to grace this new incarnation of the CDJ-900 is a gorgeous new colour display, which makes the previous generation of CDJ900 look primitive when compared with the CDJ-900 Nexus. This new display is capable of showing zoomed waveforms in stunning clarity in addition to a track overview, as well as a phrase indicator, which makes mixing easier than ever before. Rekordbox beat grids can be viewed and adjusted, while there’s the addition of browsing tracks complete with their artwork and information such as the harmonic key. In a surprising departure from both the original CDJ900 and the CDJ-2000 Nexus, the screen is now mounted flush with the control surface rather than at an angle, which is something of a disappointment because it makes it harder to read when the units are mounted high in a DJ box. It also makes the CDJ-900 Nexus look decidedly less slick than its more expensive counterpart, which is perhaps the reason for the change.
NETWORKED
As those familiar with any of the products in Pioneer’s range that carry the Nexus badge will no doubt have guessed, the CDJ-900 Nexus has a multitude of ways of reading digital audio data — giving DJs the option of storing their music on CDs, USB sticks (or hard drives), computers running Rekordbox or even iOS or Android smart phones and tablets. Up to four CDJ-900 Nexus controllers can be networked together, with the option of using Wi-Fi or cable-based Ethernet to connect computers or smart phones running Rekordbox and the possibility of having two computers connected at the same time to make DJ changeovers seamless and hassle-free. USB ports at the top
and back of the CDJ-900 Nexus also enable the connection of computers, smart phones and tablets, with the added advantage of charging these por table devices while in use. Of course, the added Nexus functions do a lot more than just play tracks from various devices, because everything is now tightly synchronised to Rekordbox beat grids. Between CDJ-900 Nexus players and Nexus-enabled mixers, the possibility of adding quantised-based features and effects is possible and Pioneer have taken full advantage of this fact. A new quantise button ensures that all of the FX, cue points and loops are kept perfectly on beat across players, in addition to making loop creation an absolute breeze.
OVERHAULED
The Auto beat loop functions from the original CDJ-900 have been overhauled and are operated via the familiar beat divide buttons to make them easier to use — and sonically much better when used during live mixes. Engaging the Auto beat loop buttons in standard mode causes a loop roll effect to start to cut up the track playing, using the selected beat division. Engaging the new Slip Mode turns these buttons into Slip Loop effects, which are triggered when the buttons are held down while the track continues to play in the background — switching back to playing the track once the button is let go perfectly on-beat. Slip Mode also works with the play/pause button, making it possible to create drops without needing to ride the crossfader or channel fader on a mixer. It is also possible to scratch up to a drop without losing the position of the track, ensuring the bars and phrasing still match the other tracks that are playing on other CDJ decks. The looping section of the CDJ-900 Nexus has been upgraded to the same specification as the CDJ-2000 Nexus, with quantize available on all effects to ensure they stay in perfect time. Pressing the loop cutter button once will engage a perfect four-bar loop,
pressing it again will halve the length of the loop. Holding the loop out button and pressing the loop cutter button will double the length of the loop, while doubling or halving loop lengths can also be done via the call buttons. And those who like doing things the oldskool fully manual way can use the loop in and out buttons, with the in and out points being adjustable via the jog wheel platter. The result of the refinements and new features that have been added to the CDJ-900 Nexus is a deck that has been improved massively, making it more fun to use with the addition of some rather lovely effects. These make it possible to make studio quality edits while live in the mix and the sync, slip and quantize functions make it possible to be more creative, putting more combinations of effects and tricks at DJs’ fingertips. When comparing the CDJ-2000 Nexus and the CDJ-900 Nexus there are more common features than there are differences, with the CDJ-900 lacking a needle search strip. The hot cue buttons found on the CDJ2000 Nexus have been replaced with the beat-divide buttons on the CDJ-900 Nexus, there is no jog wheel stiffness adjustment knob, and no SD card support. When looking at the back panel the two players are almost identical, with both having a stereo pair of analogue audio outs, control port, a digital out, LAN port as well as a USB port. All in all, the CDJ-900 is an excellent device with all of the major features found on the more expensive CDJ-2000 but at a significantly lower price. The CDJ-900 Nexus is going to fly off the shelves in the coming months.
VERDICT BUILD QUALITY EASE OF USE FEATURES VALUE FOR MONEY SOUND QUALITY
9.0 9.0 8.0 8.0 9.0
HYPE
Nexus connectivity to allow tracks to be played from computers, smart phones, tablets and USB devices and new features such as slip mode, quantize and an amazing new colour display take the CDJ-900 Nexus to the next level.
GRIPE
The display now sits flush with the control surface rather than being angled, which feels like a step backward. The CDJ-900 Nexus has been improved immensely, bringing its features very closely in line with the flagship CDJ-2000, despite the cost savings of nearly 25% — making it a very tempting choice indeed.
8.6/10 CONTACT
www.pioneer.com.au
djmag.com.au 0105
TECH NEWS In The Studio with Petar Dundov words: MICK WILSON
SAIL OF THE CENTURY
DJ Mag were welcomed ‘on-board’ Petar Dundov’s impressive studio to discuss all his lovely production toys and how he recorded his latest long-player, ‘Sailing Off The Grid’
C
roatian DJ/producer Petar Dundov has been a key figure in electronic music since he released his first tracks in the early ‘90s. Ranging from deep techno to cosmic, chugging arpeggiated trance symphonies — transcendental in the truest sense — his singular sounds have found a home on labels as varied as Derrick May’s Transmat and well regarded Belgian stable Music Man. His umpteenth album is the mighty fine ‘Sailing Off The Grid’, another galactic exploration that unfurls new charms with each spin. We got in touch with Petar to find out how he works, how he teases out those mind odysseys from his machines, and why hardware is the best way to unlock the imagination…
Digital plug-ins were something new and at that time I bought top-of-the-line digital synths.”
Where did your passion for hardware come from? “I think the drive for me was to be able to create those beautiful sounds that I heard in my first experiences with electronic music. There is something eternal when you sit by the keyboard, start tweaking those knobs and in a moment sound appears that leads you — it creates a mood and you start to play a melody... it is like it all comes from sound. It opens a door for imagination and everything else follows. Instruments for me are a kind of interface, a key that unlocks a realm of music and you are there, floating freely, unbound by anything, just you and sound. I still have those You’ve got a very impressive collection of studio experiences and that is the main reason why I toys. How did you go about amassing all this kit? started doing music in the first place.” “I have always been attracted to sound and I realised very soon that just one piece of gear would In this day and age considering that soft synth/ not be able to reproduce all of the sounds that I virtual plug-ins are so good, wouldn’t it be easier want. This all happened in the early ‘90s when to have a set-up that is based in the box? digital samplers and PCM synths were still new “Of course. If I were starting now, I would almost things. They changed the way music was made and surely go for an ITB set-up. The digital realm is so people were so impressed by new technology that powerful today that if you train yourself to work everybody started selling old analogue synths and freely in that domain, you can do pretty much drum machines. Me, on the other side, I was more everything you want. Also, look at the prices of into synthesis, I like to programme sounds and was analogue gear today, it’s ridiculous, I don’t know looking for machines that have their own character. who could afford it. A good digital set-up, plenty of I was interested in synths that could sit in a controllers, lots of screens and a control surface particular place in the mix. At the time I got some that you work on long enough to be able to do the nice pieces for silly money. Most of the stuff that I mix with your eyes closed would be the way to go.” bought came from this era. There was another good moment for buying equipment, when computers started to take over at the turn of the century. 0106 djmag.com.au
TECH NEWS one of the songs is purely System with 909 and 808. That was it, simple as that. It is so rich in sound that sometimes it is enough to drive a complete 10-minute song.” In regards to software, what are you actually using? “I am using Logic 9 for my main sequencer and audio tracking. It is great for MIDI if you have lots of things you need to route and handle from one spot. The audio engine is decent, and automation is quite simple. There are many built-in plug-ins that sound good as well. I also use Numerology 3 for modular-style MIDI sequencing. You can do some interesting stuff with it, I’ve used it for some time now and it’s become an essential tool for me. I also use PD (pure data) sometimes when I need to do some complex mapping of controllers or do conversions of audio to data streams.”
Often debated, do you think that you can tell the difference between hardware and software? “Depends on the song. On softer songs with lots of dynamics where you have just a couple of elements, one or two synths, you can tell. You can even tell if it is a digital or analogue oscillator. It is just knowing how these things sound. On the contrary, if it is a busy song, it is more difficult to tell, especially if you have a lead vocal sitting right in the middle.” What is the big modular beast we can see in the corner of your studio? “That is a Roland Synthesizer System 100 and 100m stacked together. I bought that one secondhand from Zagreb School of Animated Film. That was my first analogue synth and I learned that beast to the atom. It has a five oscillator, five filter system with lots of envelopes, LFOs, modulators. You can get some really crazy sounds with that one. Sometimes I even connect external sources like a sampler or feed from the desk into it, the possibilities are limitless. I use it on every song I do. Like for example from my first album ‘Oasis’,
I guess it’s important to get the right vibe in the space that you use to record? “Sure. We spent lots of time thinking what would be the best options regarding the space that we have. In the central area there must be enough room to move around to all the different keyboards, to be able to sit or stand and still be able to play them. The main console is in the middle of the room, the sweet spot is just large enough, so even if you’re bending from side to side you are still hearing accurately what you are doing. Colours are nice, I went for light orange and Bordeaux red. Since there is a lot of gear and with it lots of heat generated, I have four oversized aircon units that can lower the room temperature to normal during any part of the year. The purpose of this room, other than good sound, is not to be distracted in the creative process and I am happy that we could accomplish that.” How would you go about recording a project like ‘Sailing Off The Grid’? “There are three stages I need to complete for ever y project. Composition/recording, arrangement and mix-down. Composition could start from an idea that I have or some sketch I’ve already done on my laptop at home. I load my main sequences, add a simple beat and then open the recording channels and press record. I just jam with my synths and see where it will lead me. I’ll add other layers, and record overdubs, new ideas pop up quickly when I find a nice hook. When I see that I have enough elements, I switch to arrangement stage. I also do automation at this point, fade ins and outs for particular elements. Finally when all is done, I go to the mix-down stage where I add effects, position elements in stereo space, do equalisation and dynamics and so on. Some final touches with VCA and effect automation. I check everything again on three different sets of monitors, and record a master.” Bit of a master-class here — can you share one tip for making better-sounding music? “Get a decent pair of monitors. Being able to hear what you are doing is the most important thing, much more important than a sound-card or computer. Do simple room acoustic treatment, it doesn’t have to be anything fancy, just a couple of sponges on the walls will do the trick. Have a set of headphones nearby, to use as a second pair of monitors. When you eventually upgrade to bigger systems, things will get better instantly.”
djmag.com.au 0107
TECH NEWS Akai MPC Element words: ALEX BLANCO
VERDICT BUILD QUALITY EASE OF USE FEATURES VALUE FOR MONEY SOUND QUALITY
9.0 9.0 9.0 9.0 N/A
HYPE
Beautiful to look at, a joy to touch, and inspirational to use.
GRIPE
No LED feedback in MIDI-controller mode. The most portable and affordable entry into the MPC-range works just as well on the road as it does in the studio.
9.0/10 CONTACT
akaipro.com akaipro@elfa.com.au
TALKING ABOUT A REVOLUTION Akai’s MPC Element may be small, but it can still kick off a new world revolution
I
n production history there are few product lines that are as revered as the MPC. Akai’s Music Production Centre range of sampling drum sequencers began in 1988 with the Roger Linndesigned MPC 60, and since then has been immeasurably influential on just about all of the electronic music genres we listen to today. The intervening quarter-century has seen numerous successors and revisions and, more recently, some hybrid hardware/software combinations, namely the MPC Renaissance and MPC Studio which allow computer-based editing, programming and mixing but which offer MPC-styled hardware. Those latter two have met with near-universal praise, and deservedly so, but they are not what you would call portable. Enter MPC Element, a combined all-in-one USBpowered MIDI-controller and music production software package. Let’s start with the hardware. The MPC Element comes in about the size and weight of the original iPad and even has a flip-lid similar to the type you can get for Apple’s prestige device. Opening the lid instantly offers the user 16 drumpads. These offer a sexy black tone with back-lighting around the edges that change colour the harder the pads are hit. These pads really are unbelievably nice for something at this price range, putting all of the competition in this market place (and much above) utterly to shame. The other controls are fairly basic, which is understandable given the size. Obviously there are transport and record controls, the famous Note Repeat button for beat building and rolls (when held down, any pad will play continuously at the selected quantise value), undo and erase buttons, a Full Level control (when engaged, all pads trigger at the hardest 0108djmag.com.au
level irrespective of how hard they are hit), Mute- and Solo-Track buttons (more on these later) and buttons to scroll through the different banks of samples — up to eight can be loaded at a time. Other than a few small things that would have been nice to include, like quantise value buttons, it’s hard to fault the design and the build quality of the MPC Element — which seems magnificent. Also, while there’s no onboard audio interface, there are minijack to five-pin MIDI connectors for incorporating other MIDI hardware into the MPC set-up. When it comes to the software that drives the MPC Element, it can run as either a standalone application or as a AU/VST/RTA plug-in, and like the original MPCs it allows producers to construct everything from basic loops to full tracks, with the added benefit of digital mixing. Each pad can have up to four insert effects added (in standalone mode these can be third-party plug-ins) and there is also a selection of Akai effects — including a tasty bit-crusher. Individual pads have a selection of envelope, LFO and filter controls — as you’d expect in any sampler — and there’s even an automatic loop-slicing facility. It’s all very well-designed and incredibly conducive to fun and creative music production, and while not as fully-featured, perhaps as NI’s Maschine V2 software, many would argue that nothing has ever come close to the effortless MPC-workflow, and having computerbased visual editing has only made it more appealing. Also, using a camera connection kit, it is easy to connect your iPad and run the iMPC software for truly portable use.
Compared to its older, larger siblings, MPC Renaissance and MPC Studio, the MPC Essentials software and sound library are slightly reduced. Instead of a 7GB sound library, there are three banks of useful drums and bass sounds for a variety of electronic styles (house, deep, tech, techno, garage, hip-hop etc). Software-wise, you can only have one track per MPC project, so while you can apply plug-ins to individual drum-pads, you can’t have any master effects to pull them all together. You can have multiple plug-in instances in your DAW, of course, and when you do, the Mute-/Solo-Track buttons rather cleverly operate on the different instances. However, one of the downsides is that whilst you can load software instruments into the MPC software (in standalone mode), with one track you’re limited to one instrument, which renders the function largely redundant as it seems convoluted to load a drum sampler when the MPC offers precisely that function, and very few people will want to load a soft-synth and sequence it without any additional beats. Finally, the Vintage mode, available in Renaissance, is not on offer, so there’s no virtual modelling of the sound of classic MPC models. It should be fairly clear by now how DJ Mag feels about this machine, but let’s just spell it out: whether you already own an MPC or not, or produce primarily on the road or in the studio, there are any number of reasons to buy yourself an MPC Element and, frankly, almost no good reasons not to. The pads are stunning, the build is great, the price is right and everybody owes it to themselves to have at least one MPC in their life.
TECH NEWS Hercules DJ Control Air+ controller words: LUKE PEPPER
VERDICT BUILD QUALITY EASE OF USE FEATURES VALUE FOR MONEY SOUND QUALITY
SOMETHING IN THE AIR
HYPE
W
GRIPE
The Hercules DJ Control Air+ controller is a welcome addition to the budget brigade hen it comes to tech, the spotlight of attention tends to fall on the latest and greatest high-end DJ technology, with the cost of ownership often in the thousands of pounds range. But not everyone can afford to spend a king’s ransom, and not everyone needs or even wants the high-end features that come with that high-end price tag. While professional DJs may turn their nose up at products found in the budget end of the market, it is worth remembering that there are plenty of DJs taking their first steps in the world of mixing — along with music fans who fancy getting their feet wet by mixing at home — without spending a fortune or dealing with the complexity of a professional product, not to mention the headaches that can often come with getting a new controller installed and working on their computer. This is where the Hercules DJ Control Air+ steps up to the plate, offering the chance to get up and mixing with the least amount of fuss and money spent. The DJ Control Air+ is a two-channel DJ controller complete with DJ software and in-built audio interface. It manages to pack an awful lot of features into a compact package while also offering great value for money. The size of the Air+ is similar to the Traktor Kontrol S2 or Vestax VCI-380 which — combined with the light weight of the unit — makes it very portable and perfect to throw into a bag to take to parties, or friends’ houses to have a jam. Everything
needed to get up and mixing is included in the box, with a set of speakers and an amp being the only additional items needed to get a party rocking — even if that is a party of one rocking in their bedroom for one of those ‘live in my underpants’ mix sessions! The software included with the Air+ is called DJuced 40, which once installed on a computer makes this controller completely plug-and-play. This neatly sidesteps any potential installation headaches, which is exactly what the doctor ordered for those brand new to the world of digital DJing.
crossfader’s performance leaves more than a little to be desired when attempting battle-style scratching and cutting. A microphone input can be found on the front panel along with its own gain control knob sitting next to the headphone controls which feature both small and large headphone sockets, a headphone volume control, and a button which toggles between cue and mix-style monitoring. DJs looking to connect other input sources such as CD players or vinyl decks are out of luck as the Air+ has no external input sources available.
At the heart of the DJ Control Air+ is a twochannel mixer with each channel featuring a three-band EQ, channel fader, cue button and three segment LED level meter. Interestingly, each channel also has a gain control knob, but rather than being at the top of the channel as one would expect, the gain knobs have been placed on the deck control sections along with a button that toggles between gain and filter control. While this arrangement is not ideal, it works well enough in practice and is only likely to irk DJs who are used to a conventional mixer layout. At the centre of the mixer is a large browser encoder knob, along with buttons to load the currently selected track into either deck A or B. All of the channel faders and knobs have metal shafts, which is an unexpectedly high quality feature for such a budget controller. However, while the faders are perfectly serviceable they feel cheap when in operation, and the
Each of the two deck sections that sit either side of the mixer are surprisingly well appointed, with nicely-sized pressuresensitive jog wheels that perform admirably thanks to low latency performance and rubberised tops which make them very easy to grip. However, the stiffness of the platters detracts from an otherwise well-executed design. Sitting above the jog wheels are four buttons used to trigger either FX or loops, with two dedicated buttons which can be used to switch between banks. At the edge of each deck section are small pitch-faders which are usable but frustrating when it comes to accurate tempo control during beat mixing. This, though, is easily remedied when mixing by using the Sync button to tightly-match beats. Each deck also has four pad-style buttons than can be used either for hot-cues or to trigger samples.
6.0 8.0 7.0 8.0 7.0
Large jog wheels, on-board audio interface, pad-style triggers and a unique gesture-based ‘Air Control’ make this controller a whole lot of fun. Lack of external inputs and the strangely located gain knobs may put some potential owners off. The DJ Control Air+ is a compact DJ controller perfect for new DJs and casual mixers to get up and mixing without breaking the bank.
7.2/10 CONTACT
hercules.com
Given the very reasonable price of the DJ Control Air+, there are a lot of cool features packed into this controller, some of which are surprisingly advanced, like the Air Control function that allows DJs to tweak FX by waving their hand. This controller is absolutely perfect for new DJs and casual mixers looking to have some fun without breaking the bank.
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words: MICK WILSON
TECHPRODUCER We reveal some handy tips and tricks to help you on the road to wicked productions...
UNDS KILLER SO freshest sounds
BRODANSE’S DANCE COLLABORATIONS
How to create the on the dancefloor...
Welcome to Plug-in Corner, our monthly exposé of some of the best plug-ins around for creating electronic music
sponsored by
PLUG-IN: SIGMUND DEVELOPER: D16 GROUP FORMAT: VST, AU
AUSTEN SMART, one half of Brodanse/
Danse Club Records, spills the beans on working with the almighty Groove Armada… “We met Groove Armada at a gig they did six months ago at Village Underground. They were ‘big fans’ (their words, not ours) of a track we made called ‘Activate’ featuring Cari Golden and they played it on their BBC 6Music show. From there we talked about doing some music together. “We kick-started an idea and sent it over to Cari, she loved it and laid down some vocals that night in her studio and sent them over the next morning. It was quite serendipitous really as she had this vocal hook for ages but no one was sending the right stuff. Anyhow, Groove Armada loved it, and then we all went away and did our thing with the tracks, eventually coming back with the ‘Club Version’ and the ‘Deep Version’ — there was meant to be a third version, but it never happened. We were so happy with the two edits and could not see any reason to add more to the EP. “Talking from our side on the production front, we used Logic alongside an Arturia Minibrute,
LET’S FACE IT, the guys at D16 Group
Spectrasonics Omnisphere ‘mother synth’ and a mixture of samples we have gathered over time. We worked the vocals with some relatively simple effects, e.g. reverb, delay and a bit of EQ. Obviously, production methods are quite subjective and we don’t believe there is ever any right or wrong way. We have a template already set up so that as soon as we want to get to work we can instantly get an idea down and not lose momentum at the outset of a project — we would highly recommend doing this in a format to suit your production needs. “The most important thing we can say to upcoming producers/DJs, though, is get out there and meet people! This
whole EP came about from meetings in person. We met Cari at Sonar festival through our friends Anja Schneider & Ralf Kollmann [Mobilee Records] and we met Groove Armada through our main man, great friend and Danse Club ambassador Severino of Horse Meat Disco. “We are currently working on what’s known as a triptych, so ‘Sweat’ is part one of three of this collaborative EP, which seems to be working nicely! ‘Part 2’ is with Kevin Knapp, who you may remember from his bomb ‘Like This’ with Audiojack, and ‘Part 3’ is with… no, we can’t tell you...”
SAMPLETANK: LOOPMASTERS: ‘MEDIKS’ DRUM & BASS SURGERY’ IT’S all about the drum and the bass this month as we take
a look at Loopmasters’ newest sample library designed to tear apart those bass-ready dancefloors… Loopmasters turn to Bristol’s freshest bass-meisters Ross, Dan and Rob — also known as the Mediks — to deliver this slice of drum & bass sample library goodness. Focusing around the original uptempo jump-up sound of the genre, the pack is filled to the rafters with deep, wobbly basses and high-impact drum samples that have been associated with the drum & bass scene that is still flourishing in deepest Bristol. As the blurb so simply puts it, “Expect to hear over 500MB of precision-tooled samples including cutting-edge beats, bold basslines, upfront leads, twisted SFX and a whole bunch of filthy one-shot sounds ready to drop into your drum & bass productions”. The Mediks have used their extensive production know-how to bring to the masses a sample pack that champions their sound and gives instant inspiration for those future dancefloor fillers. To make things even easier for producers, as well as the usual sample formats ‘Drum & Bass Surgery’ is available in Ableton Live Pack, Apple Loops and Reason Refill variations which can be purchased separately, and producers can even buy various elements of the pack individually at a reduced rate. 110
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VERDICT
VERDICT
7.0/10
make great-sounding plug-ins at nearunbeatable prices. Their Phoscyon replication of Roland’s 303 legendary silver box has won a load of fans in the dance world, and the rest of their collection of useful sound creation tools has found favour with many producers the world over. Their latest offering, Sigmund, is a more ambitious affair. What at first could be described as a delay unit is very far off the mark as it is in fact four delay units combined into one monster delay, enabling a whole multitude of sound-mangling opportunities. The four individual delay modules that make up the main FX can be routed and connected to each other in any particular manner, with the output signals from each of the delay modules controllable via an inbuilt mixer that allows detailed sound sculpture. In truth, Sigmund is all about sound sculpture and creation. It can be used to develop your sounds in the most inventive of ways, and serious sound buffs will fall in love with it. It is easy to get carried away with the sound mangling. For those not too comfortable about delving into the complexities of sound design, Sigmund is still a very creative and versatile delay as the presets are a great way to get started with this virtual unit and also offer a quick solution for adding character to stock sounds that need a little bit of spice. The FX results from Sigmund can go hard and yet it can be gentle, but either way Sigmund is a very good and novel take on a basic effect that has been used so many times in so many productions — definitely worth taking a look at.
CONTACT
loopmasters.com
8/10
Plug-in corner is sponsored by pluginboutique.com, your login for plug-ins!
TECH PRODUCER
VERDICT BUILD QUALITY 7.0 EASE OF USE 8.0 FEATURES 8.0 VALUE FOR MONEY 8.0 SOUND QUALITY 8.0
HYPE
Vastly improved filter section, a new step sequencer and arpeggiator make this synth very attractive.
GRIPE
The plastic build quality could be better.
BASS IN THE PLACE
Novation delivers serious bass right in your face with their Bass Station II analogue keyboard NOVATION’S original Bass Station opted to give the original Bass Station more professional and slick. This is due
This reinvention of the original Bass Station adds great new features while keeping the original ethos to create a winning analogue synthesiser for the 21st century.
8/10
was first launched 20 years ago and a quick facelift in an attempt to cash to the use of faders and sliders, rather quickly gained a huge following in in on former glories, but have taken than sticking with the flimsy switches the dance market, thanks to the the ethos of the original and brought and dials used by Novation 20 years awesome analogue sounds that it it kicking and screaming into the 21st ago. The layout of the control surface produced, with its own unique timbre century thanks to some very cool new has been executed in a neat and logical CONTACT and squelchy filters. While in-the- features. These come together to create way that will be instantly familiar to novationmusic.com box-style production has taken over a synthesiser that performs and sounds anyone who has used analogue synths from outboard — with producers often like a modern analogue beast should. such as the SH101 or Juno 106, with going from writing to final mix-down When compared with its older brother, separate sections for controlling without ever touching a physical the Bass Station II has a completely oscillators, mixer, envelopes, LFOs and knob or slider and instead relying on redesigned keyboard, new sequencer, filtering, as well as sections dedicated plug-ins and soft-synths — proper arpeggiator and many other smaller to effects and the new arpeggiator. Station II does not disappoint. While old-skool analogue synths are making improvements over the original design. Controls are well spaced and provide this synthesiser excels in creating a comeback, thanks largely to the While the layout and design of the Bass exceptional levels of control, making awesome bass sounds, it is also capable popularity of recently released products Station II are clearly paying homage this synthesiser a whole lot of fun of creating a wider range of interesting such as Arturia’s MiniBrute and Moog’s to the original, this is a new animal to programme without becoming noises, thanks largely to the improved Minitaur. This old skool renaissance altogether that shares the portability cluttered or over-complicated. filter section. The new step filter and has not been lost on Novation and the and low cost with the original Bass The two-octave keyboard does an arpeggiator functions further expand release of the Bass Station II will be Station. Unfortunately, some of the admirable job, with a nice action on the usefulness of the Bass Station II, of great interest to producers who are less fantastic features have also found the generously-sized keys, and has and will ensure that it appeals to a wide looking to get back to the hands-on their way into this latest incarnation, both pitch and mod wheels located to range of producers across many genres. programming and real analogue sound including a rather plastic-feeling build the left of the keyboard. While the LCD The Bass Station II is the rebirth of a that only hardware can provide. quality. That said, it’s all about the display is a little disappointing due legend that has been worth the 20-year sounds — and this thing belts those out to the fact that it only displays three wait and is destined to be an integral Of course, with any sequel — whether with gusto. numbers, in use it works perfectly part of many big records in the months a movie or a synthesiser — comes While the original vibe of the Bass well thanks to the clever design work and years to come. the potential for disappointment, Station remains, thanks to the colour done by Novation. This adds to the old especially when the original was so scheme and layout, the Bass Station skool analogue feel. When it comes to loved. Luckily, Novation have not II has a control surface that is much sound quality and palette, the Bass DO WHAT EXCITES YOU If something is exciting or scary, then do it. If it bores you or drains your energy, stop doing it and leave it to someone who enjoys doing it.
DON’T FORGET TO NETWORK Networking is one of the keys to success in the music industry. Make sure to put aside some time each week to meet new people and keep in contact with the useful people you already know.
CLOSE CUTS When editing vocals, make sure not to cut too close. That breath before and after the singing can often add a lot to the performance.
LISTEN TO YOUR FANS, NOT CRITICS While taking criticism well is an important skill to learn, make sure to also pay attention to the constructive comments too.
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KS ACI D JAC What’s the track that reminds you of your childhood? Any pop, synth pop, indie pop or rap tracks from the 80’s. “Little Red Corvette” by Prince, “How Soon Is Now” by The Smiths, “Take On Me” by A-Ha, “Temptation” by New Order and “Fight The Power” by Public Enemy.
What was the first record that you ever bought? De La Soul – 3 Feet High and Rising ... on cassette of course.
What’s the most embarrassing record in your collection? “When Will I Be Famous?” by Bros.
What’s the record that’s guaranteed to make you cry? I don’t cry. Ever.
What’s an album that you’re currently into? Machinedrum - “Vapor City” & “Little Black Book” by Hot Since 82 have been on repeat in my car for months now.
What’s the most valuable record in your collection? I don’t know if i have a most valuable record. My record collection is valuable to me. I have a lot of first press soul, jazz & hip hop records that have cost me a lot to get over the years double gatefold stuff, all the Sugarhill records. Also all my disco records I’d hate to have to replace. “Take Your Time (Do It Right)” by SOS Band and Patrice Rushen “Forget Me Nots”. Then there’s ghetto, drum N bass & techno records i probably couldn’t replace... Trax, Metalheadz and Gigolo records. I’m not sure if they’ve held value but id definitely hate to lose any of them…
What is your all-time favorite track? Anything from Michael Jackson’s “Thriller” album.
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