News

A Sit Down With DJ Zatox

20.04.2018


Zatox his a house hold name when it comes to the harder styles. Hardstyle and other Hard dance genres got a spot light shined on them in 2017. While many traditional fans were a bit annoyed that it took main stream artist incorporating hard dance elements into their arrangements to help the genre gain traction stateside, hard style is going through a reconnaissance of sorts. Zatox has dropped his Freaqshow 2017 anthem in a formal release and demonstrates that hard dance is doing better than every.

 

"I am in the middle of different styles. That is why celebrations keep booking me. And I'm pretty happy about that."



 

You recently started your own label called Unite Records. Can you tell us a bit more about it?

The concept of Unite Records is created around the new Italian talents emerging in the hardstyle scene, just to mention a few: Vamper, Kronos, Atom and Eretik. I have chosen all these artists because they have an incredible passion for hardstyle and their skills are rockin! Some of them already created some amazing tracks. 

You are one of the pioneers of italian hardstyle sound. Italian sound was always described as more melodic and more reverse-bass based. Do you think this still applies?

Everything has changed. There's not so much kick and bass anymore, and it really was a signature of the Italian sound, but over time things changed, especially with a big integration with the Dutch scene. I think lately hardstyle has become a bit too schematic, and if someone wants to make a track with a kick and bass... feel free to do it. If you want to do it with a phat kick, then do it. 

You are definitely one of the most prolific producers within the hard dance scene. Do you have a steady regime with regular studio hours, or do you hit the studio whenever you feel like?

Making tracks takes a lot of work and time. So yes, I pretty much spend most of my days in the studio making new music. It also often happens that while working on a track I discover a new sound that I can use for another new project, so ideas bring forth new ideas and it never stops.

How is american crowd if you compare it with european ? Whic country is the best to play for a hardstyle DJ?

I've been to so many countries around the world, and I've noticed in countries like Australia, America, Belgium, the UK... you can REALLY feel the enthusiasm, especially because it's a really new experience for them. I would say each country has it's good points! Holland has the dedicated crowd and it's the heart of the genre and it all starts there. I think the rest of the world also has some great points too: it's a really new experience for them, and sometimes they're seeing a DJ they've listened to on the internet for the very first time. So there is no "best" country to play, I think.

How would you describe your own style? 

Oh, my sound is completely weird . People can immediately hear that I am when they listen to my music. I have my own style, I like that. This way I can make what I want. I am really an open-minded producer.

Besides your own label, which newcommers are worth keeping an eye on ? What would be your advice for new producers?

Well, there is an upcoming producer called "The Heretik", a very new talent I have signed to my label, and of course Vamper, The R3belz... Of course, I have to promote my own label and artists! But I would say if you want to enjoy a dark atmosphere, or miss the kick and bass, or want some really hard hardstyle I would suggest checking out artists on Spoontech, and also the Theracords label .

Who is currently the best hardstyle DJ in your opinion? 

Haha, wow. There are a lot of big names. Frontliner, Noisecontrollers, Code Black ... I find it hard to choose one, they are all good! '

What do you plan to do in the future?

I just want to do my thing. I don't like to make plans, but I would continue just making music -- hardstyle, of course! As always, I'll make mainstream stuff, and then I'll make some underground/raw stuff mixed in there too.

https://soundcloud.com/djzatox/zatox-wtf

A Sit Down With DJ Dub Fx

19.04.2018


Benjamine Stanford, aka Dub Fx, is one of the most complete artists in the world. He is a beatboxer, a mc, an excellent musician and producer, as well as an excellent entertainer. His rhythms and rhymes have struck the attention of millions of passersby on the street, from where he started his amazing live career.

 

 "I aim to come and just give you my sound and my spirit on stage, that's all I'm here to do."


 

What exactly does your logo mean?

It has different meanings in reality. I wanted something that symbolized eternity, an eternal loop. They are three symbols that come together, and represent the three tracks of my live performances: a track for bass, one for drums and another for harmonies. In addition, if you look at it for good, you will notice that those three symbols look like a D, a U and a B: Dub.

Your music is empowering , do you see music as a political tool?

I see music as expression.. Politics to me is just giant puppet show.. I don’t by into that over manipulated, over intelectualised crap.. None of it makes sense to me.. The fact is, if I had grown up in a rich and powerful family I too would be capable of ruthless selfish acts to forward my greed.. We all have that ability to be evil and justify it… We all do it on small levels every day.. So I use music to paint a picture of how I see the world.. If that inspires you then my work wasn’t useless.. If you like the song but not the lyrics I’m equally satisfied because harmony and rhythm means more to me then subjective opinion…

When was your first proper breakthrough into the music industry? Tell us about your journey from the beginning. 

Street performing. Before that, I was playing in different bands in pubs and clubs around Melbourne, but I never quite found my sound. Having to compromise my ideas with other band mates also slowed down my creative process. As soon as I started street performing, I discovered who I was and what my potential as an artist was. Now that I’m fully self-aware of my limits, collaborating with other people is super easy.

How do you describe your music?

It’s just a mish-mash of all my ideas thrown together with technology basically. I’m at the mercy of the technology but that’s good because it gives me ideas. I write a song on guitar, I pull it apart and put it into the loop station, maybe make it drum and bass or make it reggae or make it hip-hop or whatever, and that’s basically what it is, I take ideas from everything that I like listening to.

Using your voice with this pedal, you must have some fun playing around with weird sounds. Is that part of your process, just making noises until you find something new you like?

Not really. I have a clear idea about what I want to do and then I make it. Sometimes I get a bit carried away, but I try not to waste time making unusable noises. The human voice on its own can already do so much, all I need is a bit of compression, EQ, reverb and delay. I do sometimes get a bit experimental with bass sounds but my focus is getting a clear punchy sound and more importantly making sounds that my vocals can sit on top of… less is more!

How does the dynamic of a street performance inspire you? 

On the street my focus was clear and simple, sell as many CDs as I can as quick as possible without getting shut down by the police. I would look around and see what type of people were in front of me. If they were older people I would sing up beat melodic tunes like "Love Someone" or "Soothe Your Pain." If the crowd was young and grungy I would do dirtier heavier tunes like "Step on My Trip." I adapted my songs and genres to the city I was in. It taught me to be flexible and how to present myself in any situation.  I also spent a lot of time refining my sound and experimenting with different ideas on the street. So once I was getting paid to perform in front of crowds at festivals I had already made all the mistakes possible. 

What was the most impressive show you did on this tour, so far?

Sometimes it's not just the biggest ones that are impressive, sometimes it's the smaller ones that touch me the most. We did a few shows in Poland that were great, and then we did Budapest, Praha, Vienna, and Bratislava, those were really great shows, and then we went straight to Germany. Look, every show has been amazing, we've been selling out pretty much every venue!

What do you bring in your music that’s special?

I don’t think about it too much. What I picture when I sing, when I play my music, I picture that I’m channelling music, I’m channelling energy from another dimension and I feel like I’m just pulling from that. That’s kinda what I try to do.

Are there any Reggae artists you would to collaborate with?

There are heaps of artists I would like to collaborate with, in fact I have already collaborated with a few of my heroes! There are plenty more… I don't really want to say who they are because I don't wanna jinx it. The thing with me is, I am more interested in collaborating with producers, more than anything else, like I love… singers are great, but collaborating with producers is more my thing, electronic producers in the Drum'n'Bass world and the Dub Reggae world. Peter Fox for example, he is an amazing German producer I'd be interested to see what I could come up with him.

What have you been up to lately with your projects/creations and your album ‘Theory of Harmony’?

I have literally just been in the studio making the album.. I pretty much do everything my self from writing to recording and producing each tune.. It takes me a long time because I lose sight of what’s a good performance or not.. I go from using one side of the brain to using the other in a matter of seconds and switching back again.. Being creative and technical at the same time is super hard when you are your own boss…

https://soundcloud.com/dub_fx/sets/theory-of-harmony

A Sit Down With DJ Erick Morillo

19.04.2018


Erick Morllo's long and storied history within house music could have set him up as this sort of cloistered star, but the reality of talking to him was far more welcoming. The New York-born DJ and producer comes across lively and open-hearted, willing and ready to talk about anything—from addiction and rehab, to rediscovering his love of dirty, funky house music. High up in his home studio in the Hollywood Hills, the Colombian-American DJ—whose biggest hit, "I Like To Move It," has captured a new generation of kids via its use in the Madagascarmovies—has undoubtedly lived the good life.

 

 "I think the most difficult thing I ever did in my life was overcoming my ketamine addiction."


 

When & how did you first fall in love with house music?

Growing up 15 minutes outside of New York City, I spent countless nights listening to the best House Music DJs of the early 90’s. It was their sound that inspired me and allowed me to cultivate a love for house music and DJ’ing. The clubs were my sanctuary during my late teenage years. I would literally venture into nightclubs on school nights and enjoy the sounds of the likes of Louie Vega, Junior Vazquez, Danny Tenaglia, David Morales and others. I would just spend hours studying them, taking mental notes of how they worked the room, the vibe they created and when and how they played a certain record. It was easy for anyone during that time to fall in love with house music.

Do you prefer the old way? Or do you embrace the new paradigm?

Honestly, one of the best things I did, which was like a prayer being answered, was joining forces with Armada. They have been doing this for a while! I was out of the game for a minute but this was like going back to school. Now, I know the main guy at Spotify and our song with Kryder just got on Sirius. You need to embrace all the new media and you need to know the people who can help. I have never done anything half-assed. Everything needs to be done full on. Armada is like a new mentor. They are teaching me all the tools needed to manoeuvre in this new landscape. I am all in right now! There is nothing else I should be doing!

You’ve announced a series of remixes of classic Subliminal tracks from artists like Pirupa, Nic Fanciulli, The Martinez Brothers, etc. How did you select the artists and what made you release those remixes now? 

Kolsch did a really good remix and Pirupa and all these guys. I thought it was important to re-introduce a lot of the classics. Why shouldn’t the younger DJs and the younger generation that were not in the scene back in the day not have an opportunity to hear these records that touched so many people in the '90s and the early '00s? That’s what we’re doing by bringing in some of the younger generation guys that people like at the moment.

Do you think there is a difference between the sound of Subliminal now and the sound it used to have?


Absolutely. Before we were very focused on filtered disco house. We took chances, we did techno records, a lot of different things, but we were definitely known for the disco filtered vocals. I think now we're quite melodic, tech house, techno at times, but quite a way from that disco sound. 


Coming to the Festival you have fans coming from all over the world that are very knowledgeable about House and Techno, when you`re building out your sets do you take that into consideration in comprasion to your larger club or festival sets?

Absolutely. I take everything into consideration. But I don’t really like – I’m one of the few DJs that doesn’t prepare because y’know all I do is I listen to music and I put it together, I have my own arsenal of music but I know coming here that this is known for underground techno. I think it’s only been the last couple of years that they’ve been kinda letting house kinda move into this thing which I’m really excited about. But I definitely think about it when I’m headed to the gig. But I definitely prepare mentally for that. And I’m really excited about it, to be honest, I played here but it wasn’t a sanctioned party for BPM many years ago and I played at a club at the time was called Pink Elephant. Great party, it was rammed, such a great vibe. But I’m really excited now to come and kinda do a BPM party and be part of the whole thing because, y’know, I’ve sort of been at a place in my life now where I’ve been sort of switching my sounds to what I used to do back in the day. And I’m really excited about it.

Other than Ibiza, where is your favorite place in the world to play?

I love playing anywhere in the world where the people are really into the music and give me as much energy as I give them. When the energy and the vibe are right, it does not matter where I am performing, those nights become unforgettable. Having said that, if I had to pick a favorite place, I truthfully can’t just pick one place. I have had some amazing nights in Brazil, Greece, Italy, Spain, France, UK and of course at home in Los Angeles, Miami and New York.

What is the sound that inspiries you these days? What gets you excited about making music?

For me, there isn’t a face for house music at the moment. There’s a lot of tech-house guys, there’s a lot of techno guys, but as far as house there really isn’t. And I kinda wanna become that, but still encompass all that stuff. Because really at the end of the day, isn’t it? All of it’s house music. But what’s turning me on right now, I like that melodic, y’know, atmospheric kinda deep sound but I wanna bring in some really cool vocals. Nothing diva-ish, nothing poppy, more like Björk-y kinda melancholy, kinda vocals.

What have you got coming up in the foreseeable future in regards of the label and your own productions?


I have a record called 'Gone' with Junolarc, Chris Child and Ora Solar that's just come out. Danny Howard just premiered it on his show the other Friday. I hope it's going to be a big summer record in the clubs. I have another record with Andrew Cole featuring Kylee Katch 'Cocoon'. I have two vocal records coming out this summer with a girl called Bella Hunter, the first is a Latin thing. There's a lot of records plus the relaunch of Sondos and the relaunch of Subliminal Soul, so no shortage of projects. 


What are the future goals for Subliminal?

We have three labels and one that we will relaunch again next year. We have Subliminal, that encompasses any style; Subliminal Soul, which is for Deep House; SONDOS, which is our Techno/tech-House/Tribal imprint; and then Subusa, which is a little more mainstream. For me, it is still about quality music and continuing down that path to be a label DJs go and check because they know the quality is good. I also want to mold younger, up and coming talent as well. We are really focusing on that next year. Then, we will have a bigger presence at events again, and in Ibiza.

https://soundcloud.com/erickmorillo/junolarc-erick-morillo-feat-4

A Sit Down With DJ Neelix

17.04.2018


Hamburg based artist Henrik Twardzik, better known as Neelix started to produce music in the early 1998. After DJing for some years he finally decided to create his own sound. Untill now Henrik has released 3 albums and many singles. The third album “Same thing but different” is already released on Millennium Records. Besides Henrik also belongs to the founders of the hamburg based label Glamour Studios.

 

"Only listen to the people who are like you want to be. Not to those who are like you do not want to be. And do not be afraid to write to someone you want to know about."



 

What do you think it is about the music you play that resonates with people on such an emotional level?

It’s emotion. I really put a lot of emotions in the music. People can relate to this. I am slightly sad inside and in my music as well. It is not on purpose. It is just happening. When I was a kid, I hated my glasses and destroyed them all the time. I had a sticker on one glass and was always the weirdo with these glasses on. So I didn’t like them. Now I made my glasses my brand. It’s my way of making my peace with it. I also put my beliefs in my music like saving the planet, stop eating meat, even the voice of my brother who died when I was 20 years old is in a lot of my tracks. It is my way working with these topics. Art as a way of therapy. I think this is just authentic and real. And real is awesome, and fake is weird.

Have you ever thought about experimenting with genres other than Progressive Trance or Psytrance under a different alias or even just with your current productions?

I did already but no one knows. I make music for myself. My scene is underground and the thing with underground and hippies are that they are the most conservative people in the world. They are not free and relaxed. They may say no to pain killers because they’re ‘bad for your body’ but then they ask for LSD?! They always try to teach you how to live but you can’t tell them what to do.

How would you describe this feeling on stage when you play in front of thousands of people?

It is a feeling that differs constantly. Sometimes I feel so good and sometimes I'm really nervous. Most of the time fortunately, it's a very good feeling! If people are having fun and smiling, then me too. But it works the same way in the other direction.

Electronic music is becoming more and more mainstream every year, do you ever think its going to get to the stage where every show on normal national around the World has at least two straight up electronica tracks in every hour?

I think not. What we listen to and what I do is still underground music. I had once a track called “voices” which was really successful, they played this song on the German radio and on the television in some daily soaps but only because this track was in a famous german movie and the soundtrack of this movie includes this track. I would love to hear some progressive trance tracks on radio but in the near future but it will not happen.

Apart from the Trance, what other genres do you usually listen to on a daily basis? Jazz for example? 

Yes! Something like that, Stevie Wonder . Or even Hip Hop. But I do not really listen to electronic music in general. I do not have a favorite track. To be honest, I do not really like House. I do not know why but .. I think it's these vocals, I do not understand this "Oooh Yeah, come on .." What is it? Twenty years that lasts! 

Do you still enjoy being involved in the electronic music scene? Having said that you don’t really enjoy the genre do you still take pleasure in live performances?

Yes I do. I don’t know how to explain it, in every artist there is a point where you are not sure if you’re doing it right or playing what people expect. This pressure and fear is always there and is part of the flow of creativity. Imagine a picture in black and white and I show you the picture. I ask you “Is the upper 50% or lower 50% more white?” You wouldn’t need a second to tell me because it’d be obvious. If you ask 100 or 1000 people, they would all get it right. But if you repeat the experiment with another group of people and tell them that they would get $1000 if they got it right, a lot of people would get it wrong and it would take 3 minutes for them to decide. It’s the fear that you can lose something, which can take the fun out of it. When I play now it’s good because before I had a moment where I thought I needed to do something different. So you just need to have no fear.

How long have you been an unbelievably awesome and totally gifted dj for?

I started DJing in 1996 but honestly only for two gigs… then I decided already to produce my own music. I started seriously to produce music in 2001, I bought my own computer and my first keyboard. Since then I try to produce every day. It’s a kind of a drug for me. I really can relax best when I produce music.

What artists and what music inspires you? 

I am inspired by artists such as Daft Punk and Michael Jackson, Simon & Garfunkel. I don’t like to get my inspiration only in the gerne I produce for. Turning your head and brain off is very important. So you make sure that you not only copy things from other artists of your genre or scene. I love to get inspired by movies or commercials, too. By moods. And when you found inspiration you could not stop producing. I even can’t sleep and have to finish tracks in the middle of the night when inspiration hits me. Great feeling. Always.

What advice would you give to those who would like to work in the world of music? 

You need to be authentic. You know the songs I've done that have been most successful, there's my brother in .. And he died 15 years ago. So you can hear "It's my life there" there are my friends in there, quantum physics, all my life is in it. And for example at the moment I found very good vocals: a guy who sings and I put the song on my song and it sounds really good. Then I discovered it was Charles Manson. I can not use it, it does not!

Ð?аÑ?Ñ?инки по запÑ?осÑ? interview with dj neelix

A Sit Down With DJ Nina Kraviz

17.04.2018


At this point, the Nina Kraviz story is well known to just about anyone who's been paying even a modicum of attention to dance music over the past few years. Born in Siberia and trained as a dentist, Kraviz worked her way into the electronic music circuit and eventually became one of the world's most recognizable DJs.

 

"I believe that if a DJ that doesn't dance, I have to think if I like him. There should be something wrong if they don't." 



 

What is techno to you?

Great historical and cultural phenomenon, a musical genre, animal instinct, communal feeling, no sugar added, abstract art form with no rules and absolute freedom of expression.

One of the main features of your approach as a DJ is to both entertain and educate an audience. Does the environment you are playing in – like a festival versus  a small club – make this goal more or less difficult to achieve?


Not at all. I always play what I feel like playing. I don’t plan my sets all that much – I prefer to just feel the moment and feed off that.

When writing music, do you always start with a specific idea, or do you just experiment until you find something you like?

It comes across in a very unpredictable, spontaneous way, with my inspiration as a central point. Normally I feel like my muse comes to me, then I connect everything quickly, hit the "record" button, and start fooling around with a melody or an idea in my head. Then my synth will suddenly do something crazy and I deviate into a totally different direction. In the end, out of an hour of live recording, I only leave the best mistakes, authentic-sounding sporadic moments in between wonky harmonies that sound the most interesting.

Speaking of finding music, you grew up in the Siberian city of Irkutsk before the Internet made things readily available everywhere. How was it for you sourcing music?

That’s a really good question. It was not easy. Even though Irkutsk is culturally quite vibrant, and in fact has developed jazz scene, there were almost no record stores that focused primarily on electronic music. So buying music was tough. I would usually need to go to bigger more general music stores to buy CDs and mixed compilations. At that time I worked for a radio station and did some work as a music journalist. The radio station was great for finding music. I could get access to the CDs that the radio station would buy, and bolster my collection with music from friends, and even where necessary pirated material such as burnt CDs, cassettes that had been recorded from radio, and MP3 compilations. I know lot of people are very anti-piracy, but I’m honestly not that strict about it, because back in the days it actually provided me with a great opportunity to access electronic music in a place where it was hard to do so.

How would you describe your sound from an artistic point of view?

My sound is constantly evolving but I always liked music that sounds as if it was made as a result of a coincidence of unplanned creative sparkle. Such music is made for the right reason-no reason.
I like it when music isn’t too obvious but rather understated.

You lead a very intense life; how long do you think you can keep it up at the current rate?

I hope I can release another 10 albums before I even start to think about it.

Do you have any vision or personal predictions about music evolving in the future and that its position in the world?

Like one of my Russian colleague Anton Kubikov once said “ B ??????? ?????? ????? ??? ????? ???????”
“In Future Music will be booming as it normally booms” or something like this. In Russian it sounds really dope.

What is the hardest thing you have learned since becoming a full-time artist?

To stay awake when I should have been in bed a long time ago.

What was the last thing that made you really laugh and why?

My boyfriend's refusal to marry me. It's hilarious.

What can we expect from you and ???? in the future?

More awesome music.

https://soundcloud.com/nina-kraviz/nina-kraviz-awakenings-eindhoven-area-w-270118

A Sit Down With DJ Stephan Bodzin

16.04.2018


For many years, the Bremen-born musician and label head—widely recognized to be a hugely influential figure in the global techno scene—has been acknowledged for his production work, an endeavor of his that can be traced back to his earliest years where he dabbled in the studio with his father before releasing his critically acclaimed debut album, 2007's Liebe Ist. As for his DJing, it has always been perceived as the secondary part of Bodzin’s artistic repertoire, something that is perhaps understandable given the quality of his production—and the fact he didn’t even get behind the decks until after his 36th birthday, over nine years ago.

 

 "I've been living with and from music for as long as I can remember. I just can't imagine another kind of life."


 

A little birdy told us you’re working on a live show for the summer. We see you’ve got gigs coming up across Europe and Australia – what can we expect?

You can expect me standing exposed in front of the booth, manipulating music in real time on a crazy crazy custom made 600 LEDs prototype-style controller which is reacting with light on every little knob I turn to let people experience a true live performance. It also comes with amazing slow-mo visuals by the outstanding artist Daniel Rossa who based on the album artwork, actually the album artwork is based on the visuals. This guy already light up the Sydney opera a few times, so expect something super nice. For the big shows I´ll bring one or two moogs of course.

Things have been quite quiet from you on the production front over the past few years, was this a conscious decision? 

I’ve been travelling so much, and felt that I wanted a good long break from production. After so many years and so many records, I felt that it was a good time for me to travel the world and enjoy different things besides producing...but I’m back! I’ve got a collaboration with Marc Romboy in the pipeline, which we’ve just finished, half of my album is done, which I’m optimistic to have finished in the summer, and I’ve got a nice remix out there, which is working very well for the Super Flu guys.

What can you tell us about your current setup?

I work manually with CDJs and SD cards and use some classic, external Delay and Echo effects by Boss. Making it simple, playing some good music. My new live set will be a lot more fun though! It's supposed to be finished until my album tour in June. The guy who also put together the famous Abbey Road mixing console at the Riverside Studio will build a completely crazy controller for me. Custom-made, full of LEDs. It almost seems like its glowing when it lights up thanks to the Perspex case. I'll use it to control VSTs in real time and as a step sequencer. A neat little device!

You have an emphasis on authenticity and an ear for sonic perfection. You once said “Without it, everything would appear to be nothing more than a hollow shell”. How does that statement resonate with you today in regards to the direction house and techno has taken?

I don’t give a sh*t on any directions any genre takes at any time. I’m doing music from the bottom of my heart and find it kind of difficult to recognise a direction these days as everything turns around 180 degrees a day later. I like the fact melodies and deepness came back to techno over the last 3 years. Pretty sure it will disappear again and come back and so on…so, reflect yourself, stay true, focus on your emotions.

What’s your favourite city to play in, and why?

London, of course –  The crowd going totally nuts!  Seriously I have had so many huge nights in London at Turnmills , the amazing Lightbox and my favorite one and everybody’s darling: the one and only Fabric.

How do you find the balance between your deep sense of dancefloor and your emotional strength? 


It's true that sometimes it's difficult to listen and dance at the same time. I get quite varied reactions when I play the tracks of my album Live. I believe that the public no longer seeks to let off steam as before, that it wants to be more in the feeling of the music, the sharing and the introverted experience. I love to see the smiles on the dancefloor. 


Is your new music the result of a new kind of hardware-based producing?

Before, I exclusively did computer-based work. I did work on a lot of percussion-stuff with the system 100 by Roland. But I'm rather building my own samples to work with. I'm not running a chain of MIDIs on my Sub 37, I recorded a lot of my own stuff on there too. Internally, it's all based on Ableton, Steffen Müller did the mastering.

What kind of music were you listening to when you were growing up?

I was definitely listening to early electronic stuff between five and ten years old. My father was a big fan of Kraftwerk, Tangerine Dream and Klaus Schulze and all that stuff in the seventies. He had a big studio with all these original synths and analogue stuff, all the Moogs and the Arp modular systems. So that’s what I grew up with. I was turning knobs when my friends were playing football. My father showed me everything about those synths. In a way I feel that I’ve come full circle back to that situation, you know? 

https://soundcloud.com/stephanbodzin/sets/strand-ep

A Sit Down With DJ Sean Tyas

16.04.2018


New York’s Sean Tyas burst onto the scene in 2006 after releasing his debut single “Lift” on Discover Records, which immediately hit #1 on Beatport—a great start and a sign of things to come shortly after Sander van Doorn selected him as the winner of the “Punk’d” remix contest. Around the same time, Mixmag & Beatport named Sean “Best New DJ” and “One to Watch,” marking the beginning of a rapid rise to fame within the cooler ranks of the trance fraternity.

 

"Forget what your friends tell you is hot. Decide for yourself. See through the hype, the media and the bullshit."




You are originally from New York. What made you decide to move to Switzerland when you did?

I was chasing love of course. Actually I had moved to Germany first, to do studio work only, in 2004. I met my wife while I was there, visiting her friend in Cologne. After a while of long distance dating we decided to live together in Switzerland, which is where all her family is.

Who are your inspirations?

Early on, artists like Prodigy & Moby then later as I became more interested in specific sounds, definitely Paul van Dyk was my main inspiration and muse.

Is there anyone you hope to collaborate with in the coming months?

I’ve already started a collaboration actually with my idol, Paul van Dyk! I am so completely excited about that. He’s got all of the stuff that I’ve done; now I’m just waiting for his part to come back to me. I don’t know if I’m going to have to do some more work on it. I’m content to let him run with it at this point because I’ve done my part. It’s for his ‘Politics of Dancing 3” compilation and I’m really excited to see what it’s going to sound like. He is someone I have wanted to work with since I threw down my first kick drum in my first production ever. For 2014, I would like to do another collaboration with Giuseppe Ottaviani or Tomas Heredia, but I’m really going to be working really hard on my first album. But I’d love to have Ottaviani on the album, so we’ll see.

You dropped a few spots this year, but you are still on the DJ Mag Top 100 list. Does that list mean anything to you as an artist, or do you forget about lists like and that focus on your music?

Oh now I certainly can forget about it. This year more than ever it was really noticeable how sad an underground scene of electronic music now depends on this 100 person list with data assembled by who has a greater media reach. I don’t want this to affect what I am doing in the studio and how good I do it. Disappointment and frustration do not help one out in the studio, and to separate myself from caring will be liberating, and much better for my output.

What’s your opinion of DJs who do sets in Europe then do a show in America as a completely different style?

I think it’s good, because at least it shows they’re not playing a pre-recorded set, or at the very least pre-planned set. I’m all for that. I think if they’re playing to the crowd — that’s amazing. Markus Schulz& Armin are actually ones who do that pretty well. These are DJs that modify their set to be custom to the crowd, or at the very least, what they think the crowd wants to hear in these places. It’s nice because people are getting what they paid for. For example, if my parents go to a Rolling Stones concert, they get pissed off if the Rolling Stones only played their new shit. If they come back and say they played all their classics, then they say that’s an amazing concert. It’s a balancing act for a band or even a DJ to balance, the familiar stuff with the unfamiliar stuff.  It’s the same for me; I  prefer to play all new stuff, but you can’t do that, there needs to be a balance.

You recently brought out a track with Armin van Buuren, called "Intricacy". How's that one doing now?

It's not a single, but strictly for the album. They may actually releasing it as a single. There's a remix coming up, so there's more to come.

Your highest ranked track on Beatport is “Arcobaleno”. Which other tracks of yours would you recommend to someone that is not yet familiar with your music?

I would of course recommend them to check out Lift, as it was the most popular track I have had, it actually didn’t chart well because it leaked months before release, quite brutally as well. Other tracks of mine I’d recommend would be Tingle, Seven Weeks, Zahi and Banshee.
What about your Swiss fanbase? Do you have a solid fans community in there?



To be honest, I don't play that often in Switzerland. They're not so "trance" - the scene is big for hip hop R & B and believe it or not, also for minimalism. That's kind of shame because a decade backwards you used to have this great trance scene in Germany, Switzerland, Austria...You know. People used to say trance was the symbol, the scene of German-speaking countries. But some DJs released some bad trance tracks a few years ago and somehow people just got sick of it. So I mostly play outside Switzerland around the world, as far as Latin America, and yeah I would say my fanbase is international.


Electronic dance music has never been as popular as it is right now. But it is still more popular overseas. Do you find yourself playing more shows outside of the US because of the scene?

Outside of the US has always been my strong point. In other years, of course my BPMs were much higher, and many countries such as Holland, Argentina, and Australia for example, seriously embraced these crazy tempos. These days, the world of dance music is slowing down a lot, and I don’t mind at all. It’s finding a new middle ground, where people can dance their ass off but not leave a sweaty disgusting mess.

https://soundcloud.com/seantyas/twilo-ft-katherine-amy-preview

 

A Sit Down With DJ Anja Scheider

14.04.2018


Anja Scheider has been a permanent fixture within Berlin's clubbing fraternity for over 20 years. In that time she's seen it all, the Love Parade years, the legendary techno clubs like E Werk and Tresor, the gargantuan spaces afforded by the fall of the Berlin wall utilised by the city's artistic youth. She came to Berlin in the mid 90s, inspired by the rave scene that was happening in the capital. A driven and constantly optimistic person, she wanted to become a part of it and found a niche.


 

"The deeper you become involved in this business, the further you get away from music."



 

You've been involved in electronic music since the early 90's, what changes have had the biggest impact on your music career?

Ffor me personally for sure it's changing from playing vinyl to  cd. I'm still waiting for the next change to play finally with Traktor.


Are there any really embarrassing DJ moments you would share with us? Or if not what is your worst DJ scenario?

Too many to mention I'm sure. But I hope as I get more professional I'm getting better at my “cool face” when I mess up or play the wrong track—it happens to the best of us. I think my most embarrassing moments (and probably with alcohol involved) are when I think I'm dancing in a super cool way, when in fact I'm not and it's up on the internet the next day for all to see. Social media is a curse for this.

Were there any obstacles in the beginning of your DJ career?


Of course I had problems when I started, because I wasn’t a pro directly, so of course I had a lot of really bad gigs, especially when the sound system is not right. I had to practice in my living room quite a lot; I used to be really nervous and sometimes I still am. But I think I was always kind of lucky, because there were always the really good gigs as well.


You entered into the world of DJing through a quite unusual route, first through radio production then through presenting. What advantages and disadvantages do you think taking that route had for you compared to the route others have taken?


I don't think it was too unusual to come from that background because some other DJs started like I did. For me it was all quite natural and organic. When I started the radio show I was playing techno and electronic music and so I soon started to get requests to play in clubs. At the start it really was quite hard. When I started the show, radio had a completely different position, it had way more listeners than nowadays, but it was easy for me because I couldn't see all those people. This was my first problem when I started as a club DJ, seeing the people and seeing the direct reaction. I was super, super nervous and of course I made really bad mistakes in the beginning, but going out to play my music in the clubs was one of the best decisions I ever made.


What is your favorite part of this job?


It definitely isn’t traveling. Don’t get me wrong, I love to travel and to discover new countries and meet different people and I feel blessed that I get to do this, but the time wasted in the airports and on planes really starts to get annoying. I love my job but if there’s one thing that I could change it would be that.


Scarily to some people, I know you have a life outside of techno too—what's your favorite non-techno thing to do in the world?

A life outside techno! Of course I have to have life outside of this—I am a mother of a three-year-old boy, so a lot of my time is spent far away from techno. We like to hang out in the playground, play football, and our favorite time is in the morning at breakfast and our dance experiments together in the kitchen—best party ever.

What is your best gig ever, if you can recall a particular one?

Had so many good gigs and intense times. It’s always very difficult for me to pick one. But for sure the best moments are mostly when we are all together — Barcelona rooftop moments are always ones to remember.

You travel a lot with your work - is this as big a blessing as it looks to us non DJ's?



To be honest, it must seem to be a lot of fun, but the traveling itself is a nightmare. You waste so much time at airports in crazy security queues (and most of the time they treat you really badly),  




you play a big part in destroying our environment, you are far from home etc.Although at the end you have the opportunity to meet the most incredible people all around the world, which really opens up your own  



horizons.









How does the music differ that you get to play on the radio compared to what you select to play in a club?


On the radio you can go much more wild and weird. And you can play some more pop-y songs. The last gig I had was in Ibiza, at one of the closing parties and there it was just 'BLAM BLAM BLAM', so you can't do that kind of thing there. The radio gives me a lot more freedom. Also, because I have so little time these days, the radio really gives me the opportunity to listen to a record properly, from beginning to end. That sometimes really helps me decide what is really going to work for my DJ sets. T


Tell us about your new label Sous Music and your coming EP ‘Prosperity’.


‘Prosperity’ is the most ‘techno’ EP I’ve ever done. I have loved this style since the beginning of my career and have always had a big love for Detroit and old school sounds. But of course you have to be really careful nowadays because techno seems like the new EDM and not everything is to my taste. For my label Sous Music I’m very strict and happy that I have this imprint that allows me to do exactly what I want. I’ve still got a lot of music waiting to be released.


https://soundcloud.com/anjaschneider/sets/sous-music

A Sit Down With DJ Matt Darey

14.04.2018


Matt Darey is a producer of many genres of electronic music with writing, producing and remixing both underground club tracks and the occasional top 10 pop chart hit. Matt kicked off 2016 so far with two top 5 UK club chart hits “Keep Talking” and "Lubeno" under his “Lost Tribe” big room alias.

 

 "I love my thrash stuff – I just ended up getting caught up in the whole trance scene – but I’ve always had a weak spot for it."



 

You've been active in the dance music scene for a long time, but can you tell us how you got involved into music?

I came from a musical background. Everyone in my family, my two brothers and my parents played an instrument. I wasn't into the idea of being a classical musician, just wanted to be in a rock band. At the age of eleven, it looked like they had a lot more fun. I started as a singer in a band at the age of fifteen, then later on I went to my first EDM event and had a lot of fun, so much that I changed genres overnight and started making drum & bass. That led me onto getting a six album deal with Warner Brothers and Sire Records. 

You are a producer, DJ, radio show host and founder of Your own label (Nocturnal Global). How do You balance all these responsibilities without comprising one or another ?

I think the main thing is to get the balance between these things and your personal life. It’s always a juggling act and there’s never enough time to do everything you want to do but the label, Dj-ing and the radio show all go hand in hand so it’s not too crazy. I have some good people on the team that you don’t see out there in public without whom I would never have a life of my own.

If you were to name a particular country which will be the new hot favourite place to go for dance music where do you think it would be and why?

Funnily enough, from what I hear china could be that country.  I have to see it with my own eyes .  Also E Europe is growing on the club scene and I have a lot of touring planned there also. 
When you're making music, is there any ritual you gotta perform, I mean, like a certain ambiance you must have, a special mood?


Not really, just lock myself away and start playing on the piano to get a good melody, everything else goes out from there.

What's the worst club you've ever been to?

I think probably when I was in a band, We used to tour the universities all around the UK, we played some dingy clubs, but still had fun.

You have been running your regular radio show nocturnal. How has this supported your career and developed your name worldwide?

I suppose it has.  I t started as an internet show back in april 06 and now it goes out weekly to over 70 FM stations in many countries.  I wanted to do a show because there was no one playing all the great music I was hearing from across the many genres of dance music.  I love breaks, electro, progressive , trance, house and so much more.  Someone needed to bring it all together and expose the best of what Dance has to offer so I thought I’d take up the challenge.  We also bring in some of the worlds best DJs each week to play a guest set.  

You have launched your own record label - Mash Up Tunes.   Is this going to release your own work or will you be looking to sign new talent?


Mostly my own work and this will be in association with other labels like Incentive and Liquid Assett who released From Russia with Love.   When I have got all these records out into clubland I will be looking to take on talent from outside..There is a lot of great stuff out there that I would love to take on but I need to get established first.


You have proven to be a chameleon of sound and have produced a variety of releases from Breaks to House and from Trance to Progressive all the way to Rocktronica. So You are not going to be pigeon-holed for a distinctive style. Is that correct ?

Well, I guess people know me a lot more for Trance than anything else, I was there from the start of that genre and still make some big Trance records. However as a DJ, my styles are so diverse as most listeners to my show or live sets will tell you. I’m always just going to play music I love no matter where that takes me.
Trance is identical with drug-use. Do you expect your crowd to be able to enjoy your music without any help from special substances, or do you have any other views about it?


Yes, maybe a few drinks to loosen up. I find that I see less and less of people in the crowd out of their minds. I think if the music is cool and as a DJ you create the right atmosphere interacting with the crowd all the time, you can have a lot more fun when you have a clear head.

https://soundcloud.com/mattdarey/sets/matt-darey-wolf-the-album

A Sit Down With DJ Fresh

14.04.2018


DJ Fresh is one of those talented producers who manages to be versatile while still maintaining a distinct sound. Like everyone in the Oakland rap scene, DJ Fresh has made a ridiculous amount of music. There are well over twenty volumes of The Tonite Show featuring everyone from Yukmouth to Raekwon. But unlike most of insular Oakland, Fresh has his roots on the east coast.

 

"I decided that if I’m gonna die I want to die with music behind me that I’m proud of, not just trying to reach high up the charts."



 

Obviously the charts have been completely dominated by dance music over the past few years, where do you see it going in the next two to three, or even four years?

To be honest, coming from a label and looking at the history of what’s been going on, the charts go in cycles and that’s always been the way with music in general. So, it would make sense at some point in the future that things are going to go back to a more acoustic and instrumental way whether it’s rock or that sort of live feel. Things can get saturated and people want to hear something new; there’s only so far you can go in one direction before it feels like it’s time to go. I’m always trying to do that with my music, after a while I try and find something else and go off in a slightly different direction and I think that’s going to happen with me with the album after this one. I think there are tonnes of different types of dance music and especially bass music, you know, it’s only just starting to get taken seriously in the mainstream and the more seriously it gets taken, the more opportunities there will be to break through with new music.

Why’d you decide to move to LA?

I felt like I got to a ceiling in the Bay Area. I literally worked with everyone more than once, more than twice, more than I can count on one hand. I’m never gonna forget The Soil but the only way I felt I could expand and make a better business out of my brand is to come to LA.

What is the sort of process that you have to go through to sort of fine tune? What do you look at?

It’s just re-adjusting your mental configuration because when you work at another station, another format, you know, you rewire your brain to adjust to that. So for me, it’s just re-wiring the way I think, the way I do things. The system is different, for instance, the music is slightly different. It’s another team now, um for instance, you know where ads sets, clocks are different and all of that.

How your music has changed of late?

I find it a bit irritating because I did 15 years of some of the biggest tunes in drum & bass. It's annoying hearing kids who have probably only been into the genre for a year telling me I've sold out. I really care about that sound, but right now I want to do something different. I feel like I'm in a place where I can make whatever sort of sound I want.

We’ve heard you are currently working with amazing artists such as Tinie Tempah and Icona Pop, what can we expect from your future music?

Definitely more of a return to club bangers, I’m working with some great singers/rappers who I’m fortunate to now know and have relationships with, but I’m always pushing them out of their comfort zone. Watch this space!
You've been making trap recently. Is this a new direction for you or just an experiment?


I make literally everything. I want my sound to transcend one genre. So far I’ve already had three top tens in the UK with different genres. I’m pretty sure that’s a first!

So you were like a generation after Q-Bert and the Invisibl Skratch Piklz?

Yeah definitely. That was my brother’s generation … Q-Bert, Roc Raida—RIP Roc Raida! His generation was that but also Craze, DJ Babu. My generation was like DJ Klever, DJ Relm, those guys. I went far in battling but only for like two years. In ’99 I placed 3rd in the USA and I placed 2nd in the DMC in Washington, DC. 99/2000 was my biggest battle years and right after that I went on tour with Nas.

What surprises can we expect?

There's a project that I'm involved in that might be used, which MIA's also involved in. There's some instrumental stuff, and the album is going to be not so much of an album, but kind of a compilation. The great thing about that is I can release some music that isn't necessarily aimed at being avant music - it's more playable.

Recently you've masterminded some very popular remixes, what is it that makes a track stand out enough for you to remix it?

It's got to have a good hook, and something that will fit into the sound I'm pushing at the moment. I've been using remixes as a chance to experiment with the new future jungle sound I'm pushing.

How are you feeling about performing as a live band? You yourself are actually playing keys now!

Yeah I love it mate. It’s something that I’ve always wanted to do since I was a kid, much more than DJing. Being a DJ was something that I was asked to do when I started making tracks and I only took the name DJ Fresh when I was on pirate radio. Some of the guys said I needed to come up with a name and they scratched this record which said fresh and said to me, ‘Why don’t you call yourself DJ Fresh?’ It was never a statement about the artist that I was, even though the stuff I’ve always been doing has been dance music. I’ve always been someone that is into playing instrumentals and I’ve wanted to set up a band for years so it’s kind of my dream to be honest. I’m really, really enjoying it and it’s going really well. The last couple of tours have been sold out and momentum building with a really cool fan base. It feels like we’re bouncing off them so it’s really exciting.

https://soundcloud.com/djfreshdjfreshdjfresh/fresh

A Sit Down With DJ Third Party

14.04.2018


In a world of hype, fads and overnight success, Third Party has let the music do all the talking. Childhood friends turned accomplished studio outfit, a reassuring level of respect has met Jonnie Macaire and Harry Bass’s journey from the unsuspecting backdrop of Essex into the forefront of electronic music.

 

 "So it’s like as soon as you start chasing another genre for the sake of business, you’ll go down a bad path."



 

How was collaboration with Martin Garrix?


It was great. He's the most down to earth guy so for us it was a pleasure working with him. The track flowed naturally into a festival banger, then we spent a few days in a London studio nailing the vocal with a super talented songwriter.


Where was your first show?

Our first show was for an 18th birthday party in our local town. Our first real show as Third Party was in Miami which was a pretty crazy start to our career.

What do you dream of doing as a DJ? If you’ve done it what was it?

To headline a big festival and to play at a Size Matters pool party of course!!

Give us some insight on the new album ‘Hope’. How did the idea for the album come to life and what is your vision and story behind it?

We came up with the title of Hope as we felt this represented what we wanted the message of the album to be as a whole. We want people who listen to the album to be inspired the way we were inspired by music we listened to growing up. Also from a human level, music has the power to create Hope for someone in any aspect of their life, so if any of the songs can motivate/inspire/help anyone in anyway we will feel it was all worth it!

You’ve worked with and remixed some of the biggest names in dance music. Who would you like to collaborate with, but haven’t yet?

It’s probably said a lot, but acts like Daft Punk and Coldplay. Those artists that have the ability to create that magic and originality that very few people in the world can do.

How do you get the inspiration from when producing music?


We're most inspired when we surround ourselves with positivity. Whether it's in the studio, on tour or at home. If were positive and enjoying what we're doing the music flows naturally. It's not a job this way. We want to sit down and take things on a journey and enjoy doing so.


How does your music stand out from the rest?

We like to think our music stands out because it mixes quite a few different musical inspirations. The main core of our sound is progressive house, but you could say there is a bit of everything in the productions. One of the main things we like to do is sample old vocals into our music. We really like the fusion and vibe they bring to the music that slick vocals just can’t bring!

Favourite recent gig, either played or attended and why?

SHM at Brixton…it felt like a rock concert, they tore the roof down!!

It seems like these days you guys are the ones keeping the progressive house we all love alive. How are you guys doing it? We’d expect it to be a challenge to keep up given the current influx of Flume/Chainsmokers-style of tracks.

Progressive house has always been our first love coming into the industry so why change what you love? I think if anything the influx of similar sounding tracks trying to follow trends has made our vision and direction even stronger.  If you fall into the trap of following trends it becomes very difficult to create your own identity which is very crucial to have longevity in this industry.

Do you have any advice for anyone starting out in the industry?

Just stay true to yourself. We’ve really tried to make a stand with this album and say you don't need to make radio music or follow trends to follow your DJ dreams. Just make what you love and make it the best sh*t out there, even if it’s not what’s trendy or in fashion! Good music always shines through in the end. You just have to be patient sometimes. Hopefully that reflects in our music, and even if it inspires one fan then we’re happy.

https://soundcloud.com/thirdpartymusic/release-radio-007-pete-k-guest-mix

A Sit Down With DJ Roger Sanchez

13.04.2018


Roger Sanchez a.k.a. S-Man has been conquering the dance music circuit since the late 80s riding the wave of creativity, passion, and major success. He’s collaborated with a plethora of music icons including Michael Jackson, Janet Jackson, Madonna, Maroon 5, One Republic, and No Doubt. He is a four-time winner of the DJ Awards ‘Best House DJ’, has produced countless chart-topping hits including ‘Lost’ which reached #1 on the Billboard dance chat, AND he won Grammy for his remix of No Doubt’s ‘Hella Good’ in 2002. His name is known and respected across the globe with residencies in Ibiza’s finest clubs for nearly two decades.

 

"Everything has a foundation and the track is a construction. The skeleton frames, the beams are the bassline, and you build it up around that. I treat every track as a problem that I have to solve."



 

 Your so busy with your career, how do you relax?

I love taking downtime and hanging out at the beach in summer or going to the movies. I’m getting back into the gym lately and my martial arts - sometimes you have to just disconnect. I love chillin.

Which DJs are in your crew now? Who are you tight with? Who do you see socially?


Carnao Beats, Huxley, Cocodrills, Man Without A Clue. Darius Syrossian's pretty cool. I tend to bump into people at airports and hang out with them in places like Ibiza. 


Roger Sanchez and S-Man – explain the difference....

S-Man has always allowed me to experiment with darker sounds.  As Roger Sanchez, the house sound has always been more traditional and uplifting.  But now specifically?  S-Man is allowing me to explore sounds from the UK bass scene as well as some deep techno roots.  It’s a bass-driven thing, which actually takes me back to the S-Man stuff I was doing in the Nineties...only it’s even grittier.  As for Roger Sanchez, I’m still about those vocal, uplifting records...very soulful and maybe with some Latin elements.  It’s proper house music.

You’ve played at almost every club in Ibiza for over 15 years, and now you’re joining the ranks of beach parties at La Plage – tell us about it?

I wanted to do something different with my label Stealth rather than just fold it into a night at Release Yourself; I wanted it to be focused on other artists rather than myself. A beach party is a lot more relaxed, more chilled and a different vibe. I’ll be there hanging out, which is a big change for me, because normally I’m behind the booth…

What are some of the best/must visit spots in Ibiza?

If you’re talking club-wise, you definitely want to check out  which is the re-done Space. They did an amazing job refurbishing the space. I also think Pacha is a must visit, especially when Solomun is playing, he’s got a great night there. Find out when the Elrow parties are going on, I believe they’re doing it at Amnesia this year. Those parties are always fun. I also like this party called WooMoon that they do in Cova Santa which is really reallly interesting. Very interesting vibe, different kind of music and a really cool crowd.

What is your favourite aspect of performing at the new Hï Ibiza venue and why?

I confess that the main room at Space Ibiza didn’t hold as much attraction for me as the Terrace did, but the new main room at Hï Ibiza is next level. This main room feels comfortable and epic at the same time. I think they did it right.

Being many years into your career you have experienced a slew of summer schedules. As this is always a particularly busy time, how do you prepare for the rigors of the summer? Do you have a certain protocol to maintain health and mindfulness?

One thing I do is try to set up some time for the gym whenever possible, get as much rest as I can and drink LOTS of water. When the summer is in full swing all the flying can take a toll and the way I cope is to manage my rest time very carefully.

It's a boring to debate the pros and cons of vinyl/digital sources, but for you specifically how do you think the switch has altered your style, if at all?


When I did switch over from vinyl to CDs I did it for two reasons, that it enabled me to bring a LOT of music on the road with me. The weight restrictions and the physical difficulties of taking a lot of vinyl on tour... Then there was the fact that I could do things that were a lot more interesting if I went digital, in terms of loops, acapellas... Every now and then I still do a vinyl set, but I'm able these days to bring a lot more newer music on USBs. 


What do you think of the current house music scene in NYC? Can we still dance?

You can dance, of course you can! The thing is that New York had it rough you know first there was the Mayor trying to build a platform for his career by ‘protecting’ the kids who were dying in our nightclubs by closing them. It was very political and clubs were a scapegoat to politicians for a while so it was all misunderstood and that hurt the scene. 9/11 really brought New York down too but there’s a slow resurgence now in New York’s nightclubs. Many of the kids are into hip hop and if they’re into house it’s the harder end stuff so seemingly the older crowd don’t want to go where these young kids are. House music is more adult, so venues have to cater for that maturity, plus the kids who’re growing into house music later too!

https://soundcloud.com/rogersanchez/sets/s-man-ultra-nate-fake

A Sit Down With DJ Fake Blood

13.04.2018


Theo Keating, the once mysterious man behind the Fake Blood alias, has been twisting and mangling beats for almost 20 years now. Across his lengthy back catalogue, from the Wise Guys and the Black Ghosts to his Fake Blood remixes over the last few years, Keating’s certainly demonstrated an ability to change with the times, keeping his music up to date whilst still drawing on the sounds of his past. Cells, his debut album as Fake Blood, is no different.

 

 "Styles change, and the cloud of bullshit and PR has increased – but it’s basically the same animal."



 

How did you get in touch with electronic dance music in the first place?


I first heard house music as a teenager, listening to pirate radio here in London. That was the pipeline to everything that was happening musically in and around clubs etc - the latest tunes from Chicago, Detroit, NY, Europe, and of course right at home in the UK. An incredible source of music, especially for those of us who were too young to actually go to clubs!

We’re loving the new remix for Totally Enormous Extinct Dinosaurs. Is re-imagining other people’s work something you see as essential to what you do? How does the experience differ from writing your own music.

I’ve always enjoyed doing remixes, as it gives me a chance to try out ideas and sounds. It’s a great outlet for ideas that may not be right for the tracks I’m making for myself at that point. Plus you’re given a set of components right from the start, rather like being given ingredients and then told to cook whatever you like with them. There are many possible outcomes, but having those building blocks from the original song is what can start the creative process flying off in one direction or another. Whereas with one’s own tunes, you have a completely blank page to fill. Both are enjoyable and challenging, and I think both are great exercises in learning how to produce and advance. One hand washes the other!

What was the best and the worst gig you ever played and what was the funniest thing ever occurred during any of your performances?


I'm terrible with this question! I've always found it impossible to single out one specific gig as being "the best", as there are so many factors involved. Although it's probably more likely to be a mad sweaty basement party than a huge event. That's the acid house in me talking! As for bad gigs, I tend to forget them unless something really terrible happened.

You also have your own record label, Blood Music. Was the inception of Blood Music primarily for the release of Fake Blood material, or did you always want to sign and release music from other artists?


I didn’t put out any of my own music until the 28th release! It was always meant to be a platform for me to give wider exposure to artists / tracks I was sent or discovered, rather than something that was self-serving/self-promoting. But fuck it eh – why not put out one’s own tunes! 


How has the process of marketing music changed for you since the start of your career? Have you noticed a difference?

Big question. The obvious answer is that the artists is now more in control of, and responsible for, their own publicity and profile. This can make things more “direct from the artist’s mouth”, which people usually prefer to being fed comments and pictures have been filtered through a public-relations net. But it can also lead to a slapshot effect, where everyone is just posting any old shit, hour after hour, in a bid to maintain things like “engagement” and “reach”. So pictures of your breakfast become some sort of marketing commodity. But having gone this far without any PR or management, I have a pretty ambivalent attitude about all this stuff!

You travel a lot. What are the essential things you need to have with you at all times and what are the things you miss when you are on tour?


I often travel with a small portable turntable, as I will go and hunt for old vinyl on days off. And I never travel anywhere without a book. The best escape for the mind is in books, and you can never be bored. I miss London when I'm away - the place itself - and also people I know; but never "things" as such.

With all the social media outlets that exist today, there is a lot of room for shameless self-promotion. Any tips for young up and comers?

Well firstly I’d say don’t use me as an example! I had no management, no PR, no label, nothing. It was just me and the tracks I had made. But the thing blew up incredibly fast, and all without any engineering by myself. I avoided all questions, photos, attention, and let people fill that void themselves – hence the weird blogs and sites where people speculated on who I was etc. I just sat back and enjoyed watching it happen. But I don’t know that it would work a second time for anyone else. It was a very specific set of circumstances, at a particular time. However it taught me that you don’t always NEED all the media and contrived hype. If you have the music, then it can work naturally, by people finding out themselves, and making up their own minds. Many people buy this kind of coverage, and it works, but to me it always smacks of desperation. There’s a fine line between letting people know you’re out there and have good music, and begging them – or even worse haranguing them – to listen to it.

How would you say the current electronic music scene compares to the late 90s/early 00’s era that saw acts like the Wiseguys rise to prominence?


There are differences of course, but the core of it is still the same. People want to dance to music, and there are all kinds of places from big events to tiny parties for just that. Styles change (or come back), and the cloud of bullshit and PR has increased – but it’s basically the same animal. Although now we do have a particular breed of artist/DJ who are basically cut from the same cloth as city traders.


What advice could you offer to anyone looking to delve in to the world of music production?


Don’t obsess on the above. Experiment weirdly and leave in your mistakes. Thicken your skin. Take nothing personally.


https://soundcloud.com/fake-blood/tell-me-nothing

A Sit Down With DJ Lange

12.04.2018


After 10 years in a business that has earned him a legion of fans, counting among them the trance elite, Lange shows no sign of slowing down; he has carefully honed his music style into a cutting edge blend of raw and filthy Electro baselines and angelic melodies, resulting in some of the most original and characteristic trance records of recent times.

 

 "I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited."



 

What are the best crowds you have ever played to? 

I've played some amazing events from Godskitchen’s Global Gathering to the Zurich Street parade which attracted some 800,000 people. I often prefer the smaller venues though as it can be a much more intimate experience. One place I really enjoy playing time and time again is on a small island in the Western Isles of Scotland. I was invited up there some 7 years ago and have been going there ever since. The club is very small and holds only a couple of hundred people but I’ve had some of my most memorable gigs there!

We Are Lucky People is an amazing album, how long did it take you to put that tougher?

Thank you very much; the album took me about a year from conception to finish. I released singles along the way and I did a few new twists and things to the final project in the end which took an extra month or so. 

How have your musical outlooks and ideaologies changed over time? Are certain aspects of music more important to you now than they were 10 years ago?

Music has always been important to me, (that will never change), but you do approach it a little differently as your career progresses.  It’s a constant learning curve and as a producer, you’re always striving to make the ultimate track, but never quite achieving that. I love a wide range of music from big, epic music to groovy techno.  I certainly think as times gone by I have a much bigger respect to those producers who manage to keep their tracks so simple and minimal, yet can create such an impact.  That’s something I strive for more now in the studio. ‘Less is more’ as they say.

Your first major success was the remix of DJ Sakin – Protect Your Mind. How did you become involved with the project?


I was signed to Positiva who were releasing it and I had been doing a few remixes for them. Originally the track was going to be a smaller Additive release but the remix went down so well it got a full Positiva release and made it to No. 4 in the UK. As you can imagine it was an incredible time for me.


What is your opinion about the new generation of trance producers? Which young trance producer is your favourite?

There’s some really great new talent out there and the production quality keeps on rising. Unfortunately more than ever, a lot of producers tend to be cloning the big tracks but every now and then you get something really unique. My favourite from the new breed include Stephen Kirkwood, Tangle, Mateusz, Anske and Craig Connelly.

Why do you think there are hardly any ‘pop’ music that experiments with trance sounds?

Actually I hear a lot of ‘trance-edged’ elements in house and have noticed some cropping up in pop, although my exposure to mainstream music is pretty minimal. Can you really define what trance music is anymore anyway? I’ve said it before, I think trance music is less of a specific style or sound and more of a community of people who love to dance and be touched by music.

What’s one of the wildest adventures you’ve been on during your travels?

I’ve had plenty of trips that have gone wrong… lots of missed flights, that sort of thing. Sometimes it’s been my fault, but not usually – I’m actually fairly well behaved on tour! I’m pretty responsible!

What’s the most insane thing you’ve done to create a unique sound?

To be honest I can’t really thing of anything off the top of my head that’s totally insane. I’ve definitely had some funny experiences, such as getting the cops called on me by scared parents because I was recording the sounds of their children in a public park with a shotgun mic - and without their permission of course. Ha! Typically I start my sound design process with recordings I make, and they could literally come from anything from field recordings to taking a screwdriver to an electric guitar, to taking a cello bow to various metals. I’m really attracted to organic, modulating sounds, so that’s why I pretty much always start there. After that it could be any litany of processes. I love granular and spectral based processing of course, but even simple stuff like straight pitch shifting , or using very short delays can be a ton of fun.

With your continued success, how do you keep your music sounding new? How do you stay on top of your game?


Tough one! I guess every track I approach with a fresh idea, I’ve been told I have a certain sound by people but I try not to approach tracks in this way, which probably means I give myself extra work!! I like to have an idea or a feeling or place that I want to portray; but of course I’m always influenced by the sets I’m playing and the music of other, certain sounds that really get me excited. I’d like to think that this approach is hopefully allowing my music to always offer something different to my previous release.


When it comes to Djing, how do you select the tracks to play? Do you play promo copies of third parties or do you also buy tracks? And do you consider music from new comers or you rather opt to play it safe and only play music from known artists?

I get a lot of promos sent to me. I still go through them looking for new artists – if none of us did, we would never find those hidden gems and new talents. I occasionally buy extra tracks but in all honestly, the few hundred tracks I get a week keeps my ears pretty busy!

Do you have any tips for aspiring producers, both technical and musical?

Write for yourself and enjoy. That’s what makes you an artist, when you believe in what you’re doing. Of course, the temptation is there to just copy what’s popular into your own tracks and if popularity and fame are your sole motives, then go do the latter or just pay some other producer to do it for you!  Marketing is obviously hugely important these days. Get the word out on everything you do and give your fan-base the attention it deserves.

https://soundcloud.com/lange/create-069

A Sit Down With DJ Marlo

10.04.2018


The Dutch born, Australian resident has become a powerful force in the dance music scene by showcasing his “MaRLo Sound” that has set him apart from other artists in the industry. In the last few years, MaRLo has taken the stage at some of the biggest festivals in the world, garnering him fans from all over who have taken to his different approach to trance music.

 I think it’s important to set goals that are just outside of your reach.



 

Do you remember the first dance record you have ever bought?

It would probably be something from Aphex Twin or The Prodigy. For electronic music, those two really inspired me. “Come to Daddy” and “Window Licker” and those sort of tracks were amazing. And when I first heard “Voodoo People” by The Prodigy, I was in love with electronic music. I think I am trying to bring those sort of darker elements into my tracks.

What are your top three festival essentials?

Well in Australia, you should probably bring some sunscreen. The sun gets really hot and I got really sun burnt one year. And some sunglasses I suppose. And keep hydrated with some water and be responsible.
Have you seen the Trance scene grow in Australia?


Australia has always had a big trance fanbase. Armin has always been a big name there, and when Tiesto was doing trance he was a big name there, too. Right now a lot more people are getting excited about it though, because a lot more clubs and festivals are catering to it. At festivals in the past there would be one trance act, whereas now we get a whole stage with 10-15 trance acts.

So, you listen to The Prodigy and Aphex Twin, but you ended up being a trance DJ. So what drew you to trance?

So I was listening to those sort of tracks but I was going out on the weekends, a lot of trance top parties. So, as far as trance goes – the sound that really got me into it were the pioneers such as Armin Van BuurenTiestoFerry Corsten at the start for the uplifting trance sound. And later on, I got into the harder stuff as well such as Scot Project, and then the tech-y sound such as Sander Van Doorn. My range of music has formed the type of music I’m into today and it has changed a lot over the years.

What about your best festival experience?

Stereosonic, Tomorrowland and a State of Trance.

Any artists that are giving you that same influence or a kick out of your creativity?

Not really, but that comes across weird so I want to explain that. When I first started making music there were a lot of people that did influence me and opened my eyes to many new things. My initial influences were acts like Aphex Twin, Prodigy and The Chemical Brothers and then I was getting more into hard trance, which was at the time a German sound like Scot Project and guys like that. Then I felt a real deep connection with the more melodic trance sound with Ferry Corsten, Tiesto and Armin van Buurenand then I got inspired by the new tech sound. So I wrapped all of those experiences from my past that I was really into when I was growing up, bundled it all together, mixed it all up, and made my own music—the MaRLo sound, or if I'm playing a little bit harder it's called Tech Energy. Right now I've let go of trying to follow anyone else; I'm making music that I like to make based on all of my past experiences. It's not like I'm listening to music and saying, “Oh, I want to make music like this.” I've let go of all of that and just create music that I really enjoy to make and hope that people like it.

I saw where Armin van Buuren said that you are the best guy for leads, how does that make you feel?

That is a great compliment because to me leads are the energy part of the track. Of course you have the percussion and everything that drives it but Armin has been an amazing supporter of my sound for a long time now and I am really thankful for that.

I heard you're launching your own label?

Yes. It's taken a bit longer to launch, but its called Reaching Altitude. I've got so many talented artists already and I've got a lot of new music myself, which I've been holding back until the label launches. I had a really hard time breaking through and I feel very privileged and honored to be in a position where I play to big audiences—I like to help new talent by showcasing their music on a bigger stage. I hope that my label can be sort of a vehicle for nurturing talent and people can send me demos and if it suits the label, I'll support it.

What are some of your goals for the upcoming year and how do you plan on raising the bar for yourself?

My main focus for next year career-wise is to bring the Altitude shows around the world! And also continue to produce and release music. On a personal level, I’m just super-excited to meet my first-born son. I’m proud of him and I haven’t even met him yet.

If you could go back and talk to your 18 year old self and give him advice what would you tell him?

I would tell my 18 year old self not to stress out too much and not to focus too much on the concept of achieving or moving forward. Don’t worry about that stuff just enjoy yourself and be happy and enjoy yourself. If you love what you do success will come anyways. The things that most people consider as success and what I would have considered success when I was 18 are totally different now. What I consider success is loving what you do every day of your life. All the other stuff doesn’t really matter so I would tell myself just relax and enjoy and have a good time with it and don’t beat yourself up. I used to work nonstop and stress about getting a release or a gig so I would just tell myself to enjoy what I do because it will happen anyway if you just love what you do.

https://soundcloud.com/marlomusic/marlo-enough-echo

A Sit Down With DJ Ace Ventura

10.04.2018


Ace Ventura is one of the leading and busiest DJs & artists on the progressive and psytrance scene. His music has been topping the charts and he has been touring constantly all over the globe playing in every possible venue and headlining all major festivals. He is well known for his highly popular mixes and long massive DJ sets.

 

 "The only way to stand out is to try and be original…"


 

Your father is a famous Israeli composer. How much does he understand or appreciate trance music or in fact electronic dance music in general?

He really doubted the longevity of the genre when I was just getting into producing and leaving my previous work on sound post-production. But this was in the late 90’s and he admitted to his mistake a few years after. He appreciates it for sure but doesn’t know many names past Infected Mushroom or Skazi I reckon. What he also appreciates though, is my project name – As his original family name was Ventura before he changed it to Oshrat. Sometimes I get to jam with him in the studio and make some weird electronica… good times.

At what age did you start mixing or producing?

I was a DJ since a very young age, around 15 or so, playing first at birthday parties for kids, then moving up to playing in clubs for teenagers, and when i was around 19 i started to produce, together with DJ Goblin - we started a project called Children of the doc, which in time changed to Psysex. in 2006 we both split Psysex and i started working under the name Ace Ventura.

Quite a few full on artists made the transition to progressive. Do you think its quick rise in popularity lead to watered down releases from artists trying to ride the wave?

You are right on the money. At the moment progressive music is anything but. You can still find a few artists who are still loyal to the original progressive vibes but they are a handful. Like every few years we are apparently in the end of a musical cycle… the genre has peaked, but can still take a while until it resets.

What does the global PsyTrance scene need more of?

More festivals! Hands down it’s the best part of the global scene, where everyone from everywhere comes together! Fun fun fun. Oh and more cowbell.

Do not you fear that by becoming popular, the community loses its essence?

Psytrance is unique in the electronic music scene, but it has more to offer than music. As new people discover this culture, it is natural that it becomes more popular. Personally, it does not cause me any problems that the tribe welcomes new members. I think that no matter how popular this genre may be in some countries, it will always remain underground. Psychedelic culture is something that can not please everyone, it will never reach the massive proportions of other musical genres.

What is one of your favourite tracks that you currently spinning at festivals around the globe?  And what other music would be on rotation back home when Ace Ventura kicks back for some timeout?

There`s a lot of good music going around. Good stuff from Astrix, Symbolic, Zen mechanics, Ritmo, Vini Vici and so on. At home i kick back to rather chilled sounds compared, such as Tipper, Boards of Canada, Isan, Liquid stranger, Hedflux…and if i wanna kick it harder i turn to Zenon records, my favourite psychedelic label.

Which track proved the toughest to complete?

There were no specific tough tracks to complete, but the track with LOUD for example, was something we started years ago and scrapped it ‘cos we thought it wasn’t good enough. Then last year, as a ‘goodbye present’ for me when I moved from Israel to Switzerland, Eitan Reiter decided to open the project and give it another spin – and we saw there was something in there worth exploring again, so we finished it and it became one of the hotter dancefloor tracks on the album. 

Which are the artists who gave you the inspiration to make music ?

There were many, When i started to make psytrance in the end of the 90's, i was inspired by names such as Pleidians, Hallucinogen, X-dream, Oforia, Deedrah, Juno reactor, Chakra & Edi Mis, Total eclipse…and the long list goes on.

When looking back across your career as producer, your style has very much evolved and matured since the early days of Psysex, do you see it evolving again anytime soon?

I hope it will keep changing otherwise people will get bored with it. I wish i had more hours in a day to make all kinds of electronic music…alas, time is short. But as a perfect stranger once said, Learning equals change.

What advice would you give any aspiring DJ or producers wanting to play on the same line ups as Ace Ventura?

I remember holding a Transwave vinyl album in my hands, with an epic pic of Christoph and Dado during a live set – and really wanting to be in their shoes. Next step was hanging with a pal and trying to do it ourselves. So the advice would be a simple ‘just do it’. You never know where it will take you.

Does the solitude of being a DJ affect you?


Not at all, i have a family at home so i don't have much free time, so when i travel i have time to watch movies and listen to music, plus i always meet friends and people from all over the world. i have no problem flying or traveling alone, its easy for me.


https://soundcloud.com/schatsi/ace-ventura-mars-red-planet-mix-free-download

A Sit Down With DJ Protoculture

09.04.2018


Protoculture made the leap to pursue a music career professionally after completing his studies in Audio Engineering at age 20, immediately taking the international psy-trance scene by storm. His international debut came at the United Kingdom’s famed Glastonbury Festival. With the release of his first artist album, “Refractions”, and the follow up “Circadians”, a slew of international performances ensued worldwide, seeing Nate travel to all four corners of the globe.

 

"I love the idea that music is mathematics with its frequencies."




All the tracks Protoculture has released, including collaborations, in the past 18 months are on the album, aside from remix work…

I’ve been asked a couple of times how I pick artists to work with but the simple truth is, it’s very organic. I’d love to give a really educated answer but to be honest if I meet someone and I like what they’re doing I work with them.

From your personal point of view, what did you think of AVB’s sets at the ASOT500 events?

I really enjoyed it. He is the number one for a reason. He’s got a remarkable grasp of what the crowd wants and you can see that he loves what he does. I really loved the Cape Town set, people went nuts for that.

Have you attended any music school or professional workshop to learn how to produce EDM or you are 100% self-taught?

I have a diploma in audio engineering... Its great for the technical aspects of recording but writing EDM is a whole different ballgame. There are no rules so to speak, so 99% of the knowledge I have that I actually use comes from years of experimenting and teaching oneself.

Maybe you can tell me the latest update from a Nate Raubenheimer A.K.A Protoculture is like what?

I'm currently making the latest tracks with my staff and collaborating with some other DJs, not fully completed and I have not been able to mention them yet. But, I will bring a little piece of my latest track on tonight as a surprise too.

What is your take on the Progressive Trance culture in South Africa and how do you feel our production standards measure up globally?

There’s been a big gap in the market for a number of years now. The Progressive and Trance scene used to be pretty big in SA but seems to have taken a back seat over the last few years. It’s definitely making a comeback though. For me, my shift from Psy-Trance to Trance and Progressive was out of necessity to explore new ideas and let my style, which has always been more melodic and uplifting a chance to flourish. There are a lot of EDM genres which kind of went very hard and dark over the last year or two.
Can you define for us and explain what the “Protoculture” sound or style includes in its unique mixture EDM genres infusions and influences?


I try not to think too hard about influences or the style of my music. I like things to just flow organically, but I guess an emotional component and melody is very important to me. I like beautiful, sad music that tends to be on the deeper side of things rather than a lot of the up front and in your face electro tinged stuff that’s so popular these days.


What about the subject of the EDM wave that’s currently sweeping the globe? 


Actually with EDM, trance has become a bit more underground now. Something that Max Graham, Solar Stone, John OO Fleming and I have been pushing is the whole pure trance, underground vibe. Max started pushing this and now I’ve also become involved too; its open-to-close sets which is what I am doing in Seattle this weekend

where I open the club and I close the club with a 5 hour set.

How did you first come into personal contact with Armin Van Buuren (AVB) and how does it feel to know that he recognises you on quote as ‘a great talent’?

It started off with him supporting a remix I had one for Liquid Soul’s “Devotion”. It was a more progressive cross over style remix and I’d been trying to do something different like that for a while. I was very surprised to hear that it had featured on two episodes in a row. I was contacted by Max Graham after that with a proposal to do some work together. After that things just fell into place from there. Max and I did some remixes together followed by a single for Max’s Re*Brand records also a sub-label of Armada. Every track I have done since then has been supported by Armin on his ‘A State of Trance’ radio show. He contacted Max and me to remix “Orbion” from his last album “Mirage”. That sparked off the dialogue between us. It was pretty amazing getting to know Armin personally especially since he is the world’s number one DJ. It’s exciting and almost intimidating although he’s such an incredibly modest and like able person. It’s been a pleasure working with him, both on the music and the tour.
Do you have an all-time favourite mix compilation that may have inspired you so much as to influence your career and sound too?


Sasha’s first “Involver” album... It’s kind of a hybrid album/mix compilation really as all the tracks Sasha had a hand in editing, remixing or rewriting completely. But its an incredibly solid collection of music that tells a beautiful story.

https://soundcloud.com/protoculture/protoculture-the-descent

A Sit Down With DJ Cazzette

09.04.2018


The legendary Swedish DJ duo, Cazzette has taken the world by storm ever since their first track hit the streets. Their versatility and ever-changing production style has allowed them to become one of the biggest names in the scene. Cazzette’s work has really transformed throughout the years; from the early days of electro house hits such as “Beam Me Up” to banging future house tracks, including “Sleepless” and “Together”. They revolutionized the industry with their production and proved to us that they have what it takes to be an EDM giant.

 

"We simply said to ourselves that we needed to create music that we love no matter the genre."



 

How did you come up with the name “Cazzette” ?

Our manager Ash suggested the name when we started working together. Since we don’t really stick to one genre and also that’s how he discovered us we want to represent a mixtape  where one really doesn’t care about genres but rather good songs no matter what.
Don’t get me wrong, you look dashing in your cassette-shaped headgear, but have we got to the point where the aesthetic needs to match the quality of the tunes for a DJ to get discovered?


It’s always going to be about the music in the end – great headgear doesn’t make up for lazy production. It’s just an added element to the production of our shows and we never wear them for the full performance. We take them off when we’re getting ready to jump up and down with the crowd!

You’re releasing your debut album EJECT in 3 parts, and only on Spotify. What is the idea behind this strategy?


Well I guess we just wanted to have different parts because it’s more exciting. If you put an album out there with just 12 or 13 songs and that’s it, I think people don’t listen to every song. But if you put out in parts, like we’re doing now, people listen to every song because it’s just 5 songs, so it’s like an EP. And then when the next part comes out, people will want to listen to that.


How would you describe your sound now then?

It’s definitely a lot more chill. We don’t stick to genres though. We take influences from what we love and feel at the moment and whatever comes out in the track, the only thing that matters is that it’s a good song. We don’t care about genres anymore. It takes out so much creativity from the production process when you get stuck in a genre. A lot of people are like, “oh, we have to have this beat and this kick drum,” but you don’t need to. That doesn’t mean it will be a better song. We don’t have any rules we follow, we just make what we like.

Always about your style, I noticed several evolutions compared to the pieces present on your Album Wject and your last EP, Desserts. On Desserts , you're on a decidedly more house music style, radically different from the songs on Eject , which was more aggressive and Electro house. Why this change?

It was very natural to us. We used our single Sleeplees  to really initiate this change and Blind Heart after that. We love this kind of music, it's been a big part of our personal development for both, but we also love other styles, which are really easy to merge and experiment with this genre. We were very pleased with the response of the public and critics to this facet of our music and most importantly, we really believe in this music.

What are some of your favorite artists outside of EDM? 

Lil Wayne and Coldplay are definitely in our favorites!

What’s your favourite noise?

A fully sound-proofed room. It’s sort of creepy sounding. I’m also a huge fan of the noise aeroplane wheels make when they pull lower just before you land somewhere new.

Was the studio dynamic intense or free-flowing?

Nice and free flowing I would say. Everything came together so organically, and I think that is what’s so great – we get to do what we want to do. There were a few challenges with mixings and the arrangements, but that’s all good, these things happen. We actually still have a bunch of unreleased songs, we just picked the ones we felt would work nice together, yet individually have their own feel.


How would you say your music has evolved from the days of ‘Beam Me Up' to ‘Sleepless' to the current EP?

I think the main difference now is that we don't look at our music like EDM or club music. We look at it more like, oh this is a song you can play in a club but you can also play it in the car. The whole ‘Eject' album was very format oriented. Every track had their intros, breakdowns, and had a drop. I feel like now it's more oh, so this track sounds like this, its more of that vibe to the whole thing which is a lot more fun for us. Obviously it's been house and dancier but its just like we cant be creative when we know we have to do a certain like style or sound.

Was there a particular moment that caused the shift, or would you just consider it a natural evolution in your musical careers?

We feel that it was a natural change, but also a lot changed in the scene since we started producing and touring. We kind of got stuck and associated within that EDM bubble and weren’t really comfortable in it. We feel that its so much more fun creating songs rather than “club tracks,” even though once in a while it’s fun to play around with that stuff, too.

Who have been your inspirations growing up that also inspire you today?

We listen to a lot of hip-hop and other non-dance music and it’s kind of hard to just pick a few inspirations as we listen to music in a different way. It could be an amazing J.Dilla snare or some random 80’s pop synth that we pick up.

When you’re constantly on tour, I’m sure you’re exhausted, but what do you guys do to unwind while on the road?

Now it’s better for me because I just moved to the states, but now it’s like touring weekends and I’ll go back home for the week, so it’s not as intense. But to relax we try to go out and eat, and just have a good time, work out, and just chill. I’m a pretty easy going guy, so I don’t do much. Just work out, and I like good food!

https://soundcloud.com/cazzette/sets/oceans-ft-leo-stannard

A Sit Down With DJ D!Rty Aud!O

08.04.2018


DJ/Producer, D!Rty Aud!O, is known for creating and remixing popular tracks such as “Gettin' That,” “Used to Have It All,” “Ocho Cinco,” and his latest hit release, “Alien Cookies.” For the last year, he has successfully taken the world by storm with his impressive bass and Electro music.

 

"There’s so many sample packs and preset libraries now, you gotta go out of your way and really want to be unique to end up being unique."



 

You are an LA native, and as we all know, the scene in Los Angeles is ridiculously competitive. Can you tell us a bit about your journey through LA Nightlife and how your experiences led to success?

I don’t think it’s really that competitive.. It’s like a good competition, it makes you want to be different and stand out. It also helped because so many dope musicians live out here, so it’s really easy to collaborate. The parties here are crazy too.. I started going to clubs & underground raves when I was like 14, just going for the music and to see my favorite artists. So it’s kinda crazy now when I’m performing because I was on the other side of the stage a few years ago!

How did you first discover your passion for electronic dance music?

I discovered dance music when I was like probably 11 or 12, and I loved it ever since. I eventually had so many ideas of my own that I started producing as a hobby.

Who were some of your biggest influences growing up?

People like Scott Storch, Dr. Dre, all the hip-hop legends. What I listen to right now on my iPhone library, it’s mid 2000s jams. I grew up on that, man. The first music video I saw was a Lil Jon video. Usher, all those guys back in the day made me realize I wanted to make music. When I finally got into the electronic scene, I really looked up to Deadmau5, Skrillex, Diplo, Afrojack at the time, which was seven years ago. I was really inspired by those guys then and they’re all still legends.

Hip Hop has been pretty big in your life too hasn’t it? Can you share one of the life lessons you’ve learnt through a rap song?

"Never let no one know how much dough you hold cause you know the cheddar breed jealousy", "never let ’em know your next move".

What are some of your favorite tracks that you love to perform?

My song ‘Gettin' That' with Rickyxsan is pretty special to me. That's still my favorite song to play out. The crowd reaction is always crazy, you can always hear people singing along to the melody.

To those who haven`t seen you live, how would you describe your general mixing style? Are there certain genres you stick to more than others?

I would consider my sets “bass,” but I don’t box my sets into just one style or genre. I try to take the people on a musical journey, and try to make them feel something. Sometimes – depending on what city I’m performing in – I’ll throw in other genres!

What’s a specific sound that comes to mind that you’re attracted to?

Ever since I came back from Europe, bass music and trap music has been happening all over America. I came back and I started hearing a whole new wave of bass music that I haven’t really heard before. Lately everyone is killing it! It’s almost like hardcore heavy dubstep sounds are slowly making their way into trap and bass music. Everyone is trying to push that genre. People are bringing influences from everywhere. It’s not anywhere like it was a year ago when everyone was doing the same thing. Half the people playing tonight like Herobust, Getter – everyone’s making such unique stuff and not following the rules anymore and it’s really creative.

You do a lot of remixes…

Yes, a lot of artists reach out to me to remix. It’s always an honor to get the chance to put my touch on someone else’s music. Then I work on my own music. And that’s where I try to find the balance. I got to remix Yellow Claw recently for “Ocho Cinco” and it’s got a Middle Eastern vibe to it and I’m Middle Eastern so it was cool.

Biggest inspiration in your life?


My family and friends. They’re always supporting me, it’s good to have that.


Continuing to develop as an artist is an obvious path to bigger and better things, what are your goals for the long term? What about for the immediate future?

Long term I wanna be like the #1 producer or something. I don’t know, I don’t really think about stuff like that. I just make music that I like, and if people enjoy it that’s a huge reward to me!

You’ve travelled pretty extensively, what’s the most exotic place you’ve played?

India. It’s cool as hell. But you know seriously, I have to say here at Electric Forest. It’s not something you do every day you know.

https://soundcloud.com/dirtyaudio/sets/dirty-audio-racks

A Sit Down With DJ Lisa Lashes

08.04.2018


Lisa Lashes is the first and only female to be considered among the top ten DJs in the world by DJ Magazine, ranking ninth in 2000 and continuing as the top-ranking female DJ in 2001, 2002, and 2003. Her mix album, Hard House Euphoria and Extreme Euphoria Vol. 2 , have been the highest selling hard house complitation in the world.

 

"It`s not just a way of life it becomes part of your soul, more than that you really learn to appreciate its sheer genius against other genre’s in dance music."



 

How do you feel about the current fusion of house and trance sounds that seems to be becoming more and more common? Does that allow for more diversity in your sets?


I think it’s great as long as it works. Producers are experimenting so much and not just making sounds from their genre, and this is when you get the forward-thinking tunes coming out that push the music scene.

Who are your favourite techno artists/labels at the moment?

Love what Len Faki does making his whole set into a crescendo. The mesmerising Nicole Moudaber, Chris Liebling and Alan Fitzpatrick have my vote for on point DJ sets and Alan’s production on his ‘We Are The Brave’ label is something I’ve been keeping my eye on as he’s not scared of diversity.

You have played at Europe’s top festivals such as Global Gathering, Creamfields and Dance Valley, alongside Sander van Doorn, Marco V and Ferry Corsten. What was your personal career highlights so far?


I keep smashing them time and time again so there isn’t one that sticks in my mind as the best, they all have their different reasons for being the highlights of my career.

At what point did you realise you could be a DJ professionally? Were you able to enjoy the satisfaction of giving up a job for it?

When I started DJing on a regular basis and was about to embark on becoming the resident of the first Sunday Superclub, Sundissential, I knew it was time to hang up my blue, flowery, itchy nylon Marks & Spencer uniform! Q) You’re playing at the Goodgreef 15th birthday party in October. What kind of relationship have you had with Goodgreef over the years, and how do you see the next fifteen years going.

What was it that inspired you to start creating techno?

I was in a transitional period with my music so took some time out to get some inspiration, as in 19 years I’d not been on the other side of the decks and felt a little disconnected. So, I went on New Years Day to The Warehouse Project in Manchester, and when I heard Carl Craig and Maceo Plex fell in love with what they were playing.

Do you have equipment preferences? What do you think about the digital DJing revolution?

At home I have Technics 1210, a Pioneer mixer and Trackmaster needles. I prefer vinyls, but I guess one day CDs will take over eventually.

You've been in the industry for a number of years now and pretty much done it all in the "other time zones". Is this EDM explosion in the U.S. a new challenge for you?

I think it’s an exciting time for the US. They've embracing the amazing international dance scene and I look forward to contributing to it with my knowledge of dance music as best as I know how.

If & when you decided to write a autobiography of your life what would it be called?

Well, as a matter of fact, since the beginning of the year, I’ve actually been writing a diary that documents all the travelling that I’ve been doing recently. I’m collecting bits and bobs, lots of footage from around the world and will eventually create a sort of scrapbook of the year—so you never know, it might just end up as an autobiography! 

Your image is very unique to you and has become almost a signature look. Do you have any specific shops you shop in or do you have to look around for the perfect Lashes outfit?

I love the new Harvey Nichols in Birmingham and enjoy visiting the shops in London around Bond Street. I’ve always liked going out to find unusual outfits—Philip Treacy does really amazing hats. You know us girls; we just adore our shopping! 

What was the best and the worst gig you ever played?


The best differs all the time but one I will always remember as a great party was Cape Town for the millenium where I played to 9000 people for the midnight set. My worst was when I played a UK festival and the tent leaked. Water proceeded to fall onto the decks where I got a massive electric shock every time I touched them.
What does it feel like to be one of the Top Female DJs, let alone DJ Mag Top 100 DJs, in the world


It’s a very humbling accolade that I’m very proud of. I work hard, live and breathe music and hope I’ve made everyone proud that has been behind me.


https://soundcloud.com/djlisalashes/sets/lisa-lashes-april-2016-new-production-3min-teasers

Copyright 2012-2016
DJRANKINGS.ORG n.g.o.
Chuo-ku, Osaka, Japan
Terms & Privacy