Comments Off on iO (Mulen Records/ One Records) Q&A

io picYour excellent new single ‘Mir’ for One Records is due out at the end of June. How did you get involved with the label?

Everything is simple, all the DJs are sharing music, and sometimes it gets into the right hands. My friend John Dimas listened to my tracks and shared them with Adam Shelton, one of the owners of One Records, who liked my tracks and said he wanted to release some of them. At the time the track  “Mir” was called “number 5″, and was signed to another label already, but after sending many tracks to Adam Shelton he insisted on the release of “number 5″, which I then agreed to.

Can you talk us through where the inspiration for the title track came from, and how you produced it (including any favourite pieces of studio equipment you like to use)?

My inspiration is an old school sound ‘garage’ style, which is music from my childhood and it always makes a fresh sounds fresh. You can always hear lovely style in my tracks, sampling the classic approach of “House makers”. I love to work with samples for arrangements by adding  “Roland Juno-60″ synthesizer and “Roland TR-909″


 Cab Drivers have done the remix. Can you tell us about why you choose them?

I am very glad that those professionals have done a wonderful remix on my track. I have been a big fan of the label “Cabinet” for a long time, but the remix- was an arranged by Adam. Thanks to them for perfect work. They are unique in their sound.

Can you tell us about your Kiev based label: Mulen Records and any forthcoming plans?

Mulen rapidly continues to develop in music, design, online- projects. The Profilabel platform is running already, a lot of producers on all of the world like it and use it cause Profilabel has very convenient functionality and restrained design. We were joined to many new artists like beginners talents and approved itself in the music field. We continue to develop and work.

As we are entering the summer season I was wondering what your thoughts are on the big festivals in relation to Underground Dance music?

io festIn our time the festivals have risen to such a level that all people can enjoy the music and feel most liberated and create tremendous positive energy anywhere in the world. The strongest vibration of positive energy.

 Where can people get to hear you DJ next?

Ostrov festival, Fabric on the “One Records” label show-case, show-case Mulen in America. See you there!



Comments Off on DAVI Q&A

daviYour excellent new EP: Metanoia is for Tenampa Recordings. It has taken quite a long time for the title track to be released. Can you tell us about the history of the track?

I wrote it during the same time as Two Suns In The sky. But because it was not part of the EP I never tried signing it as a single. That’s why it took so long to get it released.

It has a very cosmopolitan feel. Can you talk us through how you produced it, and where the inspiration came from?

I was experimenting with middle eastern sounds a lot two years ago. I made a ton of records but not all of them were that interesting. I think Metanoia is special because I mixed Armenian and Middle Eastern instruments and harmonies together;

Are Festivals still ‘underground’ – what does the word mean to you in 2015?

Yes I believe they are. I personally have had very fun and inspiring experiences at festivals. But of course depends which festival. For example BPM is as underground as it can get. I believe the word Underground still remains the same as it always did for me. For me it always meant the opposite of pop music. And I think it still does.

dvi sitYou recently played at Do Not Sit On The Furniture on Miami beach. Sounds like a special night. Please tell us some more about it?

I played there last month and it is my 3rd time there. It is Behrouz’s club that he has built with a specific vision. It is a small and intimate spot that has a very nice vibe. He has established a special sound there by inviting djs that like to play more mellow and take their time building their sets within 4-5 hours. Not your usual banging club which I respect.

What are your thoughts on music being ‘free’? You made some interesting comments on a recent article by Roger Waters and I wondered what you thought the solution could be (if any?)

I had an idea two years ago to start my own label and release everything for free download. It was a good idea at the time but I am glad that I didn’t go forward with it because now it really makes no sense. Music producers spend 10 hours a day in the studio to reach their goals. If we are to give away our creation for free, not only we will not be able to survive in this world by being a musician but also we will not have motivation nor the music will have any value.

davi 3Can you tell us about some of your influences both from Dance music and outside of it?

I have been very busy with dance music that I am afraid I do not have any influences outside of it at the moment. But one of my dreams is to have an Apparat type of a band. Just need to find the right musicians that have the same taste as I do.

What are your forthcoming plans for Production and Dj’ing?

The plan is always the same, Keep making as much music as possible and experiment with new sounds and of course be able to play lot of gigs which is not that easy. Last year i managed to release only 2 EPs because of being away from the studio while traveling. This year i am trying to balance it out and so far so good.

Comments Off on Kevin Knapp (Hot Creations) Q&A

kevinHello and how is life in Berlin in 2015?

Fantastic at the moment actually, now that we’re into June and it’s so gorgeous all the time. In the winter things can get a bit rough and ironically not due to the cold, but rather, due to the fact that it’s overcast like 90% of the time. It leads to mad folks walkin’ around nursing seasonal affective disorders, ewww haha. But it’s summer now so outta sight mind. You can tell winter I said it too, ain’t nobody scurrrred!

Your excellent new single The Heft EP is coming out on Hot Creations. How did you hook up with the label, and what does it mean to you to have another release on the infamous imprint?

I was at a boat party in Detroit a few years back where Richy Ahmed was headlining. He played one of my tracks and I went up to acknowledge it and thank him while it was playing. He then told me he’d been wanting to talk to me about a collaboration, I suspect because he’d heard a bunch of stuff I’d been doing with Matt Tolfrey & Audiojack. Funny thing is that it took a long time for us to pull that collaboration together because it took quite some time for us to get in contact again, flush the idea out, and once we did the recording was delayed because I was busy prepping to move to Europe. So something like 1.5 years later The Drums came out and the rest is, as they say, history. I’ve also known Lee (Foss) for several years from his pre- Hot Creation days as we’re both California boys and peeps who love these tunes are kind of a close knit community as you well know.

I’m ridiculously excited to have a couple solo cuts out on the imprint as it’s always been one of my favorite labels. To go from being a fan to contributing to the label’s music library is a feeling that’s just hard to put into words. I’m stoked.

heftCan you talk us through how you produced one of the tracks on the EP (including any favourite pieces of software/ hardware you like to use)?

Most of the work on ‘Not Your House’ really came together almost entirely in one sitting. Sometimes when you sit down the stars align and things just come quickly. It’s almost like you’re creating a puzzle you intuition just tells you what pieces are missing and you’re able to quickly grab and insert them. I remember even the vocal that day came out of me kinda instantly. I remember getting the rhythm and feeling of what I wanted to say down first and then letting the tune tell me what the message/vocal cut should be. I’ve really been diggin’ on Arturia Analog & Diva in terms of software and they’re both used in this track.

buy/ listen too

Can you tell us a bit about your background, who you grow up listening too, and who inspired you to get into DJ’ing/ Producing and being a vocalist?

Music has always been around me. My mom was kind of a soul fan (shocking, I know!! Kev’s African American mother loved soul! haha) so lots of Roberta Flack and Luther Vandross etc… was playing at the crib when I was a little dude. In sharp contrast to that though, my dad is a bit of an audiophile, like we used to get Gramophone magazine delivered to our house kinda thing and he was massively into classical and jazz. So many nights to this day he and I will open a bottle of whiskey (scotch for him) and just listen or watch a music documentary about an artist/composer/band we’d like to know more about. I sang classically, competitively when I was in high school actually having three different choir classes a day at one point. I also spent a ton of time being the music got to guy for my group of homies coming up so I suppose even back then writing was on the wall. In those days it was all east coast hip hop for me. In college I developed an appetite for indie rock living in Austin Texas (America’s indie rock capital IMO), which I feel still appears in my music faintly to this day. It definitely solidified my love for minor keys.

Kevin_Knapp_2_300dpi_CMYKWhen I moved to San Francisco in 2000 I happened upon an art gallery where they were doing happy hour parties with a line of 150 people out the door at 7pm on every Wednesday. It made no sense, but people would come down after work and just go for it. At 9 pm it felt like 3 am at any other club in the world. It was there that I decided that this was something I just had to do. 6 months later I had my first set of 1200’s. So, while attending my law school classes during weekdays on Wednesdays nights and weekends I was slowly getting deeper and deeper into the music thing. At the time one of the city’s best DJ’s and the best opening DJ I’ve ever known personally, Scott Carrelli, sort of took me under his wing and invited me to be a resident for his wildly successful SatelliteSF parties. They started later, and were still on Wednesday nights (Thursdays were hell for like 7 years there or so, especially with a full time job), but the acts we got for that little 150 person venue where out of control. Lee Burridge, James Holden, Phil K and tons of others acts of that caliber. We actually helped create/extend the Wednesday night Market in that city, a torch still being carried by my homie Mikey Tello’s (from Pillow Talk) party Housepitality to this day.

So I Dj’ed a lot during that period of time from like 2005 through 2013 in SF and that’s when I learned how to read crowds and kind of earned my chops so to speak. Along the way I sat in tons of studios with folks collaborating both as a co-producer and then eventually as a vocalist too (once some folks found out about my background). I think I’ve had a pretty unique opportunity compared to other producers because being a vocalist has lead me to be able to see how lots of different producers work and I can then take that experience and put it into my own work. It got to the point that I had to make a decision between continuing to do the lawyer thing and moonlighting as an artist or to take the plunge. So in May of 2013 I moved to Berlin and here we are, artisiting hahaha.

How do you feel about the importance/ relevance of vocals in today’s Dance Music?

I love vox when used appropriately. I’m not one of these people who looks at a set and says it contains too many or too few of them. I feel like a song tells you when they are needed. Anything that is value added to a track should be placed in it and anything that’s not shouldn’t. I’ve really been working under the personal mantra in the studio lately that less is more. So if there’s fat to be trimmed, get to cutting, and vox are part of that consideration (Now If I could just figure out how to do this in my personal life haha). Generally speaking, I feel like a couple choice words in a few select spots can often really enhance the audience’s experience. It’s another tool at our disposal when trying to get our personal message or idea out, so if it helps to do that how could you not use them, ya know? It’s hard for me to make any kind of large sweeping statement about today’s dance music. I will say though that it seems like there are plenty vocal cuts out there for peeps to bask in, if that’s what doin’ it for them. J

How would you compare the importance/ difference between Berlin (where you live) and Ibiza (where you also play)?

Both these places are great for different reasons. Personally, I landed in Berlin because I felt like the immigration hurdles would be easier to navigate. There are of course tons of clubs here in the B and thus tons of places to enjoy this music we all love so dearly on a weekly basis. And an obvious major difference is here you can do it year round. I mean, the argument can be made that some of the Berlin clubs are even better in the winter. The energy in Berlin is very gritty. Ibiza is just straight up magical. I was on the island gigging last weekend and I’d forgotten just how special the place makes you feel right when you step off the plane. I don’t know if it’s the fact that like 95% of the people are there on Holiday or what but it just has a certain indescribable AMAZING feeling. It’s one of my favorite places on the planet and I can’t wait to return in a couple months. The vibe in Spain, at leastKevin_Knapp_3_300dpi_CMYK on that island, is pretty much the antithesis of grit. So I suppose it depends on what you dig.

Can you tell us about any forthcoming plans for 2015 and beyond?

I’m planning to get a few more solo EP’s out before the year ends. We’re looking at a few exciting labels for their release so stay tuned! I’m really enjoying having the full autonomy for getting my ideas out at the moment. The gig calendar is increasingly steady so that’s a good thing and I imagine it will keep me busy through the end of the year. I’ve also got collab releases forthcoming with Pan-Pot, Guti & Matt Tolfrey, Audiojack, & Daniel Dexter that will be dropping through late summer and into the fall. Other than that, we’ve got a dope grill set up at the crib and we’ve been stuffing chicken, searing asian flank steaks, and smoking pork rib racks so when not on the road or in the studio I’m planning to break fools off on the BBQ as frequently as possible. Live, Love, Grow, Listen, and Give that’s the plan.

* Photos by Vitali Gelwich Photography

Comments Off on Navid Izadi (Wolf + Lamb/ Crew Love) Q&A

navid 2How’s life as part of the Wolf + Lamb/ Crew Love collective in 2015. How important is it to you to be part of that?

Life with the crew is like life with any family. There’s a deep love and connection that goes beyond just being label mates. That being said, every family has it’s fair share of trials and tribulations. All siblings fight from time to time. In the end, though, like a family, they helped to shape who I am and I’m incredibly proud to be a part of it.

Your great new single for Wolf + Lamb: Messin features two new tracks. Could you talk us through how you produced one them?

With “Messin”, I started it on a flight from LA to Montreal, (it was called “Flight to Montreal” for a while), and I was going for the sound of a lot of the stuff I was hearing on the radio growing up in the Bay Area, California. There was a lot of tracks that I was into then with that Latin freestyle, with these deep chords and poppy vocals, etc. I had a situation with a girl and thought it would lend itself well to the kind of simple, universal lyrics that a lot of those songs had. Then when Angelica (from Body Language) got on it, it all came together to really make this kind of 90s Latin house radio jam that I was looking for. The “Shades Up” dub was a stoned tangent I went on while mixing the original forever that ended up being something really cool with a old-school sunrise house feel.

With “Hard 2 Say”, the song started off sounding really dark. I made most of the drums with synths so it was really sharp and industrial sounding. Then I added the vocoder and the bass at the same time and it totally changed the dynamic of the song. I’m a big fan of that, when something starts off really dark or really tough, then a new element is added to the equation and your emotional perception of the whole is transformed, and the parts that came off as tough ends up working to heighten that new emotion. I love that alchemy.

navid artwork

Midnight Magic and FSQ both provide diverse remixes. What’s your relationship with those artists?

I saw Midnight Magic for the first time in Berlin when I was living there a few years ago, when I first starting playing out. They totally blew my mind. I had already been rinsing “Drop Me A Line”, “Beam Me Up” and all those tracks to death, but seeing them live was just something else. Tiffany Roth in particular carries such a commanding presence but at the same time has such levity and charisma. Also a really great and funny dialogue with the crowd, unsure if they could even understand her or not. That really had an impact on the way I wanted to perform my music when I started playing live. On top of that, all their remixes are fire, so I was honored to have them involved.
FSQ are close friends that are really so talented. They carry the Funkadelic torch and have a deep funk lineage that comes out in everything they do. It was really amazing to get an interpretation of the track that had live instruments and real soul in it, and I think it really shows a different perspective of the track. They’re really great at flipping tracks like that, as they’ve been consistently proving. Everybody should keep a keen ear to these guys.

Your music a very emotionally charged. What is the importance of Soul in music for you, and how do you feel about the art of song writing in 2015?

I’ve always been really connected to music that elicits strong emotion, from a lot of different genres, and that’s had a big effect on the way I produce. Sometimes that’s a conscious choice, sometimes it happens by accident. It would be a challenge for me not to write in that way. I think music can be a powerful healer, especially when it strikes those deep-rooted chords we all share as humans, and I’d love to be able to produce that kind of effect with anything I do.

Can you tell us about any of your favourite instruments/ software that you like to use when producing?

I guess it’s become pretty cliché, but I’m a sucker for old analog gear. The Roland drum machines, Juno, and Prophet are probably the big three in my studio. That being said, I’m really into FM synthesis too and the amazing “90s” sounds they make. This EP, and “Messin” in particular is mostly digital FM stuff. I have a DW-6000 and R3 from Korg and a Yamaha DX-100, they can do some really sweet, nostalgic things that I love. Software wise, I use Ableton to track the stuff with some of the better soft synths involved sometimes.

Can you tell us about the Crew Love event at Studio 338 in London?

crew loveMost of the crew was involved and it was really special. That space is great, we played here last tour at the end of our week long bus tour, which was a special day. It’s outside and there was a lot of light coming in, which is the right kind of setting for our kind of party. London’s full of friends, as well, so it’s always a nice mini-reunion when we play here.

What are your forthcoming plans for live performance and recording?

Barcelona is coming up on Friday then Bucharest on Saturday, and Paris on Sunday. Then I’ll be in Colombia (Cali, Medellin and Bogota) next weekend. Hopefully I’ll be able to snag a recording of something soon!

Comments Off on MANIK Q&A

Your recent release on Nice Age features the killer track: Buffalo Trace. What for you is the enduring appeal of Acid House?

manikAcid house to me is just a simpler time. Less is more. The music was super basic but the vibes were next level. As far as the producer nerd in me, I love the raw energy of the 303. The 303 was basically intended to replace the bass player inside of a rock band- give him/her a break- it sounded way to unnatural and robotic though. This fact, in a nutshell, is why electronic music is what it is today.

Can you talk us through how you produced the track?

I can’t disclose all the nuts and bolts, but I will say that it was basically all analog :) A bit of my Moog Voyager was involved too and some Roland TR8. Rest was really building on top of the tight groove of the opening 30 sec.

What’s the story behind your JJ01 edit of Janet Jackson’s ‘What Have You Done For Me Lately’ from 1986. Why did you choose that track in particular?

I am a huge Janet fan and wanted to play out the tracks in my sets. I’ve actually done 5. This is the 001. Only about 3 are intended to play out in a set- the other 2 are more for home listening. All released this summer for free.

How do you feel about the importance of new music in context of today’s re-edit culture?

I mean its all expanding the creative mind by lending your take on to the original. Bootleg and re edit culture has been around forever in dance music. I just bought a dope new Sade edit (yes like the 547th time that has happened) but it’s always fun. It is an important part of dance culture- turning jams into party jams- while you reel in the crowd on the fence.

You DJ all over the world. Do you find that Dance Music is a universal language?

Yes 100%. Music in general. It unites us all.

You grew up in Queens NYC. What was it like there and how would you contrast it to living in LA now?

LA is a different kind of beast in itself. I will say that I think LA has turned into a real creative hub in the last 2 years. It’s affordable/artist friendly, and there are loads of cool spaces to rent to make music in without bothering a stuck up neighbor. Now is the time.

Can you tell us about your influences both within and outside of Dance Music?

I grew up on Hip Hop out in NYC, but I am a huge fan of the indie rock and chillwave scenes. Neon Indian, Toro Y Moi etc are some of my favorites. Actually also just saw Ratatat at Coachella that was awesome too. Anything that truly appreciates musicianship, yet still fun, and different, is a big plus. Basically any music that is non “Milk” music- doesn’t have an expiration date.

What are your plans for the remainder of 2015 and beyond?

I have some MANIK music coming later this year on Berlin’s own Bpitch- more techy stuff.. really dope. Also, another solo EP on Black Butter at some point. I got a track on a compilation by Waze & Odyssey too. Other than that, releasing more of the Janet Edits, and starting a new mix series via my Soundcloud. Working on a new Culture Fires EP too- that’s my Disco/Cosmic alias- while also wrapping a 4 track EP for a new project called 909 Til Infinity.


Comments Off on Ronnie Spiteri (Kenja Records) Q&A

ronnieHow did you find the process of setting up your own label Kenja Records, and where does the name come from?

I had a dozen of tunes that were waiting to be released elsewhere and I was getting frustrated with release schedules that were given to me by the labels. As I work in the studio full time, I quickly came to danger of overflowing myself with lots of tunes that will potentially never be heard by anyone with a little or no outlet for what I was doing at the time. Setting up Kenja was extremely easy. Once I made up my mind it took me three days to get online distribution and set up the first release date. I always wanted to call my label ‘ Kenja’. I think it’s a great name as it has an Exotic ring to it. Makes me think of Three S’s , Sun, Sand and Sea!

Your latest, and the fifth, release from the label is: Bem Bem. Can you talk us through how you produced the track?

I produced ‘Bem Bem’ at the end of last year and it was waiting for the right vocal to come along . I had an old acapella sent to me by my Spanish friends who had recorded a singer called Diana in Ibiza 10 years ago! The guitar sample came from the same recording. When I heard those parts I got really inspired. All I had to do is to find the right place in the track and make those parts fit.

You are based in Southampton. What’s the club scene like there and can you tell us about your residency at Junk?

Giving birth to UK garage in late 90s, Southampton has always had great love for four to the floor groove ! This is a perfect city for House music and I’m really lucky to be born here. Junk club was pioneering the scene from the very start and has featured the biggest names from the genre from all over the world. They are a truly great platform for someone like myself. I’ve got a great opportunity to showcase my musical vision and play the records I believe in.


What plans do you have to expand the label?

I have big plans to expand the label. I have few artists that I will be introducing in brand-new releases in the very near future. I’m very exited for Kenja.

How important do you think it is to Produce as well DJ to help establish yourself?

Producing and Dj’ing is absolutely vital if you want to break the scene. There’s so much of great music out there and it’s really hard to get noticed. Going out and performing your own music in front of people is the only way in. The more you do it the better you get at it. I work in the studio pretty much every day and when I’m not there I’m planning my Dj sets. I take it very seriously because I love it.

Can you tell us about your influences, how did you learn to Mix and Produce?

My first musical memories came from my dad who was an organiser of illegal raves back in the early 90’s. He use to take me everywhere he went. So by the age of 10 I had seen every field and warehouse in Hampshire. I remember really liking House when I heard it for the first time.  Waking up to the pair of Technics decks in the morning and lots of FX racks stacked right next to my bed was my childhood!

I had my first spin at around 10 years old and at 14 I had my first gig. Production came later. I had some work at a local recording studio as an apprentice. That was really helpful as I picked up few tricks from the guys and gradually learned how to put the record together in my own home environment. My musical preferences are still being influenced daily. There’s so much great music out there that inevitably imprints my taste so when I’m producing my next record it naturally snicks in.

sonarWhere can people hear you play next?

I’m playing at Junk club every fortnight. Junk is the place where I can try out my new records and experiment with my sets. Otherwise I’m on Sonar Festival in Barcelona the weekend of 21st of June.

Comments Off on Reviews: 155

FP-Oner (aka Fred P)
mule musiq

In one of those revelatory moments Fred P literally transports your mind, body and soul into the cosmos care off this electrifying set of sonically charged, teasing jazziness. The Soul People Music head begins a trilogy of releases with this album, under his FP-Oner guise, for Toshiya Kawasaki’s Tokyo based label and is quite simply extraordinary. With reassuring titles such as ‘In The Mist Of Sunrise’ and ‘Cycles of Life’ you can expect music that probes and searches rather than merely functions as dancefloor fodder. Indeed 5 exists on so many different planes that you could become exhausted trying to figure them all out. Suffice to say you could listen to this album anywhere, most probably at any time, and it would always say something to you. If you’re not afraid of chord progressions or funky, soulful meanderings then try the exceptional ‘The Law Of Correspondence’ if nothing else today and get amazed.

Release: June 29

Love Somebody
Hot Creations

Achieving the accolade of the label’s fourth artist album Alexandre Paounov AKA delivers a set of finely tuned gems for your pleasure. Flitting between breezy melodies and darker moods, Love Somebody sounds just about right for 2015 capturing smouldering intensity on Your Eyes, while opening via the bouncy rhythms of Words Gone feat. Arno Joey. That playful funkiness continues on Get Together and is contrasted again by the demanding peak-time beats of I Want U, striking a neat balance between styles and flavours on what is essentially a most rewarding listen.

Release: June 29

Brummie Blagger
Outer Circle Grooves EP

Brought to my attention care off the Blagger himself this four track release for Supersexy captures the essence of pumping House Music and delivers it loud and clear into your stereo. Can’t Stop Now fuses Detroit bass together with Chicago Acid accompanied by suitably feverish vocal edits. Next, the bizarrely titled Blagger Rids The World Of Evil Vampers hits you with Todd Terry styled stabs amid plenty of attitude, while third and standout number Keep The Peace gets frisky with the percussion, leaving Blag On Mars to replay familiar synths over fizzy hi-hats and awkward beats. Consider yourself blagged.

Comments Off on Pablo Marco (Cadenza Lab/ VIVa Music/ Low to high) Q&A

pablomarcoYour excellent new single: Deja Vu (with Hash Hendrex) is coming out on Luciano’s Cadenza Lab. How did the relationship with the label, and Hash Hendrex, happen?

Well my relation with Cadenza started right when I when to London to study sound, I discover the Blind Behaviour of Luciano in Peacefrog and it did really inspire me,, then Cadenza came out, was one of my main influences, with Ricardo, in the techno side and electronic..
Hash I meet her in London a few years ago, randomly at my friend’s house, we had a particular connection and since then it has been like an intense and unique experience :)

At over ten minutes long: Time is a brave arrangement and one that works particularly well. Can you talk us through the process of producing the track, and what inspired it?

Actually happen quite quick. Was a kind of emotional process, like the peace after the storm of a history. I had my studio overlooking the sea, like right on the top of the water (As u can hear is kind of aquatic, like being in a boat somehow), was amazing,, plus I had all this positive feelings in my mind, and I made it in a few hours :)

I get like taken by the energy of the tune and I do forget about the world when I am working in something I love.

How did you first get into Dance music, who initially inspired you?

I been a big music lover since I can remember. I played classical guitar since I am 7 and l listen to Classical, Heavy Metal, Rock, Punk, Reggae and Electronic since I was very young too. I remember before going to bed when I was a kid I could get my headphones on till very late and listen to the radio, at this late time dance music programs, and I remember hearing the hit The Night Train at the radio when I was very young,, later the first band really hitting me into electronics was Depeche Mode,, my friend woke me up with a Banger of Depech when we were in one of this Camping summer things, being a Teen and it did blew my mind….

After I started partying and electronic music House and Techno became like my priority, here is when I discover Telefon Tel Aviv, Luciano, Ricardo, Herbert, Isolee, Juan Atkins, Saunderson, and many more artists.

You are about to start a summer tour beginning in Columbia at Low to high, and then onto Ibiza. Do you fell that Dance music is now a global language, and how would you define what is ‘underground’ music in 2015?

Yes, very happy to go to Colombia,, my first time there and I must say my favorite dancers came from this country,, ………………………..And yeah music doesn’t need to use words :) is an universal language,, that’s why is special.

Underground, is a paradoxical term. I think underground should be Overground but the masses are not use to pure art, their ears and eyes are not use to it so it can’t sell so much as mainstream, or get to so many people. Something actually Luciano, Richie and a few others did quite good was bringing the underground to the over ground, I mean for many people and that’s really good. The problem is that when u are a pure underground artist and suddenly you became huge,, is not easy to balance cause u have too many people and energy around u telling: oh is better if play this or that and underground can get easily distracted,, is just human. But yeah is anyhow a quite complex matter and I guess not easy to balance as an artist when making music,, is like a choice,, u can choose to make music like David Guetta, use the same formula and get super commercial, but yeah I guess is mainly doing something with a non-commercial aim what keep things true and underground, like just for the pure love of doing it, but by no means I try to do underground or no underground music, I like good music and innovation, to surprise myself and get Goosebumps. But yeah the paradox is when u play underground music for millions of people and is a super production. Is that underground anymore? Anyhow, I think the most people gets the better!!

Can you tell us about any projects that you are involved in that exist outside of nightclubs?

I had a few, like with Heart in Ibiza but I don’t have time cause I’m really focused on my own projects (all these projects require a lot of time ) that actually lately are all dance music. I am opening a Label so for this, all the gigs, eps I need to finish for other labels etc is keeping me busy enough :) I am always open to new experiences though.

What are you looking forward to most in 2015?

Well my goal when I started making my own music was traveling the world sharing the love and opening minds,, and yeah still is :) Playing for bigger crowds, new Places and with different artists I can learn from are in My Mind. Actually I did a little course of Percussion in Cuba a few years ago and I would love to find time in 2015 to go there and learn a bit more Before Cuba is totally changed.

Comments Off on Reviews: 154

MARINI’S on 57 – Sunset Hours Volume Two
Compiled by Chris Coco & Afterlife
Secret Life

I probably end up at this time every year thinking wouldn’t it be nice to have a selection of super chilled, emotionally charged music with just the right amount of uplifting melancholy. And low and behold here we are. Of course, that would be to encourage a disservice to this all year round quality music that doesn’t need sunshine, or the sea, to exist (MARINI’S is a bar, restaurant and lounge in Malaysia, located on the 57th floor of a skyscraper!). Plus, you would be hard pushed to find two better examples of the genre than long time advocates Chris Coco & Afterlife aka Steve Miller. For me Christian Prommer’s gorgeous, jazzy ‘Can You Feel It’ is about as cool as it gets, and is followed by the inevitable acoustic guitar of Micko Roche’s lovely Baltimore. And so each track occupies its own special place, indeed there is no filler here, no fluffy ambience with each piece of music containing its own bite – relaxation isn’t always an option as moods darken too at times. Special mention too for Jose Padilla’s sublime Mojame and Coppé’s crazy, surreal cover version of Fly Me To The Mooooooon which finishes.

Release: Digital 8th June / CD July 2015

Metanoia EP
Tenampa Recordings

DAVI once again pulls it out of the bag conjuring up another first rate forward-thinking production. And luckily for us this one hits the summer button head on. Metanoia, comes drenched in rich atmosphere with swirling pads and chiming guitar lines feeling suitably breezy and intense across heavy beats plus brooding bass – music to get lost in for sure. Next, Ordinary Nightmares lays down a series of blistering FX together with edgy synth hits, while the addictive, commanding basslines of Illusion completes this cosmopolitan blend of sights and sounds perfectly. Excellent.

Release: July 6

Comments Off on Reviews: 153

Single of the Week

Sebb Junior
Move It EP
Madhouse Records

Paris’s Sebb Junior debut on the Kerri Chandler’s label sees the artist reignite all the ingredients that made House in the early 90’s so timeless (in retrospect). The self-assured title track feels addictive with breezy, summertime jazzy keys looped over bouncing drums and chopped up vocals that work their way into your mind. The excellent, Don’t Stop then proceeds to hit you with classic piano that sounds every bit as great as it always did combining warmth, emotion and dancefloor punch. Let You Go provides the sting in the tail via its sassy drums and yearning vocals rounding off another great release from the imprint.

Release: June 1 (Traxsource Exclusive) / June 14 2015.

Ellen Allien
High EP
BPitch Control

Making eleven minutes sound exciting, creative and in the end enjoyable is no easy task but this first release of the year from Ellen Allien does all of that and so effortlessly too. Driven by its addictive bassline High builds in layers of suitably tense movements with tough percussion punctuating the rhythms while dark synthesizers dance away in the background. The focal point creeps in towards mid-point with a You Make Me Feel So High vocal line that I guess will have everyone nodding in approval. Lou, comes next combining Acid and Techno across hard-edged beats with undoubtedly breathless results.

I Love Acid

Number five in the series could just be the hottest to date with the vinyl only release arriving again in limited edition. I.E be quick. Beat Down is blistering ACID at its finest with gritty drums and 303 lines working themselves into a frenzy amid harsh vocals. Next and first rate, Inside You fuses more of Roland’s classic box together with deeper pads and funkier bass, leaving We Are The City to jam across the beats with perhaps inevitably Jack Jack Jack vocals tell you just what to do.
Numbered 303 copies

Bruce Brubaker
The Glass Piano
Infiné Music

I can’t confess to knowing a great deal about Brubaker but I aim to rectify that very quickly. What captured my eye was that these are Phillip Glass compositions (who he has worked with, and has also released previous interpretations through Arabesque Recordings) and likewise has again recorded fresh versions of existing tracks for this release. Acting as a conduit for the full scope of the composer’s imagination achieves stunning results, which apart from actually listening for yourself is almost hard to put into words correctly. I love the way the music tells its own story, conjuring up situations in your mind to accompany the narrative, and the freedom of possibilities that the combination of notes portray. Coming from decades of reviewing Dance Music it’s interesting to compare the result of repeating layers and textures evolving here, which in the end say so much more than the tired numbers of functional music being reproduced in that arena. So please enjoy the exquisite series of notes expanding across the stereo of ideas via Bruce Brubaker’s fingertips (plus of course the Plaid remix of Metamorphosis 5 which not surprisingly sounds very much like 2015.)

Learn more: