Jovonn Q&A

Hello and welcome to Magazine Sixty, Jovonn. Your brand new album: Timeless features a total of twelve tracks each capturing soul and inspiration, and is featured on your label Body ‘N Deep. Its been a while since you last artist album, so why does 2018 feel right for the release of this music?

I thought it was time to come back with a series of tracks introducing Body n Deep sound to todays deep house by mixing them up old and new style formula but still keep the true jovonn chords and bassline signature, i feel its the right time this year to cultivate my style by giving what the cool kids want to hear from a pioneer who has been doin this from the begining and still relevant to this day.

buy: Jovonn – Timeless

It feels like a long time has passed since you began making records back in the early 1990’s yet you have retained certain essential qualities in your productions. Can you talk us through what’s most important in music for you, and what is about music that has the power to transcend time?

I think structuring making music is important to me ,you have to make scene when you start a track and where you’re going with it from the begining to the end and never be afraid to go beyond creating something different no one has ever done witch makes you different from everyone else. i truly believe being creative experimenting different sounds makes a big difference we have the power to change and continue to be a part of this spiritual feeling we call house, deep house , tech house ,techno and staying on top of your game by introducing yourself to the world .

Who are your most significant influences right now both within and outside of electronic music? Any particular artists, painters, writers etc who like to refer to for inspiration?

I’d say one myself I’m my own inspiration because its like a life journey i like to listen to my own music I’ve created in the 90s to what i achieved to this day .i get my other inspiration from guys like Apollonia ,Kerri Chandler, Dennis Ferrer, Robin Hood, Ricardo Villalobos, Joseph Capriatti, Marco Carola, as for famous painter Leonardo de Vinci for his writing as well as an artist and Vincent Van Gogh because this painting he did called ‘Cafe Terrace at Night’ brilliant painting when i look at it reminds me of the night life going out to eat and to a club afterwards helps me create the music i feel deep within me and as for writer i like James Patterson who is a serious suspense writer if your into that sort of thing 😂.

The vocal that creeps into Affection has a particular emotional charge to it. I was wondering how you felt about the progression of song writing in Dance Music (or the lack of it) since you began producing? And how do you feel about today‘s greater concentration of rhythm rather than song?

Realistically i don’t write any of my songs on paper i first create the track i close my eyes and listen to it i then put my headphones on and listen to it some more i feel the emotion of the track turn on the mic and press record and just sing what im feeling straight of the top of my head , I’ve done that to everything I’ve ever done for almost 30 years and if there’s something i didn’t like after recording i go back and edit as in record over so that it make scene. i think sometime in dance music dose lack vocals maybe because a lot of producers don’t write songs or theres a lack of writers who can write to deep house, techno but you will find loads of writers in soulful house because it has structure what i mean by that is they do full production like an R&B song in the late 90s i use to do that for example the Mary j Blidge Remix i did ( ‘Just Fine’ ) was full production and soulful but i decided to go back with what i am comfortable with and thats Deep House.

Tell us about your studio: BaseRoom. What do you love most about it? And do you have a favourite instrument or piece of software you always use?

Ahhhhh Yessss….my dear wattson my studio is my playground my getaway comfort zone and my private club , i turn out the lights ,click on my mobile laser light unit ,play on my pioneer decks and turntable from USB to Vinyl blast my sound system shaking the house or be creative making music , my now favorite instrument is my Native Instrument is my Komplete USB Keyboard controller connected to Maschine Studio i have Unlimited Sounds and Drum Sounds where i can be as creative as i want , i also use Digital Performer as to where everyone else use Logic i don’t use that software simply because everyone else in House Music uses that i rather be different and stay in my own lane , i also incorporates my hardware KORG, Triton ,Motif ,Mophat,Yamaha CS6x keyboards to make more of my olskool sounds im known for .

Is there a difference between playing in Europe, or elsewhere in the world, and in America? Do people prefer any different styles or is music a universal language?

Its a universal language to me because if you like hiphop and r&b , jazz to neo soul you certainly can get into house because you feel it its undeniable.

How would you describe the Dance Music scene in New York? Is it in a healthy state, are there any Clubs you like to check out?

Yes i think the dance music scene is doing well here in NewYork over in brooklyn williamburg is crazy, Output witch is my second home I’ve played there at lease 8 times ,Schimanski played there, Anolog , Now a days , Black Flamingo played there , Brooklyn Mirage are all awesome clubs ,theres a few i was told thats in development coming soon id like to check out for sure.

And finally. Please share with us your future plans for the remainder of 2018 and beyond?

Looking forward to tour play live keyboards and drum session along side playing the rest of the year and still make new music Looking to bring out new Talent to Body n Deep and do another album mid next year.


Yulia Niko – Cheap Story – Hottrax

Yulia’s imaginative use of sounds which appear at just the right moments lift this way beyond the usual repeating rhythm tracks. Yes, the rolling bass and raw drums all produce that addictive sense of wanting more, but it’s actually the introduction of simmering Acid lines alongside an unexpected, yet resolutely stunning, breakdown which set Cheap Story cleverly apart. The equally fiery, Not For Everyone follows again playing with acceptable notions while letting creative fever run free via more hot Acid this time complimented by the rush of emotive chords, which only heighten the levels of intrigue. Either way a great release.

Release: September 21


Robag Wruhme – Wuzzelbud FF – Hart & Tief

This double EP feels just like an album spanning nine tracks in total. Reaching out beyond the dancefloor the selection of music on offer delves into impulsive, gritty ambience such as on the brutal structures of Perluv, while the undulating liquid funk of the preceding VEDDEL BAAV is simply too hot to ignore. And it’s that sense of diverse variance that the music touches upon with such great effect. The electronic pulses generated by the addictive Provol Eto are then contrasted by a number of more in-depth numbers, which see Robag Wruhme expand horizons with ideas of rhythm and atmosphere on Tisma, plus the beautifully engaging Ausgang which completes this stunning release.

Release: September 7


T And K Crew – Memory Child – Balkan Recordings

This being the standalone Balkan Recordings the only word you’re going to hear is ACID. Terry Farley and Kevin Swain of D.O.P. inject all the excitement that the term entails fuelling a brisk, richly intense blast of spine-tingling analogue which simmers via an irresistible, syncopated funk. Complimented by the excellent percussive Acid Tool mix which seeks out a future not in the distant past, but here and now. Remixes come from a grainy, probing Posthuman who digs deep into the equation, and from Kirk Degiorgio whose bassline and piano combination lift it all skywards.

Release: September 17


Jovonn – Timeless – Body N’Deep

What makes music timeless? I’m guessing it has something to do with the inherent quality of having exactly the same emotional resonance played then or now. It’s the way that sounds conspire to suggest emotions and ideas which resonate throughout each subsequent year. Never fading or losing impact. If they do then perhaps they weren’t quite so timeless. Jovonn’s new collection of music poses those sort of questions because their unfussy succession of classic sounds echo from the 1990’s to today. Drums, bass and the human voice all feel reassuringly familiar yet cutting such as on the almost opening, Affection which quickly becomes an addictive listen. The self-explanatory, Party In My House contrasts with techier, tougher rhythms offsetting the grainy vocal delivery, while the soulful refrain of Turnin Me Out gets down to it accessing a sleazier vibe. The excellent L Speex is more playful with frisky percussion and timely piano injecting the letters HOUSE into the equation. Which leaves the rather beautiful, eloquent title track to answer it all care of smoky horns, low-slung liquid bass plus more emotional punch than many could muster. Timeless.

Release: September 24



Yoni Yarchi – In Distant Places – Nie Wieder Schlafen

More excellence coming your way from the imaginative, musical mind of Yoni Yarchi. Again this plays like a colourful amalgamation of sights and sounds which create powerful images across the stereo field. In Distant Places, punches hard via its tough kick drum while contrasting with a beautiful ambience that breaks down into a meditative bliss – warmth, emotional clarity and defiantly musical. Complimented by a breath-taking, beat less Chill Sunrise Mix which extenuates all of those very attributes into one big rolling trip of heightened pleasure. Moments, then completes with a return to motion via waves of picturesque keys plus heart-beating drums, sounding like the future is rest assured.

Release: September 17



Throbbing Gristle – Journey Through a Body / Mission of Dead Souls / Heathen Earth – Mute

How would you best describe Throbbing Gristle? The very opposite of pete waterman. The antithesis? It’s peculiar now that when these records were originally released between 1980 to 1982 they passed me by. I have absolutely no idea why that would be as the music contained (along with their initial albums) hold a special significance for me today. The passage of time hasn’t aged anything about them. Which, after all, is how you determine what is really classic, what is not. The bands importance both as innovators and as creating some of the most stunning music since Johann Strauss cannot be underplayed. Perhaps that was what lacking any traditional sense of coherence produces in Art.

Beginning with the turn of the decade and the live album Heathen Earth which features an uneasy sense of electrical ambience as it does fierce distortion, it was never going to be an easy ride, was it. Something Came Over Me, illustrates the beauty and the beast just as any of the consequent tracks pulsating with brisk electronic energy, off kilter voices, atmospheric horn blasts, plus the soaring blaze of uniquely realised synthesizers do. While the proceeding Still Talking fathomed depths through the sound of voice that haunts to this very day, also preceding what came next with the use of samplers etc: I always find the unexpected, those moments are the best. A number of added extras comes with both the vinyl and CD releases which include photographs from the performances and additional bonus tracks.

Mission of Dead Souls, recorded at the Kezar Pavillion, San Francisco on 29 May 1981 sees the final performance of the band. This contains Persuasion, and if you needed any play this LOUD and be convinced. It is the suggestion of the flipside to life which chimes so powerfully alongside the brutal accompanying analogue via Chris Carter and Peter ‘Sleazy’ Christopherson tearing at the edges of sanity, and of course Genesis Breyer P-Orridge’s vocal. Which teases out any relevant, hidden or otherwise, nuances. Again another essential document from the time and all part of the fascinating story. Sleeve notes are from Jon Savage.

Journey Through a Body, completes the action and was recorded as a piece of radio art for Italian National Radio RAI, Rome in March 1981. Catholic Sex has a certain liquid funk to it as well as Cosey Fanni Tutti’s brilliant Cornet playing, feeling like light relief to their more abrasive output. As does the chiming musicality witnessed on the rush of rhythm on Exotic Functions and the charming piano of Oltre La Morte, which also contrasts markedly. Having said that there is Violencia, as the title intimates sequences the unforgiving chorus of darker energies once again. The album has been unavailable since 1983 and is pressed in silver. More than enough to whet your appetite for now. The Art of noise.

Release: September 14

Pre-order here:


An On Bast Q&A

Hello and welcome to Magazine Sixty, Anna. Let’s start at the beginning and can you tell us how your alias came about: An On Bast and what it means for you?

Hi and thank you for the invitation. An On Bast is a connection between my name and Bast (or Bastet) – Egyptian goddess half-woman, half-cat, she ruled cats in the ancient Egypt by playing the Sistrum instrument. Well, the story behind my artist name is that I grew up with lots of cats around, I spent most of my time with them. So I feel I’ve learnt a lot from them, they kind of shaped my character. From the other side I wanted it to start with an “A” as my name, so I wrote Anon (because I do snowboarding) but it sounded “too cold” for me so I divided it into An On and added Bast as a “cat element”. All in all I wanted something very mine, something that is significant to me, also 3 parts sounded cool to me as (I am a fan of both!) Boards of Canada and Mouse on Mars.

How would you describe the creative rewards of performing live? Do you feel that if there was more live electronic artists the music would be more experimental, more about future than the past?

It is an individual approach, I can only speak for myself and for me it is essential to play live act, to make music live from very small elements, have such a deep control over every tiny step so I can create this live energy I want in the very moment on stage. I think I perceive myself as a musician to whom electronic music technology nowadays gives the opportunity to create many sounds at the same time, to trigger and control many voices happening.
So for me it is very rewarding as it gives me every time a unique experience of improvising and experimenting, having the ideas that might not appear in a quiet alone studio work. It also contacts me with the audience, as I play completely with interaction not only with myself but energy of the people.

Tell us about your excellent new single: The Ballet Began At Eight and where the title came from for the title track? Plus your relationship with Catz and Dogz, Pets Recordings?

Thank you, the title hit me as I was reading a book about Igor Stravinsky, about his premiere of “Rite of Spring”, how nervous he was and how bad it was received soon after the orchestra started to play. And it hit me because this performance began at eight and it was like a new world opened up, the new chapter of history of music was started – even though the first performance was took by the audience and critics very bad. But there was something significant in the air that has changed the music forever with this ballet.
I like a lot releasing albums and Eps. because they mark some point for me. Every record after release cut off the line from the past and I think I felt that with this title. But I feel it with my every release, however they don’t change the world 🙂 They just make me move on. It is beautiful that every album, EP lives its own life influencing people here and there, giving them good emotions or not at all but the beauty of it is that for me it is done and I’m just an observer of my work and of course I’m very happy that I can spread good feelings and that there are people who are catching them in my music.
We know each other with guys from Catz and Dogz for many years, I remember them as 3 Channels already so the beginnings of their remarkable career. Our paths were cut many times not only by playing the same parties, we also have common friends. I always respected a lot their talent and work but I always thought we have different taste in electronic music. But about two years ago they proposed me an EP making for Pets so that’s was I guess a process of finding the common music language. I’m very glad that we did, as the label heads they are very good in what they like and what they don’t, there are no grey fields, and I stand for the same values so that’s why we are all super happy with the result.

Can you describe the production process involved in creating it, including any favourite pieces of software/ hardware you like to refer to?

I wanted this EP to contain the tracks in different moods. I used modular synthesiser a lot in all of them. Generally my music production attitude is that I like to play and record rather than draw in a software. So as usually I played my instruments in various connections.
The more house tracks are made by playing Korg Minilogue. I used also the samples I recorded with Dave Smith Pro2. Drum parts are made by total fusion of eurorack modules, Elektron’s Analog Rytm drum machine and digital Yamaha gear. I work with Ableton Live and Midas Venice mixer console as a centre of my studio for recording, arranging and mixing. I use Avalon 747 sp a lot and some of my all-time favourite Vsts too with D16 among.

If electricity didn’t exist which acoustic instrument (e.g. guitar, piano etc.) would most appeal to you?

In fact I thought about it a lot. Because it is true that now I’m totally dependant on electricity. So I thought many times what would be my instrument let’s say two centuries ago. And definitely that would be the violin. I can’t play it in this life though but I feel connected somehow to it. I just touched it a few times but usually I have a great respect to the classical instruments and it’s individuality so I stop myself from asking my friends to give it to my hands 🙂 Although I wish to spend some time trying it.
Here and now without electricity? I play the piano and the guitar so yes, definitely both.

Who are you main influences both within and outside of electronic music? Any particular writers, painters, poets, musicians you particularly admire?

Influence for me happens as a trigger, motivation to be, to say, to express. That’s why probably I make music from the start. I guess I’m inspired mostly by non-music world, by people who are talented, hardworking and challenge themselves to be the best. Not to rival but to cross their own borders. That’s why I can surely say that I admire Roger Federer, Rafael Nadal, Cristiano Ronaldo, Kamil Stoch (polish ski jumper) among many other professional sportsmen, their force inspires me to go to the studio every day and do my search within sounds creation, by philosophers like Henri Bergson, Aristotle, Jiddu Krishnamurti, writers Hermann Hesse and Philip K. Dick. I’m for sure under influence by cognitive science, quantum physics, sci-fi movies, joga, rock climbing and most importantly my everyday life with my family, cats and friends.
From the music world it is still Mozart, Bach, Arvo Pärt and Stravinsky that amaze me.
Lastly the instruments themselves, all about them, are super influential for me.

You have released several albums already. Where does all your creative energy come from to do so and describe a typical working day in the studio?

Yes, well as far as I remember I played instruments, sang in the choir, etc. When I realised I can express through electronic music that I loved in that time the whole world opened for me and I feel this energy to create ever since. I’m grateful for that as I have too many creative ideas than time, so I spend plenty of hours a day in the studio. I start usually after breakfast and work until the evening. I usually have a few projects I work during one day, that’s kind of multitask thinking in me probably. But I also have learnt consciously to keep a good balance between music work and doing other activities that I love like sports which give me distance and support my discipline.
In the studio I work on my own tracks for albums and Eps or I’m a producer for some other artists, musicians, vocalists. Sometimes I sound design films, animations, art installations or I work with dancers and choreographers making music specially for modern dance performance. I compose my special concerts for special occasions (historical, connected with an idea or re-adaptations of classical music). So it depends on my mood but also on deadlines 🙂
I feel a unique connection with my equipment and I experiment with it often. I use a lot of my own technics I developed over the years to use the gear creatively to achieve something new or to figure out some new ways of doing something. That’s what interests me the most – my new methods, new sounds, new possibilities. Probably my energy comes very much from my curiosity, fascination and personal development.

And finally. Besides you busy touring schedule what would be your ideal goal to achieve as an artist for 2019?

Ideal goal would be to write a piece for An On Bast and symphonic orchestra and tour with it around the world. Also I dream about scoring sci-fi movie.
Generally I am on the path that I am grateful for. I think I just would like to continue my way, play a lot of concerts in many places sharing good vibes with different audiences. I just wish to continue this beautiful journey.

Buy: An On Bast – The Ballet Began at Eight – Pets Recordings


Kubrick’s Music: Selections From The Films Of Stanley Kubrick – EL Records

Kubrick’s very best films were steeped in mystery which required you to think beyond what lay in front of you on the screen. Things you witness sat in the memory, sometimes identifying themselves, creating the underlying sense of unease: HAL. I’m sorry, Dave. I’m afraid I can’t do that. You’ll remember that dialogue from 2001: A Space Odyssey from 1968 because as much as you reverberated with fear, you also marvelled at the depth celluloid could fathom. In much the same way that The Shining and A Clockwork Orange worked. The other notable was always the accompanying soundtrack which enhanced scenes without completely overpowering them, although they did often perilously come close. This excellent four CD boxset captures some of those various moments in time from 1957’s Paths Of Glory right through to the directors final film, Eyes Wide Shut from 1999. And highlighting a lot of those transcendent screenshots are the wild and varied music from the likes of Johann Strauss II, contrasted by Gene Kelly’s ‘Singin’ in the Rain’ and the haunting ‘Midnight, The Stars & You’ by Ray Noble & His Orchestra (featuring Al Bowlly), to the then exhilarating Jazz of John Coltrane and Oscar Peterson, to name just a very few. Some of the music included was only finally used during production, to be later replaced, but as was all part of the original plan they play like an intriguing addition. In many ways, this compilation is almost too much to take in in one sitting and, like his films, require repeated viewing to fully absorb the full wealth and breadth of precisely what’s surrounding you.

Release: September 28


Man Power – Valhalla & Fidelity – Me Me Me

Another hot creation from the mind of Man Power sees bold Bass command the stereo like life on earth depended on it. The suitably titled Valhalla plays as a cryptic realisation of events, driving thought and process all the way, while proving to be nothing short of a stunning, outstanding piece of work to celebrate the labels second year in existence. The climactic rush of synthesisers that hit somewhere mid-point break down into an almost classical crescendo that is pure ecstasy. It’s actually a surprisingly uncomplicated production given the brutal intensity which the sounds gather to occupy. The chiming arpeggios of Fidelity then follow with a reference to 2001 igniting the shimmering techno hi-hats and compelling soundscapes throughout the operation.

Release: September 28