Reviews 178

jpJP Chronic feat. Gramma Funk
Funky Shit
Chronovision Ibiza

Lifted from his forthcoming album ‘Arrival 13:36 Gate 63’ is this hotwired Disco number that serves up its additively, undulating bassline in full effect. Aided only by occasional funky percussion, high-end strings hits and a couple of excitable breakdowns this is both simple/ uncomplicated yet straight to the point. Three remixes accompany the original plus an acapella featuring Gramma Funk’s particular brand of the spoken word. First up is Gruia who adds a bouncier groove, while cutting up the vocals to reset the Disco angle. As does Danny O whose excellent driving, percussion punctuated rhythms really get under your skin. Then Italian duo Jonny N Travis fuse a more haunting, atmospherically charged version that sounds like the perfect complement to the album mix.

Release: Sept 1

Listen/ buy

Hollis Parker
What You’ve Done
SoSure Music

Hollis Parker’s tempting ‘What You’ve Done’ points in the direction of a forthcoming album: The Last Raw Era of which I’ll be reviewing shortly. As the title suggests this evokes the past which will come as either a pleasant reminder or possibility even a relatively pointless exercise. Or, you could just simply enjoy what is essentially quality music. Its smoky, Saxophone punctuated rhythms certainly feel emotive in that classically soulful way neatly capturing the essence of the early 90’s. Punchy beats plus guitar flourishes all go to colour in the background most effectively while the yearning vocal lines add a certain extra bite. Next, is Parker’s Lament which also the retraces deeper, more ‘soulful’ moods of the period and again sounds like good music to me (still).

Release: September 5

Ashford & Simpson
Love Will Fix It: The Best of Ashford & Simpson
Groove Line Records

It’s in the region of 29 degrees outside (hot for the UK) and this compilation of beautiful moments from Ashford & Simpson is blazing away on the stereo. Spread across two circles of vinyl it’s always striking just how well produced the music still sounds decades later, and also the supremely gifted song writing abilities of the duo, plus of course those heaven sent voices. A bunch of personal favourites are on here, not least of all It Seems To Hang On. But feel blessed, enjoy the weather, love their timeless music.


Cozzy D Q&A

cozzy dYour label: Lower East reaches its 45th release with your production ‘At The Rave EP’. How has the journey been and what are the positives gained from running your own label, any negatives too?

It’s been one hell of a journey, and amazing looking back over the past 6 years seeing how far the label has come. I’ve had the honour of working with some of my peers and legends such as Larry Heard, Gerd + MK and also provided a platform to expose up & coming talent such as Alexis Raphael, MoodTrap, vs.Mode & others. Having my own label has given me my own identity and a hub for me to release my own music and help push others. I feel 2016 has been our strongest year to date and I am really excited about the musical direction we are going in and some of the amazing artists involved.

It’s fair to say that the EP’s excellent title track hints at the past, although that could also be a disservice as it feels very much set in 2016. How would you describe the current state of House Music: is it paying too much attention to its history, or is forward-thinking tearing the music away from its roots?

I have always liked referencing the past BUT to create the future. In recent times there have been a lot of 90’s references in House Music and many people jumping on bandwagons trying to replicate that sound. The 90s will always have a special place in my heart as they were my teen years and towards the late 90s was when I first got into raving, DJing and dance music in general, so I take much inspiration from that era, however, I like to be forward thinking with my music and not follow trends just to remain popular. It’s sad to see so much generic music about these days. So much of the same lazy formulated tracks seem to be knocking about. I guess that’s the problem with the digital generation, it has made music so much more dispensable.

Can you talk us through your production process and about your studio set-up with any particular favourite pieces of software/ hardware?

I have been collecting vinyl for over 18 years now so quite like digging through my crates to find samples. I usually take loops, hits and vocals etc then start working an idea around those. Am a big fan of hardware and quite often use the 808 and 909 and also Juno 101 and also recently been using the xoxbox for a bit of aciiiiiiid 😉

coz djYour new custom made DJ deck stand looks pretty amazing. Please tell us all about it?

I’m very lucky to have an interior designer as a Fiancee. She designed it for me and found a carpenter who specialises in making wood with scaffolding furniture to make it for me. One of the best things I have ever bought. Love it!

How did you get involved with and why do you feel radio is important in today’s digital world?

My agent at mn2s Joanna Miles had me down as a special guest one day and from there the bloop lads asked if I would host my own monthly show. It’s a great little studio set up run by a good bunch of lads. I’ve always been comfortable presenting radio shows as used to have my own many years ago on House FM. I find it’s a great platform to showcase new upcoming music from myself and Lower East. It’s also been great having special guests down to come in for a chat and guest mix.

Outside of Dance Music what are you most important influences?

bloopGrowing up I was a massive Michael Jackson fan. I don’t think I’ve ever met anyone who wasn’t in some way inspired by him. I’m very lucky to have got the pleasure of seeing him Live before he died, at Wembley Stadium in 1997. A musical genius and one of, or maybe THE greatest performer ever. I loved his musical diversity and have taken that on with my own music. I get bored easily so don’t like to always make tracks in the same style. Depending on my mood I can go from making jacking Chicago style house, to tribal party vibes or even more raw techno or rave influenced tracks.


Can you share with us your forthcoming plans for 2016 and beyond?

2016 started off nicely with a 5 track EP on VIVa feat. Roland Clark on vocals. I’ve just dropped a new single ‘At The Rave’ on Lower East which has been getting amazing feedback and support. Following on from this I’ve got a track forthcoming on Material’s ADE Sampler in October, a remix for SEFF on Twisted Fusion, an EP on one of my favourite labels, Waze & Odyssey’s Street Tracks, and a remix for Joeski also on Material. Few other bits in the pipeline too which I can’t say too much about right now.


Reviews: 177 (c)

MFFDan Ghenacia & Chris Carrier
Vaporized EP
Music For Freaks

Music For Freaks continue their succession of killer releases with this latest from Dan Ghenacia & Chris Carrier which sounds suitably twisted, yet so obviously fine and funky. And not only does the sleeve boast the Grateful Dead’s Jerry Garcia sat in a bath on the cover but the EP’s title track oozes the sort of shuffling, hypnotic rhythms to leave you spellbound. The music feels like it’s pointing to the future too. The Green Bell contrasts with darker moods across sparky drum machines, as Wind and Fire ends on a slightly oddball combination of brooding chords, Jazzy meanderings and strange voices.

Release: 22/08/16 (v) – 14/10/16 (d)
listen/ buy


Reviews: 177 (b)

moLeftwing & Kody
Squaring Circles

The duo finally arrive on Mobilee to deliver three equally fiery new tracks. But even if the release was just the title track alone then that would be more than enough to satisfy. The only word to do Squaring Circles some sort of justice is, explosive. A tough, heavy-duty arrangement of probing notes, pounding drums and infectious vocal edits all combine with a powerful emphasis to cause chaos. Future, occurs next on a deeper tip with dark voices accompanied by atmospheric, whirring synth lines alongside splashes of Detroit for added crunch. Leaving, Torus to end on a groovier note informed by funkier percussion plus punchy keys resulting in yet more hot, sure-fire rhythms.

Release: August 19


Reviews: 177 (a)

dirtybirdKill Frenzy

Love this. It’s the sheer confidence and belief that these four bars of intense organ hits are enough to command the track, as indeed they do, that is so charming here. Although, Silo is anything but polite as it stabs the keys out and over crisp drum machines, cold voices and an imposing range of effects giving the arrangement a haunting, devilish reference which, let’s face it, sounds totally s**t hot!

Release: August 26


Reviews: 176

VF233_ artworkKim Ann Foxman
It’s You That Drives Me Wild EP

Next in line from Kim Ann Foxman’s joint Firehouse/ The Vinyl Factory production house comes this superlative, dark somewhat sleazy yet ecstasy saturated release. The aptly titled, It’s You That Drives Me Wild title track joins dots between House Music of 80’s and todays fiery infusion of sounds. It also boasts a striking arrangement that effortlessly ignites the tension care-off of Foxman’s captivating vocals which are accompanied by a series of brutal beats plus an array of captivating sound effects. Maya Jane Coles provides the remix in her own inimitable style with deeper, chiming tones underpinning the voice. Second originals, Give It All You Got and the break beat fuelled Magic Window complete the picture in compelling style.

Release: August 19

Black Paint (Lenny Middles’ Acid Reprise)
Well Cut Records

Originally released on Tsuba records back in 2011 and as you can’t keep a good thing down Moodymanc’s notable Well Cut label revisits the Larry Heard remixed gem charged with a sense of wild Acid abandon – the clue’s in the title after all. What can I say about this apart from the excellent, simmering 303 styled tension sounds just as compelling as it ever did, while suitably accompanied by Lenny Middles faultless production prowess alongside finely tuned percussion seeing this journey into the electronic heart of the matter. Two mixes on offer. One with the compelling smoky voice-over, one without.

Release: August 26

affin032-ltd-joachim-spieth-evaporate-side-a KopieJoachim Spieth

Label boss Joachim Spieth returns with two tracks for his Berlin based imprint. But while, Evaporate didn’t quite grab me on first listen the rush of emotionally charged ambience on Decelerate certainly did. Which, in turn led me back to the title track as the very same swirling atmosphere’s make their presence felt conversely over pounding drums that all of a sudden ignite your senses in unexpected ways. Whichever way round you like it this is impressive music.

Release: September 19


Cosmic Pineapple Q&A with Kim Booth.

CP_1-web-610x610Cosmic Pineapple: Where did the inspiration for the name come from and please talk us through the concept behind it?

The name originally came up in Mexico at the end of 2012. I noticed how happy pineapples seem to look and the word cosmic naturally flowed before the pineapple! If you want a deeper meaning, the pineapple can also be representative of the pineal gland (which is associated with the pine cone). It’s a tiny gland at the centre of our brain that controls the circadian rhythms. The pineal gland is generally blocked on most people (fluoride is one factor of this, as it calcifies) and also life / media / society in general doesn’t feed the pineal gland to awaken (a child’s pineal gland is very open but closes as it gets older, for example). When the pineal gland is open it can lead to mystical experiences. Meditation is one good way to get it to open…Cosmic is a word I have loved for a long time, it is just out there and denotes something we can’t quite understand but makes us feel good!

You are running a series of Thursday nights at Ibiza Rocks House at Pikes Hotel in September. What are your plans for the evening, and why did you choose Pikes as the venue?

cos pPikes is such a magical venue. The history is crazy, the original owner, Tony Pike, built it from a finca in the late 70s and in the early 80s and it became this place of hedonism… Lots of artists used to stay at Pikes and Wham shot the video for Club Tropicana there. Tony went out with Grace Jones and people like Jean Claude Van Damme, Freddie Mercury, Kylie Minogue all stayed there. It went a bit downhill in the 90s/early 00s and since Ibiza Rocks has taken it over I love to see how it is evolving. I have known Dawn and Andy since a few years and I used to work with Sarah who now runs the events. I’ve been to some great parties there and I also used to teach yoga there, so I have seen both sides of what it can do. My aim for the cosmic pineapple parties is to fuse the music and ‘magic’ side of Ibiza, I use magic in this sense as more of a spiritual meaning. There will be a healing area with yoga, conscious talks, different healings and more. A night bazaar on the pink tennis court, which will have little market sellers from over the island. A creative area for people to experience different art classes – i think art is such a strong tool for transformation and creativity is our gift as humans! There will be cosmic music around the pool in the day time.  There will also be an outdoor cinema from Cinema Paradiso every week, which will lead into the night of the dance – two small rooms with wicked unannounced DJs. The idea is based on conscious raving and to explore all these little gifts we have to offer. I am also making them free with a charity focus. So in a sense you are partying / sharing / enjoying / creating for a cause… Which in itself makes it a spiritual practice.  I see these events as little cosmic and creative wonderlands to explore.

What importance do you think Dance music has in 2016 as a unifying force – compared with the seventies and eighties Disco/ House culture has society become more self-obsessed and insular?

I think we are in a new era and there is a reason why dance music has exploded as it has now. I love it when you are on a dance floor and you share exactly the same experience with everyone around you – a unified experience of oneness. On a dance floor everyone is the same and you can share a dance move with someone you will never meet again in your life. I’ve also met some amazing characters and friends in dance music that you just can’t find anywhere else. I have changed my perception when I go to clubs now. I used to chase which track was what, but now I am more focused on what the actual music is doing to me – how I want to move, what sounds move what energies, etc. There is something to do with the repetitive beats and rhythms which lure you into a meditative state. I also think it’s quite interesting how dance music averages around 120/130 BPM, which is double the human heart rate and i feel the rhythm something we can slip easily in to. I think dance music is very healing – it definitely attracts a lot of people who need some kind of healing or are searching for something a bit higher – and can shift a lot of heavy vibrations and allow you to feel elated when you get that good DJ who connects to the crowd and the music coming through.

Please talk us through you inspirational website?

The concept of the website is to inspire people to connect more to the self, the other and planet earth. I am a kind of seeker for higher knowledge. I have realised how a higher perspective can help you deal with life’s difficulties and make you understand more. A spiritual practice really helps me to be connected and trust in life. The idea is to share what I learn and to invite other people to share their own experiences and wisdom. I would like for it to be a web of good vibes from people around the globe! It is also really helpful for me to keep myself in check. I can come out of being in this space quite easily, so it’s always a good check in!

And tell us about the Cosmix series of mixes. How you go about choosing the DJ’s and do you have any standout editions so far?

I love the Cosmix! I’m so happy to put these out and they always inspire me at the right moments. For the DJs, it’s a natural selection. It’s generally someone I have seen out, or randomly emailed and told about the Cosmix, if they like it, they do it! I love it when people I have known for a while do them, as I can have fun reminiscing how we met for the write-up – dance music has some very interesting characters and stories to tell! RE standout editions, they all are in their own way and reflect a time of where everyone is at. I can’t say favourites. I would just go on and check out what mood you’re in!

Can you give us some background on yourself Kim? Where and how did you first get into Dance music and how would you say it has shaped your life?

I got into dance music at 16. My friend Tracy used to take me to a club called Bentleys in Bognor Regis. I think the first ‘proper’ DJ I saw play was CJ Mackintosh there, which was when garage was big. I got obsessed and used to listen to Danny Rampling’s Love Groove Dance party religiously and read all the dance mags to see what was what. I applied for work experience at Ministry magazine, Mixmag and Muzik when I was 18, forgot about it, and about six weeks later got a call from Ministry Mag to come and do some work experience. I stayed in a friend of a friend’s flat for two weeks in London and the mag liked what I did so kept me on for a bit as a junior writer. I then did a bit more work experience / freelance for Mixmag and Muzik and kind of fell into PR from there. I worked at Defected Records for a few years and got such a great education on the London house, disco and gay scene; I only recently realised how important this was! People like Luke Howard (who is now part of Horsemeat Disco) and Guy Williams used to take me to all their gigs and I loved it. It was also around the time of Roger Sanchez ‘Another Chance’, KOT ‘Finally’, ATFC and more, and was a really exciting and eye opening time. From there I worked for Underwater Records for a few years, around the time of Tim Deluxe ‘It Just Wont Do’, which was also a lot of fun and was very much like a family with people like Amy Thomson, Darren Emerson, Caroline Prothero, Garry Blackburn, Matt Stewart, Lottie and Yousef. I started my own PR company 11 years ago, after going traveling in Australia and Thailand. It started with Dan Ghenacia and Serge Santiago and built from there. Now we are three people working there and represent artists like Carl Craig, Josh Wink, Cassy, Ellen Allien, Steve Bug, Apollonia, Danny Daze, Stacey Pullen and more. Freedom has always been a big thing for me and I also have to love the music and respect the artist. I am very fortunate how it has developed over the last 11 years, i am not in this for the money, but more the freedom, experiences and creativity it allows. I have worked with artists and events who are on the same vibe and don’t mind my quite unorthodox approach to it all! I generally go away for a bit every winter and have emailed people from the back of camels in India and had to get a boat to get internet in Guatemala. It somehow always works out.

How would like to see Cosmic Pineapple develop into 2017 and beyond?

For the website, to get more people sharing and I think one thing I would like to do is hold cosmic and creative events / retreats around the world. I love traveling so much and experiencing different cultures and connecting to different lands. That would be quite magic!


COR100 (Zingiber Audio) Q&A

COR100 press photo 1You’re latest release: Sunday Afternoon EP is due out on Zingiber Audio in late-September 2016. Where did the inspiration come from for the title track?

The title of the release came because, with such a busy work schedule and with running the label, I only have a few hours off to create music. When I started the first track of the release, it was a perfect sunny Sunday and I felt very relaxed therefore I tried to describe my mood of that day.

Can you talk us through how you produced it, including any favourite software/ hardware you like to use to enhance your ideas?

I created ‘Sunday Afternoon’ first using Live 9 suite with many samples reprocessed in analog effects such as the Moog MF 103 and Roland Demora modular effects on small parts. On ‘You’ I worked on the vocal using the audio in Arturia Minbrute (not the synth’s sound) which allows you to modulate the sample like a regular wave in this machine, it was just a one shot with this set up. I’m preparing new tracks at the moment using Pittsburgh Modular 10.1, playing / recording real drums, percussions and other analog gear for effects or melodies alongside Live 9 for the editing / mixing side.

You launched Zingiber Audio back in 2011. How have you found the experience of setting up and running your own label in today’s digital world?

When I started the imprint I hadn’t thought of doing it for a long time. It was just a self produced vinyl but slowly I got more and more involved in the label and luckily had great feedback and support from cool producers. Also at the beginning of the project I wanted to run podcasts that make you feel good for example while having a drink with your friends whilst hanging out, and then two years ago I started receiving amazing demos from artists I know and also from producers I liked to play but I never had the chance to meet. Therefore I decided to find a distributor and become a functional label releasing on both vinyl and digital. I hope the label will continue this way and I particularly appreciate doing this as a job now because I have to do various jobs in one, such as being a graphic designer, music creator, music selector, producer, artistic director, e-business manager, order picker and many other tasks that you can imagine you have to do to make everything happen. Being flexible as people say!

Tell us about your experiences of NYC and the story behind why you choose there to studying audio engineering at the Institute of Audio Research ?

I never thought when I moved to New York at 21 years old that I would stay such a long time. I initially came to study English but NYC is such a perfect place for opportunities and meeting people because most of the people living there are from the rest of the world.
So while I was studying I started to spin in the East Village and loved it so much that I decided to continue studying there but this time in the field I have always been more passionate with. After visiting all schools with programs such as audio recording, mixing and mastering and music business courses my choice was pretty easy: The Institute of Audio Research. I think this school has teachers with so much concrete experience and I think they really go through all you need to start working as an audio engineer, or any job in the music field for that matter. All of the teachers were very friendly, picky, experienced and they truly influenced me in the way I hear or do music. Sometimes I’m in the studio thinking what would this teacher do to make this sound perfect and I even go back sometimes to my notes and books from when I was there.
For example I discovered modular synthesis and all the different kinds of audio treatments you could do in music.

12308676_1073825016000918_979167339986124248_nAccording to the creative side, I had the chance to see / listen to so many great DJs, producers, bands, visual and graffiti artists during my time there. Art is everywhere in New York. Djiing in this city is great because even on Mondays, Tuesdays, you can spin or go to parties, which felt new to me coming from Lyon France (which wasn’t like it is right now when I was in my 20s). The crowd in NYC’s nightlife communicate with you all the time and you see people having fun like if it was their last day on earth so you feel blessed every time you play. My DJ experience was great because of regularly meeting brilliant amazingly different people from countries I’ve never been to and DJs performing in town who later became some of my closest friends. I first met Justin Strauss at Virgin Union Square who then brought me to some of the best parties in town and has continued supporting me ever since. I really think I’m lucky because he’s one of the busiest and hardest worker musicians I know. He’s still playing with the band he was in when he was young and I like his attitude – he’s humble and made so much music in his life that I take him as an example for my personal career, much like a mentor. The Halcyon’s shop owners welcomed me to DJ in their Brooklyn venue and were always nice with me as well. I also had the chance to meet David Mancuso, Felix Da Housecat, Paul Johnson, Josh Wink, Random Factor, Jerome Sydenham, GusGus and Ralph Lawson, plus I heard the likes of Mathew Dear, Magda and Metro Area playing DJ sets before they became as famous as they are now. I think since the 2000’s the music business has changed a lot as back then everybody would visit the record shop on a weekly basis digging’ through records looking for something to sample or just rare records to play rather than just ordering at home like today. NYC is still an inspiration for me and “the city that never sleeps” slogan is far from a myth.

Who are your main influences both in Dance music and outside of it?

My influences are very wide because I started music by playing drums and not DJing. I first listened to a lot of Rock and New Wave bands like Nirvana, Radiohead and Depeche Mode at first before I discovered electronic music, such as House and Techno giants from Detroit and Chicago i.e. Kevin Saunderson, Derrick May and Jeff Mills. Following that I became more influenced by the newer French, British and German scene as well, such as Laurent Garnier, St Germain, I:Cube, Daft Punk and Dimitri from Paris or labels like Roulé, Robsoul, Freak n Chic, Silver Network or Classic Music Company. There’s always a place in my heart for the Chemical Brothers, Giorgio Moroder, DJ Shadow and A Tribe Called Quest, not to mention German pioneers such as Kraftwerk and Einstürzende Neubauten, as well as labels like Warp stuff, Ninja Tune, Big Dada and all abstract hip hop or electronica sounds.

I’m also a big fan of Villalobos, Craig Richards, Luciano, Derrick Carter and Delano Smith but my all time favourite DJ will remain as Larry Levan for this avant-garde, futuristic style. Nowadays I play a lot of Archie Hamilton, Julien Sandre, Apollonia and Samu I, not to mention many more underground records…

Your latest Podcast sees you mixing a varied selection across three decks. How would you describe your approach to DJ’ing and what for you makes a great record?

Dj’ing with 3 decks is the best way you can set up turntables but I prefer mixing vinyl to using dj controllers. I don’t think they represent “real” Dj’ing but this is my personal opinion and I don’t judge whether people really make something amazing with it. I started out with vinyl and I will always come back to it.
I can play on Cdjs, Serato controlled vinyl mixed with vinyl or just vinyl by itself. As long as you’re telling a story while playing music and it sounds good to your listeners / dancers, it is perfect. What makes a good record is a hard and a simple question… the music sometimes talks to your soul, sometimes to your mind, sometimes to your body, or in the best cases all three together. Sometimes it can be something that you never thought was possible. Sometimes it is obvious, sometimes less. There are a lot of songs I like but just don’t fit what I play. Some songs have a perfect beat or melody but all the other ideas, such as vocals or synths, may be cheap ideas. What makes a perfect track is that from the beginning to the end it makes you dream or dance and even feel pain or joy. Every emotion has a musical sound.

Can you share your forthcoming plans for the both the label and your DJ’ing?

The future of Zingiber Audio is not all that defined yet because I still have a long way to go before the label’s got recognised by a lot of people but I’d like to prepare more releases with as interesting and talented artists as I’ve done so far. I will try to bring new artists as well as take more risks artistically, though the scene is full of so many amazing labels and artists. Every record is a new story so I cannot tell the future…

In terms of Dj’ing I plan to organise some label showcases at some point but I’m waiting for the right time and the best venue for it… So far people have asked me about promoting parties but I haven’t had a lot of time to prepare events correctly. I’m starting to work on a new live performance but if possible I would also like to have some of the label artists perform live at future events.



Demuir Q&A

demuirYour excellent new single: Demuir & Friends EP is due out on Classic Music Company, August 15. Featuring three equally fiery tracks can you talk us through the influences and situations that went into inspiring the creation of the EP?

The track selection and setup of this EP was mainly a result of Luke Solomon’s feedback. He had first listen to a bunch of tracks I already had finished and I’m happy with what it has morphed into.

As far as influences and situations, we both wanted tracks that told a story that people can relate to while showcasing a diverse musical landscape. For example, “My Predictable Locals” recounts what        many DJs / Producers feel in their hometown in terms of acknowledgement. I find it ironic, when a headline DJ comes to your town playing a bunch of your songs, but the local factions are either not interested or aware of what’s in their backyard. I placed this over a Jackin’ House beat and some pointed vocals that underscore the point.

We also wanted to feature collaborations. Mark Farina found some great vocals for “Story of A DJ” that describes a DJ’s evolutions that spoke to both of us. The reference to Hip Hop is especially clever because that’s where I started my journey in DJ’ing and Production and I think the same goes for Mark considering his Mushroom Jazz background.

Lastly, Cynthia Amoah is a stellar vocalist who spoke about how she gets through the week in, “Here’s To Friday”. She steps us through each day with positive vibes all the way through. The beat was originally written for a collaboration project with Colette that just didn’t pan out in time. I wanted something upbeat and Cynthia nailed it 10 fold.

Can you also talk us through the production process of one of the tracks, including any favorite pieces of software/ hardware that you like to use when developing your ideas?

I’m a big believer in digging for records as a primary sample source because I learn so much in the process about the music, artists, and history. So I lean very heavily on that to find unique sounds that you just won’t find in an iTunes mp3 library.

I use a combination of software and live instrumentation. My main software / hardware gear is Logic Pro X along with Native Instruments Maschine. I love these tools along with UAD plug-ins because of the flexibility and impact they have in modern production.


How did the relationship with Classic Music happen and how important do you feel it is in 2016 to have the right label behind you to get your music heard?

DJ Sneak introduced me to Luke several months before and Luke was familiar with my music as he charted a few of my tunes and saw that I had releases on I’m A House Gangster. It just so happened that Luke had a gig in Toronto (my hometown) and Sneak thought it a good idea for us to all connect and hang out. Unfortunately, we all couldn’t get together, but I went to see Luke at his gig and he was banging out, “Ode to Chicago II” and a couple of my songs when I got to the club. It’s always a nice feeling to see people enjoying your music that way.

I think it’s important to have the right labels representing your music for exposure and to distinguish yourself as serious artist. Anyone can buy a laptop and put out songs now. So the distinction is important for your brand and the people you’re looking to reach.

Is it true that you can do 100 Meters in 10.2 seconds!?! Can you still do it? And how would you compare the rush of running with the emotions of DJ’ing?

Hahaha! That was so many years ago! I can probably give it a go, but I may blow my hamstring out. It is similar rush to taking people to a peak in your set, but not nearly in as short of that time!

How would you contrast the Funk/ Soul & Disco of the past in relation to song-writing and musicianship with today’s production styles?

1512364_1392519504338952_398602541_nGreat question! I would have to say the past is similar in some ways, but we miss a lot of human element in production today. I don’t say that to criticize anyone today, but rather, it’s the reality of having a higher presence of technology in music production and song writing today. In the past, you had live musicianship with no ‘click’ track and much older singers and musicians putting paper what they were going through to create very believable and not-so-perfectly synched beats that gave things an organic feel at every turn. However, I can say the technology does allow us to get more creativity if you allow yourself to put in the work.

How much time to you spend in the studio, can you talk us through a typical working day?

I’m in the studio as much as I possibly can be depending on travel and anything else that’s going on. My typical day involves me going through stacks of records from a recent dig, chopping samples, and making beats.

What do you listen to (or read, or watch) to relax?

To relax, I like to take in a good documentary to learn something new and to broaden my perspective. I’m also a member of an art gallery and I try to go see what they got going on, which often leads to inspiration in some form.

Can you share with us any forthcoming projects for the remainder of the year and beyond?

Certainly. In talks to release my,“TruSkool” album on DJ Sneak’s Magnetic imprint, which will feature Jackin’, Techno, Tech House, and Brazilian tracks to keep this interesting. We are all pretty excited about the release. Aside from this, I was lucky to have remixed Linda Clifford and Tiger Stripes for King Street and also did a remix for Luke Solomon and Justin Harris’ Music For Freaks label.
Twitter: @djdemuir


Reviews: 175

Frag Maddin
Snatch! Records

original_imageGreat production by Frag Maddin who delivers unforgiving and most certainly unrepentant rhythms that force the word gritty through the mill while coming up smiling. Three tracks for Riva Starr’s imprint kick off via the sizzling, bombastic beats and bass of Up To You – which even makes the Loleatta Holloway vocal feel fresh. 1st Reason, follows with a continuation of sinister synths lines and probing low-end theory, while 2nd Reason explores funkier (dare I say melodic) climes to complete this first rate release.

Thrill Me
Music For Freaks

Next in line of killer releases from the label is this irresistibly funky number from jozif who transports a neat sequence of cowbell hits into something altogether more huge care off fuzzy bass notes, plus punchy synthesizers and commanding voices. All My Life, then gets moodier with repeating electronics alongside the relative warmth of harmonious melodies. Either way, great music.

Release: July 29


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Temporis EP
One Records

Four equally captivating productions adorn this latest outing from the French duo for One Records. And as you’d expect they cut right to the edge via tough, smoky drums and low-slung bass. The EP’s title track does all that and more with chiming keys playing out across rich yet moody atmospheres perfect for those deep and possibly late-night moments. The Mankind, then adds a swing to the drums along with more brooding chords, leaving the excellent Hustle to get freaky via break-beats and heavy synths. The aptly titled Running Out completes via energetic rhythms that will no doubt leave a satisfied dancefloor once again.

Release July 18

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