Comments Off

Love Mistakes
Planet E

Conceived as an aural tribute to the ‘Hansa recording studios’ on Köthener Straße No. 38 in Berlin, this long player courtesy of Matt Edwards (aka Radio Slave) and Thomas Gandey (aka Cagedbaby) not only boasts purely live instrumentation but also the transcendent atmosphere of the music produced. Hansa was made famous by the likes of David Bowie, Iggy Pop, Tangerine Dream and Depeche Mode, amongst many significant others and is obviously a hard act to follow with the album taking its main inspiration from Bowie’s 1977 masterpiece Low. The result is a suitably stunning experience which blends a rich mixture of beats and percussion augmented by an intense musicality that is as far away from the mindless repetition of Tech House as you could imagine. Indeed, you could for example say that the piano played on Piano 2 Variation 4 has been spiritually guided. Or, try soaking up the haunting, ambience triggered by Hansa itself complete with taught electro drums, while the concluding title track ends on a wash of Fender Rhodes echoing your imagination to hear the excellence all over again…

release: September 15



Hipp-e and Halo’s distinctive release from just under ten years ago now gets revitalised via an excellent set of remixes transforming this gem directly into 2014. Beginning with Yousef’s great version that sets addictive organ notes against a fiery backdrop of hypnotic percussion and pulsating beats this is built for the repeat button. The Space Coast take is next combining sparkling synths and tough bass, followed by Sneak’s relentless attack on the senses. Franck Roger’s outstanding funky bassline driven remix then scores high, while DJ Buck adds a cool Disco flavour with a twist. Craig Richards then defies expectations by dropping the tempo into darker territory with a heavy dose of sound effects, leaving Adam Shelton to pick up the pace once again with another suitably punchy rendition that rocks the floor. All good.

Walter Ego
2020 Vision

Surpassing the computer functionality of the title this strips it back to basics via a pumping House beat and accompanying bassline. Not quite so sure about the vocal line despite its obvious catchiness but then there is always a great Dub version to contend with. Or, the excellent PBR Streetgang Remix which transforms the vocal into filtered nirvana via an array of swirling synths and an ecstatic arrangement. Second track, The Project delves deeper again with a detuned vocal loop, as does the addictive The Pattern which is complimented by a first rate rhythm section.

release: September 11

Slow Hands
Everything (We Are)
Wolf + Lamb Records

What’s not to like about this. After all if breathy vocal deliveries and syncopated basslines backed up by punchy drumming are your thing then this is just right on the opening, ‘Miss White’. While the title track has a restrained yet slightly epic feel to it care off a rousing chorus line backed-up by Dave Robertson’s vocals and atmospheric instrumentation. Who then re-appears as Cameo Culture for the remix by adding a funkier attitude to the proceedings. Finally, Second Fiddle again weaves the delicate vocals through a musical fabric that sounds playful and enjoyable.

release (digital): September 15

Comments Off


After a stream of releases on labels like Supplement Facts and Cocoon this stunning production for Visionquest now appears. It’s the sort of music that could played loud or quite and still leave an indelible impression. The title track, Underwater bubbles with energy yet combines an airy sense of ambience alongside a series of unrelenting beats all of which rewards your experience. Forward thinking and emotional music.

Release: September 8


GUHamburgSolomunArtGlobal Underground Solomun
#GU40 Hamburg

1996 seems like a long way away now but that’s when this series began and now we’re at number 40 with maestro Solomun. The mix opens with an emotive sequence of sounds cumulating in Avatism’s haunting Different Spaces and then develops the mood across the breadth of the first CD with a blend beautifully atmospheric music ending on SOHN’s notable The Wheel. The second CD continues the theme with music from Audiojack and Radio Slave elevating the temperature while providing more muscular productions that end with Ada’s acidic 2 BUM BUM.

Step Outside
Secret Room Records

Kostya Skober is a Ukrainian Techno DJ and producer and while this style of music doesn’t usually say that much to me the unrelenting drive of Step Outside definitely appeals. It’s not all down to the beat either as the rich atmospheric layers of sound and funkier touches all lend this something special. Listen below…

The Rule To Survive – 31st Anniversary
N.O.I.A. Records

Originally emerging from Italy’s electronic music scene of the late seventies N.O.I.A. has been now re-releasing their back catalogue, accompanied by remixers updating it all into 2014 etc. Not that the original of The Rule to Survive needs evolving anyway having been mixed in 1983 by Tony Carrasco it still bears all the hall marks that went on to influence House and Nu Beat, besides sounding excellent in its own right. Prins Thomas Diskomiks is a good choice of remixer and he handles it with due care and affection, there’s also a great version from Baldelli & Dionigi which again expands the originals possibilities. Next is, Time is over, which was from later in the decade and doesn’t sound quite so edgy employing typically popish melodies, although is complimented by a remix from Gaudi & The Orb.

Release: 4th September 2014

Tom Moulton
TJM- Expanded Edition
Big Break Records (Casablanca Records)

Tom Moulton has been pivotal to the development of Dance music in the 70’s as Christian John Wikane’s eloquent sleeve notes proudly testify. This self-titled solo album was released in 1979, recorded at the Legendary Sigma Sound Studios in Philadelphia it also featured former Temptation Ron Tyson on lead vocals and also one Arthur Baker who helped to co-write and arrange. Opening with the blistering Disco-tastic, ‘I Don’t Need No Music’ the music trips the light fantastic through the tail end of the Disco era but remains fresh to this day, percussion and melody fuelled. Try the epic ten minute plus version of ‘Storm Warning’ complete with sound effects plus soaring strings and horns for a touch of exuberant Tom Moulton magic….

Comments Off

How did you get into Dance music and who are your main influences?

remiI love to party very much so I guess that is the main reason why I get into dance music. My passion began in London, I was introduced to it through my buddy from home, Guilhem Monin. He showed me some of the Novamix from Radio Nova, he kept on showing me amazing stuff since and always has been a very important influence in my music.

I met Matlar and FB Julian after a few years I lived in London, I totally fell in love with the music those guys play. Saving enough money at the beginning allowed me to buy my first laptop and to  install logic and start producing, that was nearly six years ago.

I’ve had so many influences growing up from all different paths, however 70’s disco, 80’s hip hop and great Chicago house are my main powers and inspirations in production at the moment.

You have already released music on Hot Waves and La Vie en Rose. Tell us about how you got your signed to such prestigious labels and your relationship with them?

I have known the Hot Nature crew from being out in London, they are wicked people, I’m always happy to see them. The first time I signed on Hot Wave happened after Richy Ahmed listened to my track in Ibiza when Guilhem was playing it, Richy contacted me and ask if I wanted to sign up in their label, I remember that day so well I was over the moon.

La Vie en Rose is Terrence Terry’s label, my friend Matlar that was my production partner at the time introduce me to him as well as showed him some of my music. He actually showed Terry a track I would have never shown, Terry loved it and wanted to do an EP. Unfortunately I have not seen Terry in years, we sometimes chat on Facebook, I really like the guy and I think we both fancy the idea of doing it again soon.

Your latest release: I Felt This Way Before EP is for Colors brand new label. Can you talk us through how you produced one of the tracks from it?

“Les Merguez” is the latest track i’ve produced from this EP.

Using Logic as sequencer, first I made the beat, all the drums are samples recorded mainly from 909, 808 and Linn drum. Then created the rhythm in logic then redone it on the MPC to sound nice and tight. Next I have written the bass line on my Triton and processed it through the MPC. I’ve made the vocals simply by pitching down my voice (sometimes sounding too much like a little girl). The rest of the track was made using a Triton, then sampling a few sound effects and a string. I’ve also done few more sound effects with a Juno 106.

You were one of the first DJ’s to be resident at Colors. Can you tell us how that came about and what makes the night so special for you?

It happened very naturally as we are rather close friends, not only are we friends but we are synced artistically. This night is brilliant simply because the promoters are popping this party for the right reasons, they have a real passion for music and the vibe, they make an amazing effort. Therefore there’s no need for me to explain why they’ve got such a cool crowd following them, I’m glad to be part of the project.

Your music blends together a number of different styles. What for you is the most important quality for music to have? (And do you have many influences outside of Dance music?)

Good melodies, very cool bass lines, amazing grooves, cleverly produced technically, twisted and surprising ideas but most of all I like music to be appropriate and true to the moment and compliment your surroundings.

Yes I do have influences outside of dance music. The truth is i can be inspired by anything, even something I don’t like but it’s just got to be something that has its own defined identity, even if it’s something I’m not into then it can bring in new sounds and spark ideas.

remHow was Eastern Electrics, and can you tell us about how your ‘live’ performance works?

Eastern Electrics was lot of fun, I played in an area run by kubicle, they did a great job, and lots of friends showed up, I had a brilliant time.
About my live performance, I’m using Ableton to play my songs, using one channel for the kicks, one for the snares, one for the drums, one for the bass… I use my pads to play around with that.

What are your plans for the remainder of 2014 and beyond?

I’ve got a few EP’s in the pipe line and obviously working with Colors in September but also other really exciting stuff I can’t wait to share.

My new studio space in Hackney Wick is pretty exciting too, working with FB Julian, Clive Henry, and Matthew Keating. Being in the studio is by far my favourite thing to do, being able to share that with good friends is the ultimate cocktail mix of work and fun combined so i’m sure this is where I’ll be spending most of my time for the end of this year and the years coming.

Comments Off

gregpidcock (2 of 10)You’re debut release: Blame Game was released on Hot Creations just over a year ago. How did you get your track heard by the label and how would your describe your career since then?

I met Jamie and Lee when they were doing a show in Montreal. Luckily I knew the opening DJ, wandered backstage and asked them for their email addresses to send them my work. I sent them a few songs and some pictures of my artwork which they were digging and then when Jamie heard Blame Game he signed it right away. Things have definitely been very colourful since signing the record, and I’ve been welcomed into an amazing family of musicians, dancers, artists and people all connected to the label and the Paradise parties in some way, shape or form. I still have a lot of hustling to do to make my career as an artist sustainable but it’s all about the journey anyways. I have to say though that the label has been a huge help in getting my name out there and promoting me as a DJ. I moved to London recently and it’s not easy out here but it is very rewarding and there are always talented people around you.

Can you tell us about your family background and how come you have lived in so many different countries?

I had kind of a weird childhood… My dad’s job moved my family around every 2 or 3 years so I was always going to different international schools. It was sometimes a real pain leaving all of your friends and school but overall it was really cool because I got to meet new people all the time, many of which I still see randomly all around the world. I definitely didn’t realize how cool it was to grow up like that until later in life. When you are 16 and your parents tell you that you’re moving in the middle of your junior year from Peru to India, somewhere you love to somewhere you’ve never even thought about living in, it’s devastating at the time. Looking back on it all now though, making those moves made me a much more open-minded and versatile person.

gregpidcock (3 of 10)Where did you first encounter Dance music and who are you biggest influences?

Probably when I moved to Thailand when I was about 6 or 7 I was already obsessed with soundtracks and albums and when I saw the film Hackers, with Orbital’s Halcyon+On+On in the opening credits and then Underworld, Stereo MCs and Sneaker Pimps later on I was hooked! I guess once I started getting a few mix cds and learning more about it, Danny Tenaglia and Danny Howells became my biggest inspirations as they always seemed to make the most beautiful journeys with their mixes. Music and art were always the constants in my life. No matter what country I was in I could get lost in that stuff.

Outside of Dance music what also inspires you?

This crazy multiverse we live in! I love how different societies express themselves and am a huge fan of different art from around the world, especially Western pop art, South American and Australian patterns and South Asian architecture. I believe every society and every person has their own forms of art. We all have ways of expressing ourselves and that’s what makes us unique. I also love the idea of having a set of influences and borrowing techniques and ideas to create new ones.

Your latest single: Connected People is being released soon on Culprit. Can you talk us through how you produced it?

Connected People came together in a flash… When I came back from BPM festival last January, I got in the studio the day after I landed and within 8 hours later, the song was born. That festival this year had such a good vibe I felt very close to all the people I attended it with. I took the vocal snippets from a conversation I recorded with my dad ages ago about how amazing it is people all around the globe are so well connected. Those vibes combined with some analog goodness from 1981… It just came together. After I was finished it, somehow I just knew it would go to Culprit.


I believe you have an album planned as well. How have you found recording that and what can you tell us about it?

The album has been a huge challenge. That whole concept will take its time and will happen when the time is right. Its been one of the things you think is gonna come together fast but actually takes longer for it to evolve. I do have a bunch of material saved up though and much of it’s just waiting…. While it simmers I have some other music coming out in the fall, the biggest is a record of mine called “Last Night” coming up on Nic Fanciulli’s Saved label. The cuts on that EP have been doing some serious damage for me on the dance floor. The B-Side is a collaboration with my friend, Andre Salmon.

blackWhere are you looking forward to DJ’ing at over the remainder of the summer?

I’m still just coming back down to earth after two back magical gigs down in Ecuador! I’m doing a special Blacklight party at the Delano in Miami which means I always spend a bit more time there in the studio with my Miami music family. I also have some good stuff coming up in Dublin and a party underneath a bridge in London in early September which is apparently incredible every year. Sounds like the kind of stuff I used to dream about!




Posted: 13th August 2014 by gregfenton in Questions & Answers
Tags: , , ,
Comments Off

nudes 1NUDES aka Owen Wallace Lasch & Tom Giddins Q&A

What does the name Nudes represent to you?

O: Nakedness. Also, our music is quite personal to us and I guess the name suits because of that. We’re exposing ourselves, so making ourselves naked to the listener…
Somehow all of that sounds wrong.

Your music takes in a wide variety of influences. Can you tell us about the most important ones?

T – This is difficult because for me personally there are so many but the thing is it’s not just a particular artist or album. There are plenty of those influences from various genres but it’s the small moments in certain songs that make you feel like your heart just dropped to your stomach, not in a soppy way, just in a way that makes you want to rewind it back over and over. It might be a subtle key change or harmony crossover that does it and it’s these moments, and the feeling they provoke, that inspire us and that we try to achieve.

O: 80’s synths. 90’s r’n’b. Although it runs a bit deeper than that…
A lot of what I was exposed to growing up borrows itself to this project.

The stunning video for: Avec from your first EP was animated and directed by Maxim Northover. How did the collaboration come about and how do you feel it illustrates the music?

O: I’ve known Max for a few years. We were kind of brought back together recently. He expressed an interest in wanting to work with us, ‘Avec’ seemed the perfect vessel to toast that.
He’s a gifted guy so we trusted him enough to get on with it.
It was only when I probed him as to the meaning of some of the content that the real correlations began to appear.
The song is quite personal in terms of the lyrics, more personal than I feel comfortable with if I’m honest, but Max, in his interpretation, brought this out without actually knowing the meaning of the song. It was perfect.

T – I personally became aware of Max after I came across him on Instagram. I saw his previous work and sent him an email asking if he’d be into collaborating. Unbeknownst to me at the time, Owen and Max were longtime friends and had already spoken about working together. Owen was going to surprise me with the news but I ruined it by coming home early from work and noticing the balloons poking out from behind the sofa. Musically the song has a kind of sentimental feel to it, not that it was intentionally written like this, it’s something we felt on reflection and the animation definitely complements this aspect. Max has done an amazing job and we’re definitely going to work with him again in the future. Stoked you like the video, thanks.

Buy the NUDES EP

You were formed as Nudes in 2012. How have you found the process of getting yourselves heard?

T – Well I stopped refreshing our Soundcloud every five minutes a while ago, which I’m taking as a positive, either that or the OCD medication is working. The process hasn’t been too bad to be honest. We got a little bit of press from the first thing we put online and since then it’s been steady away. It’s still early days so I’d like to think there are a few pairs of oblivious ears out there that we’ll be intruding upon soon, in a nice, polite way though. We won’t flick their lobes.

O: We obviously utilise the ‘normal’ channels: soundcloud, YouTube, Facebook etc. Next to that we gig quite a bit. We’ve been lucky too. Sometimes I give our EP to people to play in shops. Not that it helps…spending money tends to make people pretty deaf, as far as that goes.

nudes 2Your obvious love of synthesisers is clearly evident in your music. Which are your favourite ones?

T – We have love affairs with many and I wish we could be more faithful but unfortunately we can’t. The MS-20, Polysix and Monopoly were used a lot on the EP.

O: There are just TOO many…I LOVE the KORG MS-2000. When I grow up I’m going to ask my Dad for one.

You are signed to Zappruder Records. How did that relationship come about?

T – They came across our music online. I believe a Parisian friend of mine posted a link to a track of ours and through the power of the Internet it hopped, skipped and jumped its way to one of the guys from Zappruder.

Can you tell us about how you create music? What aspects of the traditional approach, or being more radical, appeal most to you?

O: I like some of the ‘classic’ recording techniques adopted by the likes of The Beatles, like how I sometimes record vocals.
 I’ll slow the music down and sing at normal pitch then return the track back to its original tempo. It gives the voice this strange otherworldliness quality that I like.
 Next to that there’s a lot of experimentation at work as well.
 We didn’t get to use that many recording techniques on this EP, but the next one will be more developed…so hopefully we’ll get to move a bit further in that direction.

T – We started out just sharing demos with one another and then sitting down in front of a computer together and inputting different ideas. As things have progressed, and as we’ve amassed more equipment, naturally the process has started to loosen up and we’ve been recording live. Very often we’ll be rehearsing a song we’ve already got down and then just carry on after it’s ended, caught up in the moment and just trying out new stuff. It’s a lot more fun and you can definitely tell the songs that have been written like this compared to the ones done the original way. Although, we haven’t introduced any of these new tracks to the public domain yet so we’re looking forward to doing so.

What is coming next for Nudes and where can people get to hear you play live?

T – We’ve got a few shows coming up in and around London but our next headline show will be at Birthdays in Dalston on September 30th. It’s free entry so no excuses.

O – We plan to put some more music out too at some stage in the very near future…

21/8 – Bedroom Bar, London
4/9 – The Dury Club, London
6/9 – Private Event, London
30/9 – Birthdays, London



Comments Off

The Originals
Down To Love Town: Expanded Edition
Big Break Records/ Motown

originalsAlways a pleasure to hear Freddy Gorman’s impassioned vocal adorn the horn punctuated rhythms and strings highlighted by The Originals on this re-issue of their 1977 album. Positively fizzing with Disco energy while also containing irresistible melodies via the full version of the title track (co-produced by Frank Wilson) this is uplifting, soulful music that remains a personal favourite, never mind its seductive percussion fuelled instrumentation. The Originals were originally studio back-up singers who worked on tracks like: ‘For Once In My Life’ and ‘War’ to provide you with some context in the sixties. But this album certainly proves the group’s cool when required and equal state of ecstasy where needed by the next decade. Credit is also due to the production talents of Michael Sutton who lends the music a warm touch while providing the dancefloor with the contemporary punch that still works perfectly today. Two ballads on offer too, both of which have the heartfelt sincerity you’d expect from the band, while the album ends on the sassy funkiness of, ‘Been Decided’. As always with this series from BBR invaluable sleeve notes are present, in this case from Justin Cober-Lake.

Robert Dietz & Tuccillo
Kushtraxx EP
Holic Trax

HT11_02I like this. No messin’ it aims straight for the jugular right from the word go. Limited to a 5oo coloured vinyl release i.e. be quick the EP boasts three tracks plus two Shonky edits. It’s fast, heavy sounding House music that you just know is going to be epic played LOUD. Opening with Juice and its succession of punchy percussion, aided by pulverising bass and  twisted synth lines, this aims squarely at the dancefloor, and scores alongside the Shonky Edit (digital only). We Can’t Stop, comes next with a slightly less frantic trip into bass and moody sound effects, and again is accompanied by a spot-on edit from Shonky. Ishine Ushine, completes with further adventures in bass rattling, although time accompanied by funkier breaks, warmer chords and voices.

release: August 21

Esa & Mervin Granger
Anwaarding EP
More Music

esaGreat EP from Esa & Mervin Granger who inject a genuine inspiration from the Nu Groove school of thought into their well crafted music. Starting with Visum which cross wires Detroit and classic Chicago House together with 2014 to produce a refreshingly tense, yet emotionally charged sound. Complimented by an Africaine 808 remix that comes complete with cool, jazzy inflections and a tech shuffle. The stunning Anwar 491 is up next delving deeper into cinematic atmosphere’s and depth of feeling with taught Techno bass and an almost melancholy ambience, which is time remixed by Dief & Baker’s bubbling Acid referencing version to complete this first rate release.

release: August 25

Satin Jackets
Foreign Affair EP
Eskimo Recordings

satinLove this. But then it’s hard not to. Hinting at somewhere in-between Disco and Balearic but landing in ethereal, blissful territory this gorgeous production from Satin Jackets combines gentle melodies alongside a romantic punch on the suitably named Sunrise In Paradise. Next, Gelee Royale follows with a more mid-tempo swagger containing funky 80’s styled bass and chiming keys amid haunting synths, with the engaging breathiness of, Fall Apart (feat. Patrick Baker) ending not so much on a high but a delightful low.

release: August 18

Comments Off

paolo picGrowing up in Canada how did you first encounter Dance Music and who were your initial influences?

Initially, I first encountered dance music over the radio but only really got into it when I started going out to clubs, spinning tunes and digging in record stores. In general, I have always had many influences when it came to music. When talking specifically about House, I would say Kerri Chandler, Masters at Work, DJ Gregory and Daft Punk were among the first big ones.

Your new Compilation album for Get Physical: Ibiza 2014 begins with an emotional sequence ambient of sounds. How important is setting a mood when you DJ?

For me it’s the difference between actually being a DJ and not. Walking into a room prime time and banging out whatever people want to hear is not being a DJ, it’s being a jukebox. I find a lot of times that the importance of how to properly open up a space and bring people in and onto a journey is often missed, it’s not something that should be rushed into or taken lightly. I personally love opening up rooms and, more often than not, enjoy opening up for myself when I can. There is a lot of really cool music you can play during an opening set that you would not be able to play later on.

How do you see the album reflecting the Ibiza of the title, and do you think the Island is as important to Dance music as it once was in light of the music’s now global popularity?

The album for me was about putting together a journey which is essentially what the Ibiza vibe is all about. Ibiza is detached from the rest of the world and once you walk into a party there you’re pretty much ready to stay the whole night right into the next morning without worrying about what you have to do or where you have to be – unless of course you have a flight to catch the next day. This is also why the compilation is longer than usual; I really wanted it to reflect the different moods you can get through an extended set. It opens up smoothly, then moves on to something bumpy which is then picked up with some heavier grooves; it is then closed off with a classic / nostalgic type tip. Aside from that reflection, it’s also how I like to build my sets in terms of mood traveling, I don’t always like sticking to just one mood. In terms of the importance of the island itself for Dance music globally, I think it will always be there as long as the people who run the club scene stay there. As the popularity of Dance music rises everywhere the tales of Ibiza’s euphoria grows with it.

The album also features some of your own productions like, ‘Caution You’ and Jay London collaboration, ‘Lost Tourist’. Can you talk us through the process of you producing a track – any particular favourite instruments/ software?

Me and Jay are good friends and work on several projects together even outside of producing music and DJing. The tracks we collaborate on usually happen out of the blue and we both have a day off messing around in the studio, sometimes it turns to something. We don’t sit down and decide today we are going to do this specifically, we just get together and jam here and there and when something happens it happens. When it comes to my solo productions I usually separate them with two focuses: making a single / music with a message type record; or tracky, hypnotic, groove type record that I can include in my DJ sets. The dub of Caution You is kind of the tracky interpretation of the vocal mix. Something I myself can use as a DJ.

How important is it for DJ’s to produce music as a means of helping to promote themselves these days, what advice would you give to someone starting out in 2014?

It’s important until it’s not important anymore. I think making music as a means to help self-promotion is a bad idea. If that’s the focus and heart of your music it’s going to be missing some soul and I can say that because I’ll admit that I have been there. At first I started making music in hopes to one day tour as a DJ, however that message was transcended to my music and it all sounded cookie cutter and rushed. The day I sat down and just started making whatever I felt without thinking too much about it people started becoming interested in what I was doing and what I had to say. I guess the only advice I would have is to make sure you focus on the process of production itself and make sure you enjoy that process, work that process and don’t focus so much on the results. Results will come on their own and producing without a result based focus will keep your music human and relatable.

Can you tell us about your involvement with Bauhaus Collective (and why that name was chosen) plus the RAW Moments parties?

rawWell the “Bauhaus Collective” is still in its beta form. The name came from “Staatliches Bauhaus” which is an art school in Germany that combines crafts and the fine arts. It’s an agency type lifestyle blog collective thingy all in one concept that we’re working on (confusing eh). Until we launch it officially it’s just a collective of artists whom support and help each other’s brand and work on collaborative projects – RAW Moments being one of those projects. It’s a party that we started doing in Montreal, all the talent we feature at these parties are home grown and the family grows with every event we throw. Each party also comes with a recap video that is put together by one of our friends Anthony William.

Where are you looking forward to playing most this summer?

I’m currently enjoying my residency at StereoBar & Stereo Afterhours here in Montreal more and more as the weeks go by. I’m very lucky to have a place in my city to call home where I can express myself and test out a bunch of new music. Besides that I’m on the road looking at being back in Europe come October around ADE.

Thank you so much!

* Paolo Rocco photo credit Monsiieur

Comments Off

JAW_PressShot_2When did you first discover that you could sing, and which vocalists are your biggest influence?

Long time ago, I was 13. Maybe less..singing was the only thing I could do in my friends band.
My biggest influences are Michael Jackson and Jim Morrison.

You released an EP of tracks (July 7) as an album teaser for: Midtown (due late Sept) which features a host of collaborations. How long did it take to complete such a mammoth project, and can you tell us about some the locations it was recorded in?

It took me 3 or 4 years to complete this project with my friends. MIDTOWN is the middle of the world, where everyone from everywhere is passing by; you have Art Department, then my dear Italian friend Piers Faccini, then Rose Ryot from London… then my sister…then Cassius .. then Brodinski.. then a DJ Pone remix … Claude VonStroke, a new dOP track …. it’s un predictable .. it’s my all seasons dream compilation, recorded in SF , LA , Paris , Berlin , Beirut , London , Tel Aviv..

Where do you find inspiration for your words and subject matter?

In what I’m living, and other people’s lives ..
or sometimes it just starts with a good title.

JAW_PressShot_3Can you describe the process of how you wrote one of the tracks from the EP/Album?

The one with Steve Smyth is funny, it’s kind of an interlude, we wrote it while eating a big piece of meat, and recorded it direct around the table.
We are both into poetry so I leave you the pleasure of trying to understand the meaning of this track: Talking Lonely

You have also sung on big crossover hits such as Claptone – No Eyes. How do you see the importance of songs in electronic music, especially after the lack of melody in Tech House etc?

I think it’s good… there are more and more good singers into House Music… for a long time it was hard for me to be a singer, people were not happy to listen to me in the club. It was not normal. They made me get better and better… now with dOP we do 100 shows every year.

Who do you listen outside of Dance music?

A lot of hip hop..
But these days I’m into WILLIAM ONYEABOR

Where can people catch you (and dOP) live over the summer

Next dOP gig: vilanoura on july 24
IBIZA : august 4
saalburg : 9
gotha : 15

itunes :
beatport :

dOP – “Close Up” (Official Video)

Comments Off

Congratulations on the release of the remixes of: Spend The Night on Ruff Trx. Can you tell us about the ethos behind the label, and the choice of remixers for the record?

dannyBasically with Rufftrx I wanted to push out the kind of dubs that I used to make in the 90s. I was feeling that Enzyme Black Recordings had got a bit ‘polished’ and tired so it was time for a change. I put out a series of EPs i’m really proud of and when I got the rights back to the original mixes of spend the night Rufftrx felt like the right label to release them on.

The choice of remixers was very organic to be honest, in fact the whole process happened incredibly naturally. Samson had remixed Spend the Night a couple of years back for his own DJ sets and sent it to me. The early version was great but I felt he could do better so I encouraged him to go for something a bit more contemporary and he turned out some real magic. I was originally going to release just his mix but then Golf Clap asked me if I was up for a remix swap. It was good timing and I spotted an opportunity to beef up the remix package. I said yes, did my mix and asked if they could reciprocate with Spend The Night. I’m really pleased with what I did for them and extremely happy with what they did for me – it’s a solid, bass heavy and chunky slab of good old fashioned Deep House. Soulfunktion was a similar story; they wondered if i’d do a swap mix on the Mike City “Hold The Key” track and I spotted another chance to add to the package. I love what Brian and Wally have done with the track, it’s ended up a lush sunshine infused Ibiza Pool Party anthem. The other mixes are me; an update to my original mix and a slamming new London-centric ‘Carnival’ dub.

How did you first get into Dance music, who was you early influences both as a DJ and Producer?

I was a soul boy in the early 80s who also got into Hip Hop and DC Gogo in a big way. In the latter portion of the decade I was part of the 89 summer of love movement. My influences were mainly the American DJs; Frankie Knuckles, Todd Terry, Roger Sanchez, Kenny Dope, Louie Vega, Lil Louis, Mood II Swing etc. Those guys forged the true sound of the underground for me and I hope I can in some ways carry on that sound with my music.

Can you tell us about your time at Point Blank and how you came to set up the Black Book Audio Lessons via

I spent 10 years at Point Blank, initially in the classroom as a lecturer and taught thousands of students in all. I built up the online side of the school and turned it into a significant income stream for the company. When I left I still had the urge to spread knowledge so continued to teach via my youtube channel. I’m shortly to hit 30 thousand subscribers which is amazing.

You also have a very vibrant facebook page what inspired you to set that up and how have you found the response?

I was inspired to setup the group because I felt there was a need for a focused area where underground producers could discuss the tech and business angles. I felt the only way to make it work would be to run it properly and clamp down on spammers and general misbehaviour. So far it seems to be working well.

How would you say House music has evolved since the original release of Spend the Night in the 90’s?

ruffIf I look to other genres like Complextro and Dubstep i’d say it’s evolved a lot. For many other not at all! I could listen to something now and easily it could have come from any period in the last 20 years.

What advice would you give to new DJ’s/ Producers who want to get noticed – does the power of the internet make that easier or more difficult?

There is more opportunity around than ever before. There are fantastic tools that allow any producer at home to get their music out there and that’s an amazing privilege many didn’t have in the past. Couple this with the fact it’s easier than ever to make the music now and you’ve got a ton of junk out there. If you want to stand out try and define a sound of your own.. it’s hard I know but learning sound design and production techniques can help in this area. Networking is key, especially in person.. if you can just get out and about and meet people. It’s way better than just socialising online.

Where can people get to hear you play over the summer?

Nowhere! At the moment i’m not Dj’ing but who knows, I might come out of retirement one day – I do miss some aspects of it for sure.

Classic Deep and Soulful House Mix by Dannyjlewis on Mixcloud

Music Pro Tutorials
Ruff Trx

Comments Off

Dance Spirit
Insight EP

In anticipation of their forthcoming album Dance Spirit deliver this second instalment to tempt you with their typical panache. Suitably atmospheric the title track develops tastefully over some eight minutes with haunting pads setting the scene for occasional voices and hand claps. It may not sound like much is going on but what they do they do so most effectively. Remixes come from Fred P who expands the chords to heighten the atmosphere further across both of his impressive versions. Next up are, Late Night Ritual and Late Night Morning which again secure cinematic atmosphere’s that cross the horizon via the perfect soundtrack for sunset/ sunrise, while an excellent Bedouin Remix completes with a striking take on the later. You just know that the long player is going to be epic after hearing this.

release: July 21

Darin Epsilon & DeeProgressV
The Conclusion (Remixes)

Talking of richly atmospheric music is this breathtaking remix from Hernan Cattaneo & Soundexile which combines tense swirling synthesisers alongside pulsating beats and bass. Hypnotic yet punchy this version of The Conclusion reveals itself in layers of emotive sound that may well surprise you care of its powerful rhythm section. Marcelo Vasami then delivers a darker mix with bouncier beats aimed squarely at the dancefloor, while Mike Griego’s great remix goes straight for techno jugular despite being offset by warmer pads and stunning, ethereal voices.

Beatport release: July 21, 2014

Tommy Vercetti
Good Feelings EP
Love Not Money

Tommy Vercetti aka Tom Cox producers one of the labels hottest to date by combining a savvy sense of musicality alongside a big-time arrangement of sounds that engage your mind, body and soul into the bargain. Opening with the aptly titled and excellent Big Love which plays punchy stabs against fiery snare rolls, plus emotive vocals, while sounding in a class all of its own. Good Feelings is next and re-tweaks the formula into another addictive House jam that does little wrong with its effortless 90’s reference points.  We All Do, finishes off the originals with a brighter more accessible track that’s big on bounce and energy. Leaving the Scott Forshaw remix of Big Love which doesn’t try to compete but instead breaks up the beats and adds warmer keys and piano supplying a fresh alternative.

release: July 28