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Single of the Week

Play003Just Be
The Magic Rock
Play It Say It

The Magic Rock kicks off this release with an addictive 70’s styled drum machine repeating into oblivion, but which is soon accompanied by whirring synth notes and arpeggios that successfully seek to maximise the hypnotic nature of the track. It’s expansive too clocking in at almost ten minutes but worth every second of its twisted elegance. Next, The Early Years clashes Detroit stabs together with vocal weirdness and, what sounds like, a ghostly flute penetrating the airwaves as both these distinctive and imaginative productions sit neatly on Seth Troxler’s one of three imprints.

release: October 27

DesiresGiorgia Angiuli
KMS Records

Striking a chord as the nights draw in the excellent original version of Desires does so with deliciously haunting atmospheres and Giorgia Angiuli’s spine-tingling, breathy vocal delivery. What’s also dramatic about this production is the dark combination of provocative bass and treatments of the voice rendering it an extra instrument. Beckwith provide a tougher, trackier remix dropping the main vocal, while both: Dharkfunkh and Kasbah Zoo/ OniWax rework it for theirs. The former expanding the bass, and the latter picking up the pace with intense percussion rounding off this first rate release from Kevin Saunderon’s long time label, KMS.

release: November 3

Paolo Leary
Quanticman Records

Three tracks comprise Paolo Leary’s latest and opening with Overhand you quickly get the picture: tough, sometimes unforgiving, repetitive rhythms that work their way into mind and body. Combining pulsing beats and tricky snares alongside shimmering stabs and ‘Work That’ vocal lines this effortlessly becomes a hypnotic listen. Duties, follows a similar path, although this time with brighter undulating synths, leaving Route to feel warmer with atmospheric pads accompanied by yet more playful percussion.

release: October 29

cover_dep0221Paul Rudder
No Good

No Good reflects the detuned (familiar) vocal sample that runs throughout the original version of Paul Rudder’s gritty stab infused workout, which hits hard with a defiantly funky punch. The accompanying Refix version then replays the same elements including those deliriously sassy hi-hats to maximum effect. Leaving the second track to hint at the 90’s via uplifting synth stabs, crunchy drums and attitude proving How Do You Do to be anything but polite.

release: November 3

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When does the world tour: Tour à Tour Start?Apollonia50

It starts in October with a New York show. Dates can be found on our facebook – /ApolloniaMusic

You have described yourselves as, “black music and white soul”. What does this statement mean for you?

That means that there is different influences, with some black music, new wave, funk, pop, a mixture of cultures… Early house. This is what we mean.

Your excellent debut album: ‘Tour à Tour’ is due to be released October 20. Can you talk us through how you produced one of the tracks on it – Do you each have a defined role in the studio, or is more simply a team effort?

The way we work is, we are sitting the three of us together. We record a live session all together, and there is no  us each doing different parts in different places and sending files to each other. When we do a track, we are always the three of us together. We can sometimes start with a sample, or Dan can play the mpc, Shonky can jam on the drum machine, Dyed make a bass. It depends. The most important thing is we are all working together and we see how the energy takes us.

Haight Street, is one of the most atmospheric tracks on the album. Where did the influence behind that come from?

San Francisco 90s house music, I (Dan) was living in San Diego in the 90s. I would bring back a lot of music from there, it is one of the main influences and Dyed and Shonky were probably one of the first guys who had been touched by this music.

What do you look for in signing a track to your label?

Great music, music that we like and music that represents who we are, this is the goal of Apollonia. We go from new artists, our own productions and some represses of music that really influenced us. Because today to have a label is more to show who we are, than a business.

How would you compare Paris to Berlin?

Nothing compares. Berlin is very peaceful, has a high level of intellectual music and great clubs, but food is not very important. Paris has a different vibe, it is stressful city, but quality is at every corner. Music is great too, but the vibe is different.

Can you tell us about your main influences, either in Dance music or outside of it?

We have many – Prince being the obvious one.

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Sacred Heart
This And That

You can’t help but be drawn into Zombie Disco Squad’s world and twisted way of viewing things. Four tracks of unrepentant Dance music seeks to unnerve and excite you via the distinctly genre busting grooves, which sound all the more powerful for it. Rude Girl opens with taught basslines and crunchy drums that deliver an epic punch offset by whirring synths and vibrant fx. Commited, continues to feed the intensity with unsettling rhythms and voices, while Back 4 Real strips it all down to Jackin’ percussion alongside the addictive vocals. Leaving, the throbbing bass tones of Basement Trax to complete this challenging release of sound from Davide Squillace’s hot label.

release: October 19

Gold Digger EP
Lost My Dog

Returning for their second outing on Lost My Dog Mountal feature three new tracks alongside remixes from Mr V. For me, it’s the punchy, stab driven Nothing To Undo and the gritty Masterkill that work best here, both sounding tailor made for the imprint – tough and provocative for the dancefloor. Mr. V then provides two great versions of Gold Digger with the perky, organ punctuated SOLE Channel Mix, plus the first rate 2 am mix that takes it deeper with thumping kick drums and reverberating effects feeling tastefully late night.

release: October 20

Dan Noel
Sad Ballerine EP
Maison D’Etre

coverGorgeous production by Dan Noel whose lush soundscapes are adorned with rich atmospheres coupled by unnerving undercurrents. The stunning, Follow Me plugs you straight into the currency of deep, throbbing rhythms alongside an engaging array of sound effects bouncing around the stereo, while Katy Blue’s breathy words only add to the experience. The remix comes from Anthony Middleton vs Dance Spirit who beef-up the drums with added Toms plus extra bass, synths and tweaked vocals all adding another dimension. Remaining tracks, Nocturne gets tougher as the title track itself ends with emotive strains of music evolving across the arrangement. PS Brenda Leon Atrip’s artwork too!

release: October 27

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Chicco Giuliani
Don’t Clean It Up
Sound Division

Great production from Italy’s Chicco Giuliani who isn’t afraid to blend moods and beats together in a more imaginative way than the usual clichés demand. Fusing Detroit bass along with punchy House drums and then offsetting the arrangement by delving deeper into warm pads and Flute, taking their cue from F.K’s The Whistle Song, gives this time and space to let feelings fly. Plus the fact that there is only the one distinctive mix which still packs it all into a neat 5 minutes containing vocal hooks care of Filippo Tirincanti and impactful breakdowns says it all.

release date: October 13

Nature Of Music
Profound Satisfaction

Now that summer has passed by again and lazily adding the label Deep House to everything seems like a distant memory we get to concentrate on quality and quantity. DJ’s plus also live act Nature of Music aka Maziar and Kian deliver their own take on richly atmospheric that does a whole lot more than just engage your body on the dancefloor. Transcending genres the aptly titled, Profound Satisfaction combines Balearic ambience via swirling pads and gentile acoustic guitar alongside punchy beats and breathy vocals creating a landscape of some beauty. Martin Roth’s excellent remix then transforms the serene sense of bliss into a different direction with tougher drums and attitude lending this a sense of danger that you can’t escape from. Remaining tracks, ‘Shomal’ and ‘Why’ both continue to explore atmosphere’s, moods and colour with flair and imagination projecting forwards.

release: October 13

Sahar Z & Chicola
They Made Me do It/Smooth Melody
Lost & Found

Another great production this week comes via Guy J’s Lost & Found imprint. There is something slightly perfect about the way Smooth Melody constructs its jazz like Bassline and crunchy drums against the array of shimmering synths that works a real treat here. And at over ten minutes long I guess it needs to be. They Made Me do It, again extends a killer rhythm although this time much tougher over its distinctly funky arrangement. Either way, two striking pieces of music.

release: October 6

Esoteric Recordings

If like me you first came across John Kongos in the very early nineties after hearing the Happy Mondays cover of He’s Gonna Step On You Again then this re release via Esoteric is well worth the wait. Originally released back in 1972 this now freshly remasterd version (which also includes bonus tracks) is very much of its time set in the singer/ songwriter mode that flicks between folkier, acoustic moments such as on ‘Lift Me From The Ground’ to the addictive straight-up Rock of ‘Tokoloshe Man’ which the album begins with. At times you can hear the same Country influences the Stones shared with the odd blast of funky Congo lending the likes of Weekend Lady a real swing. But it’s a sheer pleasure to hear just how different the original of He’s Gonna Step On You Again now sounds.

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OHOliver Huntemann
PLAY!05 Live in Vienna
Senso Sounds

Live albums may seem like a novel approach these days but the opening sounds of people cheering and shouting to the DJ dropping in the voca lof Josh Wink’s, ‘Are You There’ causes quite a sensation. The expectation levels then build with the rough bass of the Hallo Halo remix of Djuma Soundsystem Vs. Shades Of Gray, ‘Madness’ and then onwards through music from the likes of &Me’s pounding ‘Locust’ and Oliver Huntemann’s own engaging and excellent tripped-out, ‘Vienna’ which appears as one of a number of album exclusives. It’s a fascinating idea to produce a series of live albums each featuring different locations in the world and the second CD, as you might expect, gets that bit deeper and darker with Radio Slave’s ‘Don’t Stop No Sleep’ typifying the message. BE/LA, ‘Leave’, Rob Hes ‘Survivor’ and Andre Winter, ‘99Solutions’ all supply further standouts from the increased number of firsts’ for Live in Vienna, and with the lights off and volume up it all sounds like one hell of a party.

release: October 6

Irrational Behaviour
Hit By A Truck Records

Aka David Gorez (Nocif) and Johan De Vylder (Juannes) the Belguim  duo deliver deep (yes there’s that word again), intense music that strikes at the very heart of the matter. Irrational Behaviour, sounds like an apt title for this rich seam of atmospheric music that is centred on undulating moody chords plus some excellent fiery percussion work, accompanied by an occasional dark sounding vocal and powerful breakdown. Crack and Crunch deliver a first rate remix that packs even more intensity into the fizzy hi-hat driven grooves that also contain reinvigorated FX along with gritty electronics. Either way a startling listen.

release: October 16

Julie Marghilano
Let It Go feat. Ilhem
Sol Asylum

Label head Julie Marghilano explores various influences in creating this release from jazzy sensibilities through to deeper textures. The title track, Let It Go opens with swirling pads and improvised, emotive vocals by Ilhem on version 2 while a haunting set of electronic notes and motifs create the notable backdrop. The original version then replays the same elements as second track, Soul Print delivers an even more captivating piece of music, via the combination of occasional piano and tastefully repetitive percussion that completely seizes the imagination.

release: October 8

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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

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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….

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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.

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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
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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