Dos Palos Q&A

Posted: 29th October 2014 by gregfenton in Questions & Answers
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1411704714-dos-palos-boys-Who is Dos Palos?

R: Dos Palos are Ed Begley and myself (Robin Lee)

Your excellent new release ‘Lady of the Westway // I’ve Been Around’ on NuNorthern Soul Records sounds like all the best bits of American Rock combined with a Balearic feel for today. Can you talk us through how you produced one of the tracks?

R: Very kind and generous of you to say. You are right. All of those amazing rock bands from the USA have always been a big part of my listening experience whilst I was growing up. I’ve been used to working with Faze Action in the dance music area for a long time and although we did dabble in west coast psychedelic soul for our third album, entitled “Broad Souls”, people tend to associate Faze Action with disco. Which is good because I love disco too. But with Dos Palos, it’s good to be involved with something that isn’t so obviously dance orientated. With “Lady of the Westway”, I had been experimenting with song writing and ways to get the whole song writing ball rolling. I used to start with the music and then write the lyrics and melody, but I always found that it was easy to get a basic track going, but difficult to get the words and melody to work well with what I had started. So I decided to try it the other way around. I used the ‘cello to make some simple percussion sounds and worked the lyrics and melody to that. Without any other music getting in the way, I found it a lot easier to concentrate on the vocal. Once the vocal was written it was easier to build a room for it to exist in without getting in its way. I used a modular Moog for the bass sequence, classic Rhodes piano and ‘cello for the rest of arrangement. The idea was to use as few instruments as possible, so as to not get in the way of the vocal. That is when Ed came down to the studio to put his own personality and character to the record. Ed is amazing. He can match the speed of his vibrato to the BPM of the track, as well as other rather amazing vocal details, or not, depending on what you want to do.

released: November 10

Tell us about some of the influences that inspired you in the making of the single?

R: I think that the whole project is heavily inspired by The Eagles, The Beach Boys and Crosby, Stills, Nash and Young from the west coast vocal harmony side of things. Shuggie Otis, Ace, The Isley Brothers, Jan Hammer Group as well as ‘cello producing supremo Arthur Russell for general inspiration. I get a lot of ideas from producing Faze Action records. Sometimes I want to explore further and Dos Palos gives me the perfect opportunity to do exactly that.

NuNorthern Soul Session 71 – Dos Palos Inspirations by Nunorthern Soul on Mixcloud

How did your relationship with NuNorthern Soul Records come about?

R: I think I first met Phil Cooper on the beach at The Garden Festival, Croatia, about 6 or 7 years ago. He seemed like a fun chap to hang out with and we did sink a few drinks and generally bowl around having a good time. I kept bumping into him at various events. Greg Wilson at the old East Village, where Stuart Patterson was curating, is one that comes to mind. Anyway, we both like a wide variety of music and I suppose we sort of gravitated to each other. One day Phil emailed me out of the blue and asked if I had anything that might work on his NuNorthern Soul label. I had these demos, and promptly sent them over to him. In short, he asked and I just happened to have something to play to him.

dThe cover artwork is very striking. What’s the story behind it?

R: I think Phil is probably in a better position to give you the full story of the artwork. Generally, we all liked the imagery that might be associated with west coast bikers. Easy Rider and such like. There is a sort of underlying sense of adventure and freedom that is very attractive to us.

P: Having heard the music and the name from Robin it was clear in my mind this was a Merry Pranksters meets Easy Rider sound and that should be reflected in the artwork. Our in-house designer at NuNorthern Soul, Mr Vincent got it immediately and pretty well nailed it on his first designs…

How do you feel Dance music has evolved compared with when you first stared out, and do you think it’s in a positive place via the digital world?

R: Dance music is way easier to make these days than it used to be. Technology has given everyone the chance to express themselves. So there are an awful lot of people vying for position and trying to get heard. The overwhelming majority of established DJs and producers are finding it harder to be heard and often talk about being swamped by the white noise of digital releases. But, dance music is a positive thing. It has to be. People have been getting together and dancing ever since time began. There isn’t a culture on earth that doesn’t have some form of social dance gathering. There is plenty of dance music to fuel that need and also plenty of places and events where that need can be met. Things have changed a lot over the years. People aren’t doing as well financially as they used to, because there is less money to be made in the digital realm. At the end of the day though, a great event that brings people together is going to be far more rewarding.

The music has a very organic feel to it. Any plans to play it out live, or for recording an album?

R: Yes. I love the whole live experience and we are looking forward to taking the whole project out on the road. We are also writing a Dos Palos album as we speak and hope to get that finished early next year.


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Single of the Week

Neil Parkes
Me & You EP
Leftroom Limited

Hats off to Neil Parkes for delivering such an exciting production which doesn’t follow the rule book, consequently sounding rather spectacular. Me & You is the led track and combines a distinctive, undulating synth line along with brooding chords and suitably leftfield vocals. A great remix comes from Richy Ahmed who punctuates it with Chicago styled vocal stabs and Detroit synthesizers augmenting the certainly tough bassline. Dixon, then sees the producer in deeper territory with moody atmospheres and shuffling percussion again delivering singular results. The excellent, ‘You Were’ ends on a high with provocative basslines amid weirdly addictive vocals and further tech keyboards that feel uniquely soulful.

release: November 10

Beats & Bobs Vol.2
R2 Records

I did mean to bring you this a couple of weeks ago but circumstances got in the way. Never-the-less the sumptuous Klearkut chimes with the current vogue for shimmering, marimba styled keys underscored by tough beats, which is in this case superbly highlighted by an extra layer of percussion and subtle synths at mid-point. Great track, for sure. However, it’s to the timeless quality of Earth These Beats that attention turns. Replaying the Beats version of the 1990 classic Earth People ‘Dance’ and extending it out to ten minutes is tempting on paper but played loud releases all that funky energy at full blast.

Max Chapman & Kieran Andrews
The Factory EP
Lost Records

We’re just about to hit November and already there’s a great list of music in store.  Following neatly on from their Temperature EP for the label comes this blistering, bassline infused production in the shape of Factory 7. It’s all thumping beats, crisps sounding snares and atmospheric noises swirling round the ether, and it’s positively nasty. Philip Bader’s remix drops the loser funkier vibe of the original in favour of more attacking House beats surrounded by a pulsating vocal stabs and a creative selection of sounds for high impact. Leaving, Loving Arms to feel more emotive with hooky vocal loops and driving rhythms to end the show.

release: November 17

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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.