Andrea Ferlin Q&A

Hello and welcome along to Magazine Sixty, Andrea. Let’s begin with your brilliant new release for SLEEP IS COMMERCIAL – Flux E.P. which comprises of two productions. Can you talk us through how you produced the epic 11:49 minutes of Th. From where the initial idea came from to how that was then realised in musical terms?

Nice to meet you as well. Thanks for the nice words on the release.
The initial idea started building the groove using elements from a real drum kit and reprogramming the sounds of the drum kit with a sequencer. On top, using other two drum machines, and a bunch of synthethizers. When I make music, most of the time I start with an idea and then this idea develops itself naturally in a track. It something very natural that I cannot really explain.

You recently played at the labels night at Warehouse in Palma de Mallorca as you do at many others across the world? Tell us about how you feel your music connects with people? And do you think music translates borders, or do different locations require different approaches?

I have the chance to travel the world and play the music I love, I really feel lucky to be able to do this. Music connects people with one another and me with them as well. Music is a universal language and even tough I still think that different locations requires different approaches. The music we play does not fit any type of dance floor. There is music that works perfectly in a dance floor like Berlin’s Club Der Visionaere but doesn’t work in the same way in another place. The audience is different and I try to adapt myself to this.

What makes SLEEP IS COMMERCIAL such special label for you? And how would you say the philosophy behind it is unique in today’s digital age?

We founded SLEEP IS COMMERCIAL in 2009 with Francesco Assenza and it became a special project for us since then. We managed to create a label that embodies exactly what our taste in music is. We have a great group of friends and artists that are part of the label and we support each other. We exchange music, ideas, build new projects together. We are very lucky to have this.
We are found of vinyl only releases. We had a digital series that we stopped as we wanted to focus our production on vinyl releases. I do not know if our philosophy is unique but we are for sure a bunch of crazy music freaks and we try to make the most out of it.

Outside of the world of electronic music which artists, writers or musicians have most influenced what you do?

I am a big jazz fan as I grew up listening Miles Davis or Thelonious Monk among many others. This kind of music deeply inspired me by its groove. I particularly like free jazz because of its very complex and sometimes abstract rhythmics. I also listened to many psychedelic Rock from the Sixties. The writer that most influenced me is Robert A. Heinlein. He is a science-fiction writer, a genre that I particularly enjoy to read. Many sounds that I then use in my tracks remind me the science fiction movies I use to watch when I was a kid.

What makes certain music timeless?

In my point of view, one of the elements that make a track timeless is its vocal part. This vocal part could also be a synthesizer riff for example.
When I think about it, there are so many iconic tracks to me. Tracks maybe 60 years old that are still modern in a way. Tracks that pass from generations to generations. This I think happen when the tracks have this magical thing that no one really can explain. When the music touches you in a special way for any particular reason. I do not think that there can be a proper explanation to what makes certain music timeless, it is very subjective like in all art forms.

Do you have a favourite instrument (or software/ hardware)? Do you own one?

Yes I have some favorites pieces of gear. One is the Eventide H3000. It is for me an irreplaceable effect processor. I use it in all of my productions. I use all the Elektron machines. Starting from the Machine Drum to the Analog Four and the Octatrak. I love to use them because they are very powerful machines, very easy to use and I have a lot of fun using them.

How would you place the importance of song and words in the context of today’s electronic landscape?

Most of the music I do is without any vocal parts in a classical way. I use vocal parts that I transform into instruments. I use the voice for their sounds but not for the words they say. Sometimes only I use vocals to send a message but it is very rare. I think that in today’s electronic music scene the use of words is still the same, each producer use it in its way, some more than others and some not at all.

And finally. Can you share your plans for the remainder of 2018 and beyond?

2018 has been a great year for me so far. I have a lot of records and remixes coming: my new Atoll record and my new Proboscide record will both come out in June. Some months ago I started a project with some friends in Beirut, No Longer Humans and we have a two tracks EP coming out this summer with a remix of Aleandro (another project I have with Alessio Mereu). There is a track of mine in a new triple vinyl Sleep Is Commercial Various Artists that will be released in Autumn. I also did a remix together with Francesco Assenza as Dunkle Dummies for a Wareika track called ‘Shamania’ that will be released in a double vinyl for our Sleep Is Commercial Ltd series. Another remix will come from Ricardo Villalobos together with Thomas Melchior.
Regarding gigs, I will be taking on my residency at Club der Visionaere in Berlin and I look forward to play this summer in old and new locations such as Waha Festival in Romania or in Egypt.

Andrea Ferlin’s Flux EP is out July on Sleep is Commercial


Pascal FEOS – Redline Limited Series #01 – LEVELNONZERO

Time continues. Music evolves. Pascal FEOS feeds his own imprint with two equally soaring cuts that mercifully have fuck all to do with Disco. Tearing at the stratosphere the brutal kick drums and furious stabs of Cluster Beatz propel forwards gathering excitable energies in their wake, while cruising some seven minutes in duration this crisp production is not only captivating but timeless. Next the slippery percussion of Demonstration suggests different possibilities as hell-bent basslines explode amid contrasting atmospheric rushes of sound. Very fine.

Release: June 14


Catz ‘N Dogz – The Feelings Factory – DIRTYBIRD

Comprised of two tracks this new release from DIRTYBIRD has the undoubted pleasure of Robert Owens voice featuring on the opening Fine Feeling. Which feels reassuringly familiar as grainy Organ hits loop into distraction, offset by big splashing hi-hats and dirty bass. It’s an interesting combination of soulful elements plus the low-down and as such works in irresistible fashion. The intentionally pounding Factory Settings in conjunction with Joseph Ashworth follows with nagging synth lines poking at solidly funky, syncopated drums and bass accompanied by a whirwind of deliciously dangerously fizzy stabs and noises. Again undeniably wonderful.

Release: June 8



Âme – Dream House – Innervisions

Marking their first album together since fifteen years of making music Frank Wiedemann and Kristian Beyer have produced this eloquent, rather beautiful soundscape as the aptly named Dream House. From the moment The Line featuring Matthew Herbert begins you get the feeling you’re about to engage with something secretly special. And it’s not just that the music encompasses such a broad history of European electronic Dance Music (as guest appearances all leave their mark) but also because there is a sense of time spent honing, creating this rich abundance of musical escapades. As the past  informs ideas it is of course down to the artists themselves to in turn do something imaginative with that. So nostalgia is abandoned. Having said that the playful musicality and fizzy, analogue sounding sounds all piece together memory and location mapping out goals and intention. From the sleazier downtown hi-energy syncopation of the tempting Queen of Toys to the crisp drum machine pulses of Positivland, via the the chiming messages of No War, the tracks set the pace in the direction of classic. It’s easy in this day and age to make music but it is much harder to create it and to do so with such forceful resonance.

Release: June 1


Daisybelle Q&A

Hello and welcome to Magazine Sixty, Daisybelle. Let’s begin with your new single with Rob Savage for Love Story Recordings: Always On. How did the connection with the label come about?

Well, I am a big fan of Carly’s work so I have been following her label. But we are also friends so she is someone that I always like to get an opinion from on most things.

And can you talk us though how you co-produced the single? Plus tell us about the Acid and classic House influences which are in there too?

Well this single is a collaboration with Rob Savage who is a really talented producer. It started off as an experiment as we’d never worked together before, but it just kind of flowed easily and we liked everything the other did to be honest. There was nothing either one of us of didn’t like.
The acid part of it comes from a love of acid house and was actually inspired by a collective of DJ’s I play with often who love acid in all its forms 😊and the classic house you’re hearing in there definitely has Rob’s stamp. He’s so good at creating and maintaining a unique groove, I really loved working with him.

Your music contains a funky sense of musicality. I was also wondering about your influences in terms of outside of electronic Dance music?

Oh thank you, that’s really nice to hear because that was definitely the aim. Well, I actually love many different genres outside of dance music so I do try to bring some of those elements into my music and my DJ sets. I love anything that has soul to be honest, from reggae, funk, ska, jazz, cumbia, rumba, bossanova to salsa. I just love music that makes me feel something, anything. I am also a huge fan of Professor Longhair who’s New Orleans R&B makes me so damn happy. My parents were both musicians when I was growing up, and they were very eclectic too so a lot of my influences come from them as well. I find myself often asking my mother to remind me of artists she used to listen to so I can dig around for new old stuff.

Tell us about the choice of Joss Moog as remixer? PS his version is excellent.

Joss Moog simply has the mightest touch! Everything he touches…turns to gold! His stuff is just so funky and addictive! Plus everyone was super excited to have Joss do the remix as well so it was a unanimous decision. And he delivered!

Where can people get to here you play this summer?

This summer: well I will have my new monthly show on Bloop, my next gig which I can’t wait for is F.U.M.P (For Underground Music People) this May bank holiday! It’s a mini festival in a field in Essex which features a small collective of DJ’s and a group of regulars who never miss an event and who are the most devout crowd to play for. It’s been growing a lot recently which is nice to see.
I also have a couple of dates at Es Paradis in Ibiza in Jul & Aug for Brandon Bloc’s new night, and I am beyond excited to be playing for Melon Bomb again at Pikes in Ibiza this August. Then I come back to London to play for Mutiny which is a super fun boat party which will also be a real treat! Yey!

How did you find your recent experience of broadcasting on bloop? What still makes radio an exciting medium for you in today’s digital world?

My first show was a good experience, its such a great platform still. To have a designated time each month where you have complete freedom to play whatever you want to share with your listeners is priceless! You can also connect with people from anywhere in the world.

And finally. Tell us about how you would like the remainder of 2018 to shape up?

So far 2018 has been good to me, so now all I can hope for is that people enjoy the new single when it comes out and I would like to finish a few more projects I have going on. And also for lots and lots of people to want to book me to play in amazing exotic countries ha ha.



Oldrich Sic Jr. – Down to Detail EP – MYR

Sometimes music tries so hard it’s boring. Like when people are desperate to escape into the past. Then again you hear something that sparks your imagination illuminating the horizon with a sense of forward-reaching excitement. Oldrich Sic Jr. delivers that Acid attitude in abundance as searing, syncopated high energy bassline roll out across the future backed up with strident self-propelled drums on the opening Well. Next, Thought Out probes at Chicago sensibilities with bubbling bass plus shuffling drum machines combining to enrich the atmosphere tainted with familiarity, but not so much so that it’s not a dangerous sounding proposition.

Release: June 6


Dircsen – Beyond Collapsing Silence… – Beef Records

The title track from this latest release via Beef sees the artist tease out all that was good about Acid House in the first place and then inject a little more about 2018 into the notion. An excellent arrangement sees ideas float around then colour a mood board with sounds which carefully breathe soul across the bubbling 303 motifs care of hazy, warm emotive pads. Next, Depth Scan gets tougher with energetic basslines syncopated into a funky low-slung nirvana, with Florian Kupfer’s remix adding a brisk distortion to the drums while allowing room for the accompanying undulating waves of synthesized Acid.

Release: June 25


Metropolitan Soul Museum – Bleu EP – Rawax

Let’s set aside categories just for a minute and simply enjoy the music. Metropolitan Soul Museum’s blurry, grainy escapades into sound feel soulfully resilient here especially on Deeh which begins the EP. Its engaging swirl of emotive pads set the scene for a bassline which you know means the world to the person who created it – and to us. Speaking without words this journeys into the soul of the matter. Remaining numbers see the brightly imagined Acid fuelled RRR, a brutal kick drum informed title track, and finally a Detroit inspired Fiamme all justifiably competing for your attention. And all succeed in igniting the emotive flame.

Release: June


Emanuel Satie Feat. Billy Cobham – Don’t Forget To Go Home – Rebirth Records

In ways the elements contained within this production are as old as time. And it really should come as no surprise that they sound as resilient now as then. Jazz and Blues have always formed the cornerstone of much of our music and therefore this beautiful combination of both sounds typically resonate given the uncomplicated fashion in which they have been delivered. The percussion informs sensation while the jazzy keys weave their sunny magic all over the stereo as timeless loops repeat endlessly across eight minutes of relative bliss. A simple formula really, but of course one that speaks for itself. Next the Nicolosi brothers get to the heart of the matter delivering a raft of sublime instrumentation teasing out the very essence of the piece via their Ambient Mix, which in ways is all the more important in terms of musicality and the transition of movement.

Release: June



Dalfie – The Outlaw EP – Pets Recordings

In the sheer rush to get to the next two tracks I’m kind of bypassing the opening Outlaw. I don’t know if that’s necessarily right but once to get to grips with the fevered excitement, infact the surreal beauty of For It you’ll perhaps see my point. This is the kind of energised, Acid number that we could do with a lot more of. It pulsates with loaded percussion while expanding and getting hot in all sorts of ways. Then, Right Up completes the picture care off the sort of twisted Disco that shames tired re-edits while brimming with tough, compelling repetition that is at once heavy-duty plus funky as hell.

Release: May 25