Demuir Q&A

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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


Reviews: 175

Frag Maddin
Snatch! Records

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

Thrill Me
Music For Freaks

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

Release: July 29


Yamen & EDAOne_Records_-_038_-_Insta
Temporis EP
One Records

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

Release July 18

Listen/ Buy



Reviews: 174

Various Artists
Collaborations 1
Unlock Recordings

Igniting their vinyl-only series of releases is this first of three collaborative productions – hence the title. What’s great here are the range of sounds and styles escaping the usual cliques while offering up an exciting cocktail of ideas. Opening is Leonel Castillo ‘Vibraphonistix’ which sprinkles playful jazzy notation across a suitably cool bassline and shuffling drums all sure to excite the dance floor. Next in line is Jorge Savoretti & Paco Wegmann’s ‘Din Cartier’ which has undulating synths played out across a succession of splashing rhythms, while Fosky’s contrasting ‘Benefits’ gets more rewarding with a thought-provoking array of deeper pads and atmospheres. Finally, Franco Cinelli’s unfussy ‘Mind Out’ sequences smouldering electronics alongside pounding beats to end part 1.

Vinyl Release: July 5

HOTC081_artworkIgor Vicente & DkA
Haus Boo EP
Hot Creations

Enjoying yourselves at Paradise this season? Then no doubt you will have encountered either of these two numbers during the course of the night. Haus Boo, delivers fiery Chicago flavours direct to your soul care off infectious basslines and sassy drums galore. While the deeper, Shady fuses more in the way of intense low-end theory together with soaring synth lines plus edgy vocal touches for heightened effect.

Release: July 1


Erlin’s Adel and Jan-Eric aka Autotune proceed without due acre and attention to pulzarise your senses into submission via their rousing My Wife Mix of the title track, She. Offsetting its funkier bassline are sizzling drums and repeating, bruising stabs but what perhaps sets this up to ensure your attention is grabbed is its ‘tell-it-like-it-is’ vocal. The Original version feels breezier in comparison with almost jazzy notation colouring the soundscape. The moodier, uncomplicated rhythms of Circles then bounce around in engaging fashion as the equally compelling Mind Judgement feat. Dirty Paul digs deep with dark voices amid throbbing grooves.

Release: July 1


POPOF Q&A (Hot Creations/ Form Music)

Your new single for Hot Creations: Lidl Girl feat. Arno Joey is the third to be lifted from you album: Love Somebody’. What’s the story behind how you teamed up with the label and how important has it been for you to work with such a notable imprint?IMG_8412popof4

I composed about thirty tracks, some of which were made in collaboration with my vocalist, Arno Joey, and then sent some to Hot Creations. They responded quite positively so, afterwards, we all sat together and selected what we estimated were the right tracks in order to come up with a full album. It’s obviously a great honor for me to have released my album on this label, because I both respect them immensely and really appreciate them on a personal basis.

Can you talk us through how you produced the track – including any favourite software/ hardware you used – and what was the inspiration behind it?

For this specific track, I started building the rhythmic on Cubase. Then I added the catchy melody that holds the track together from beginning to end. Afterwards, I added the bass, the keyboards, the vocals and the effects. I used Virus TI for almost every single sound on this track.


How did you get to choose such an impressive line-up of remixers for the single!?!

Well, to be honest my manager, Ghayath Dakroub, did all the work! He worked very hard and very professionally for me to get the best remixers available.

Your music is much more varied than a lot of artists. Who are your biggest influences, both within Dance music and outside of it?

Outside electronic music, I tremendously love vocal jazz, hip-hop and funk music. I’m very open-minded musically, as is reflected by my music. I really think every single musical genre has something good to offer.

How would you describe the electronic music scene in Paris at the moment?

For me, the Parisian scene is getting better and better at the moment, it’s been evolving positively. I’ve seen lots of new dynamic promoters emerge and great, unusual, places open – a nice change from the usual clubs or festivals. The scene’s expanding and I’m thrilled.

As you DJ worldwide is there a sense that clubs are being replaced by festivals, if so, is that a good thing?

Clubs and festivals are two radically different things so I really think we need both! They each have their own vibes and atmospheres and for me both are important and necessary.

Can you tell us about any future plans for a follow-up album, or playing Live etc?IMG_8448popof3

I am currently working on new tracks as well as future collaborations, production-wise. As for my Live performances I’m working on a back-to-back project with Julian Jeweil for this summer.



Reviews: 173

Tim Green body language artworkBody Language Vol. 18 by Tim Green
Get Physical Music

You pretty much instantaneously realize that you are listening/ experiencing something quite special with Tim Green’s installment of the popular series. And what you won’t find are a lot of hackneyed cliques but can discover beautifully fused together music moving across many different platforms from teasing vocals such as the smouldering ‘Still There’ by Landslide to Greg Haines rush of emotion on ‘Habenero’ which completes. In-between the selections flick between the funky and tougher over the course of 72 minutes featuring tracks from, of course, Tim Green, Justin Jay & Chris Lorenzo plus James Holden amongst others, yet all making perfect sense of the sequence in the hands of this renowned artist.

artworks-000162377146-lkkab6-t500x500Corbi Feat. HYDE + SEEK
The Bricks

FINA Records A&R, and one quarter of the Melon Bomb crew, Corbi delivers his debut production for Anna Wall’s inaugural release for her brand new imprint: The Bricks. It’s an accomplished piece of music that is as much about emotion as it is about rhythm. Fuelled by a playful yet punchy Detroit styled bassline the sounds soon evolve via the addition of warm pads and also care off HYDE + SEEK’s lead singer, Binky who supplies a tender, yearning vocal. Only the one mix, but this says plenty into the bargain. ( Photo credit: Netti Hurley)

Release: June 24


Premier! Vanessa Daou + Brokenkites ‘Leaving Paris’ (KID Recordings)

Its our pleasure to announce this Premier at Magazine Sixty.

Leaving Paris is the haunting collaboration between electronic jazz-pop chanteuse Vanessa Daou and experimental electronic / IDM composer James Willard (aka Brokenkites) on KID Recordings. Inspired by author Collin Kelley’s novel ‘Leaving Paris’ (Part Three of ‘The Venus Trilogy’), the meditative torch-song conveys a sense of longing and romantic nostalgia for the eternal City of Lights. Daou’s bare lithe vocals and intimate poetic lyrics hover seductively over Brokenkites ambient electronic textures which coalesce into a delicate melodic epiphany that’s both hedonistic and transcendent.


Reviews: 172

4th Sign
Eloge de la Lenteur (Part 2)

The second instalment of Joss Moog & Around7’s elegant Jazz-Funk referencing experience is every bit a sumptuous as the first with the opening lounge factor of The Movement scoring particularly high. Next, No Trouble No Men ups the tempo driving the beats hard, while the gorgeous Deep Dip follows in a more melancholy vein. The Right Color then reworks a touch of Jazz with a vengeance, as the excitable Hot Saucisse again raises the temperature Ron Hardy style. Which leaves the down-tempo smoky vibes of Lunatique to round off another excellent set of productions from the duo.

Release: May 13

Far Out Monster Disco Orchestra
Where Do We Go From Here?
Far Out Recordings

Featuring the arrangements of Azymuth’s late José Roberto Bertrami and the legendary Arthur Verocai alongside a feast of other Brazilian icons the Far Out Monster Disco Orchestra have been at the receiving end of a sterling number of remixes recently. Now it’s the turn of Andrés and the LTJ Xperience who both rework Where Do We Go From Here? Detroit’s Andrés revisits the track for a second time producing an excellent and certainly crisper version of the killer vocal. While Luca Trevisi aka LTJ Xperience fuels the song with smoother, more traditionally soulful flavours. Either way this is quality guaranteed.

Release: May 27

DIVINE-600x545Shoot Your Shoot: The Divine Anthology
Big Break Records

Ok, so it may not all have been genius, but at least it was fabulous. Divine exploded all over almost everywhere by the early 80’s with hits such as the highly-energised ‘Native Love (Step by Step)’ and the gloriously trashy ‘Shake It Up’. The larger than life persona was originally christened by John Waters who called Harris Glenn Milstead’s alias “the most beautiful woman in the world, almost.” And began starring in underground films by the late sixties, becoming all the more infamous by the time of Female Trouble (1974) and notorious with the arrival of Hairspray in 1988. In between times Divine released a series of stunning records produced by (the criminally underrated, in terms of Dance history) Bobby O. Prior to the electronic sounds employed on this compilation the artist had a rockier sound, which certainly contrasts with the more polished collaboration via S.A.W by the later eighties. Anyway, sit back and enjoy the ride into oblivion.


Moderna Q&A

12507218_1055621821148443_6439125897373802955_nYour excellent new single is the Chloe curated ‘Lumiere Noire 03‘ (out now on Kill The DJ) and is co-produced with Theus Mago aka Mateo Gonzalez. How did you team up with Mateo and can you tell us about the Chloe connection plus Kill The DJ?

I was on tour in Mexico last June. When in Mexico City I was told my gig was cancelled due to “Ley Seca”, also known as Dry Law, which is when the Mexican government shuts down all bars and clubs for voting purposes. There were several other djs in the city at the time that were also gig-less, so it ignited an impromptu “illegal” house party set up by some of the local heroes.  The party was dubbed LEY SECA–the roster included Mijo, Sanfuentes, Andre VIII, Max Schmitt, Watty, Samsi, Soni Ceron, Bufi a.k.a. Theus Mago, and Myself. Each DJ got to play 30 mins– it was streamed live and the party was packed.  Mateo and I connected there and met up at his studio a few days later, and Dog is Calling you took shape. I continued my tour and returned a few weeks later to perform my makeup gig, which was a Rockets party booked with Chloé.  Her and I kept in contact and I sent her some mixes, along with Dog Is Calling You. She loved it and asked if we wanted to release it on her Lumeire Noir series. Of course we wanted to, Kill The DJ was a perfect fit for this sound. So we got back in the studio and worked on the creating the EP.  It’s been super cool, sometimes when things happen out of your control good things come of it. So heres to Ley Seca.

Can you walk us through the creative process between you and Mateo for this EP?

I feel Mateo and I have a unique flow when we are in the studio together. There is never any ego, we typically agree on each other’s ideas, and consistently have a creative balance.  Mateo is absolutely amazing with beat/percussion. He starts a track with drums, sketches a bassline, then I integrate synth sounds and vocals. We work on the arrangements, atmosphere sounds, and the mix together. It feels good when ideas happen organically and you both just get it.

Where did the title for the track, ‘Dog Is Calling You’ come from?

It’s not as mysterious as it may sound, but it is quite endearing. The back story is that Mateo and his wife Pamela call each other Dog as a nickname.  I was in the studio recording some vocals and Mateo was out of the room. I saw his phone ringing and it said “Dog” is calling – so I naturally in the microphone started saying Dog is calling you, call her back.  We liked it and it worked.

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12743642_1073989582645000_6442899527862547467_nWho first inspired you to get into electronic music? And what attracted you to producing?

I grew up immersed in music, my parents were a big influence on my development as a musician.  My dad had an amazing record collection and my mom took me to several rock/new wave concerts at a young age. I was lucky to have young liberal parents, considering I grew up in Utah.  When I was 17 I joined a noise band called The Static Cult, which is when my passion for analog and the electronic sound began. I played on a Korg Poly 800, a 303, and we even had a space echo. We wore gas masks when performing live– it was definitely an acquired taste. We put out an EP only available on cassette called Tardive Dyskinesia, and that’s where it all began.

How would you describe your studio set-up? Do you have a favourite instrument or piece of software?

I’m in the midst of building a studio and sound therapy lab in Joshua Tree.  In the meantime with me being on the road as much as I am I have been utilizing other studios,  I just recorded a remix in a shed turned studio on a nursery in Utah and made my last track in a house in the mountains in Northern California,  I’ve worked in studios from Cologne to Barcelona to Paris.  Playing out of different spaces brings different results and gives me ideas for what I want my studio to be like. It’s great.  I’m finally feeling confident about producing in Abelton on the road and I love it.  I have a few favorite things like the TAL baseline 101 some cool pedals and effects like Strynmon Time Line and the Eventide H9.  I like to sound design and mess around with basic sounds then manipulate them to my liking, especially with my vocals.

Tell us about your involvement with Ghostly International?

When I was running my music magazine RE:UP we did a cover story on Ghostly.  Shortly thereafter I started working with them on various events and projects. This was in 2006, back when they were still finding their business direction as a label. I continued to manage and assist in multiple departments, i.e. organizing international showcases, artist brand collaboration, online store reconstruction, and several other fun things such as doing art shows, boat parties, and whatever else we could come up with. I also managed tours for Matthew Dear and other artists on the label. It’s great to see how far Ghostly has come and I’m really proud to be a part of it.  After 6 years of working with the label I decided to focus back on myself and pursue my passion in being a full-time artist.

12495003_1050346795009279_7407344065986028118_nWhich artists have inspired you from outside of the world of Dance Music?

So many – David Bowie, Talking Heads, Prince, Pink Floyd, Dead Can Dance, Cocteau Twins, Sonic Youth, Concrete Blonde, Bauhaus, Joy Division, Kate Bush … I mean I could go on forever.

From your perspective what do you think of the increasing dominance of Festivals compared to the past when it was more about resident DJ’s / Undergrounds?

I’ve always believed that electronic music and the culture surrounding it is ever evolving and the progression of it is key.  However I also feel that keeping the underground authentic is vital for the true experience and appreciation of it.  But due to several factors like it’s growing popularity, legalities and djs turning this once rare passion into a lucrative career while demanding higher fees and playing to larger crowds it is unavoidable for the scene to be coveted.  So throwing large festivals to sustain the industry that it revolves around is important in both aspects to find a balance.  I believe in achieving this we need to respect the origin yet foster the future.

avatars-000218674436-lvmj8p-t500x500What are your plans for the rest of 2016?

I have some exciting things coming up, Moderna Y Theus Mago will soon announce a South American tour for this summer.  I will get in the studio again with Theus Mago to finish some tracks we started, as well as working on a new project with amazing producer and fellow Lumiere Noire alumn. Markus Gibb, he and I will play together in Australia for a few dates in August.  In the fall Moderna Y Theus Mago will to go back on tour to Europe.  During my down time I will be organizing ‘The Hawkeye Project’ which is an off grid artist compound with a studio and sound therapy lab that will be built on property in Joshua Tree, CA that I am co-developing with eco architect Cameron Sinclair.  So I have quite a full year ahead, But I’m really looking forward to working on the new projects and collaborating with some of my favorite humans.  I never forget how fortunate I am to be able to live my passion.


Reviews: 171

Sebastien Bouchet
Sailor EP
Omnidisc Swim Series

Label head Danny Daze begins the Omnidisc Swim Series with this release from amazing French producer, Sebastien Bouchet. And happy to say it’s rather excellent. Take ‘Sailor’ which begins the EP in earnest with the sort of unfussy groove that proves to be hyper funky as uncomplicated, sassy percussion and bass notes produce magic in succession. Next, Jeff Goes Riot again hits you with heavy-duty basslines this time over nagging synth lines as ice-cool vocals feed off occasional warm chords. Etna, then feels fused with electricity as soaring synthesizers prove bright and seductively breezy over commanding electro beats. The atmospherically charged Pacific Seb ends on moodier notes which are by no means any less rewarding on what has to be said again is an excellent EP. Next please.

Zombie Zombie
Slow Futur

By way of an explanation: ‘Slow Futur features two jugglers (Elsa Guérin and Martin Palisse) on a treadmill (8 x 2m) which carries them along a neon light installation which delimits the choreographic space as a kind of space-time tunnel: the hyperspace.’ Lifted from the performance of the same name are these four tracks from Zombie Zombie aka Cosmic Neman, Etienne Jaumet, Dr Schonberg which not only highlights the labels inquisitive nature but also the musician’s creative impulses. Hyperespace, starts the exploration with organic feeling machines producing an enthralling blur of sounds accompanied by the demanding beat of drums. The excellent, futuristic strains of Extra Life proceed via pumped-up rhythms next, while the title track then eases down into a different trance. Finally, the brilliant Blue Screen ventures into ambient territory albeit a darker one with haunting sights and sounds completing a great release.

Release: Vinyl & CD April. Digital May 2016

“Slow futur” – Version courte from CIRQUE BANG BANG on Vimeo.

All By Mouth
20/20 Vision

Richard Burkinshaw and Jamies Rial aka Audiojack deliver this creatively intense set of three productions for their long standing residence at 2020. Which thankfully for us sees the duo in a more playful mood with the mind expanding Fluent opening proceedings via a pulsating, uber-cool funkiness which is not only thinking forward but very definitely hypnotic in the process. Stutter, then tears at the envelope with more energy injected into its insistent hi-hats, accompanying syncopated bassline plus off the wall vocal edits. Leaving the aptly titled Vowels to continue the theme by twisted the French language around darker flavoured drums and their sparse arrangement to produce yet another intriguing sequence of ideas.

Release: May 9


Reviews: 169

Igor Jadranin
Boulevardd EP
Back To The World

Boulevardd induces the type of sizzling energy not quite heard since the electrifying days of DJ Pierre’s extended creations. Caustic, distorted snare beats feel fierce in amongst the general dirty goings on but this also points toward a jazzy sensibility that makes perfect sense once the rousing piano drops in. When you think about – and after all that’s what we should like to do – this is a clever production that all at once sounds future / retro. Middle Proves continues the jazz/ funk theme via meandering synthesisers and tasty drum programming, while Ashley Beedle’s North Street Mix lays down a much sassier interpretation smartly primed for hot summer nights ahead. Finally, the covers blown to reveal a pure roots version of the music complete with smooth trumpet, piano and awkward rhythms on Hero.

Afternoon Sadness
Mother Recordings

A seriously excellent piece of music by Ecuadorian producer/ DJ Ordonez which hits all sorts of the right notes in the right order. It’s tinged with hints of sadness but as with so much melancholy music it succeeds in producing uplifting feelings as well. Another release that’s certain for the summer ahead with its Balearic leanings, poignant guitar strums and delicate piano’s all capped off by smouldering vocals. Picture perfect. Next, Back Home picks up the pace with a funkier line in Horns and shuffling drum rhythms completing another killer outing from Mother.