Al Bradley Q&A

Hello Al and welcome along to Magazine Sixty. What have been the highlights for you in the past 15 years, as 3am Recordings has been releasing music since 2003!?!

Hi & thanks for having me! There have been several along the way, I guess the ones which stand out are the first time I heard something off the label being played by DJs we really looked up to (that was Silicone Soul playing a track from TAM001 at Basics in Leeds in 2003), then Rob Da Bank playing Alex Moran’s “New Fish To Fry” on Radio 1 too, a pretty cool moment. I think at that point I expected to take over the world haha. Gig-wise really the highlight was having fabric host us for the label’s 10th birthday – it seemed like a real recognition for the hard work put in, plus naturally it’s such a brilliant venue to play at.

How have you seen the ‘industry’ develop in that time for better and worse – which I guess may run parallel to the rise of the Internet, easy access and streaming?

I believe there are pros & cons to how it’s changed; in one respect, the internet and digital aspect has really blown open the old level of ‘control’ (for want of a better word) that labels had, for all genres, whereby artists needed a label to get their music out there. People can really follow a DIY path now, so it’s much more democratic in that sense – you don’t necessarily need thousands of pounds to get something out there now, via digital platforms. However the flip-side of this is that artists don;t seem to take their time now; as soon as someone has finished a track, they’re desperate to get it out there, so the number of demo emails I receive which have one track on there, CC’d into about 4000 email addresses, is ridiculous. This leads to a huge amount of disposable music and what seems to be a bit of a desperation just to get stuff ‘out there’, rather than developing a selection of sounds and targeting labels which are appropriate to what you want.

What is it about four on the floor that still ignites your excitement after all this time?

Good question and I don’t think I have a real answer! I bought my decks in 1991 and thought it’d just be a passing fad, but here I am 27 years later…. There’s an energy in house music, people are still reinventing how it sounds, new people (much younger than me!) find it and want to push it forward and create fresh excitement, so there are constantly changing nuances in the sound; I guess those are the reasons it still has a hold on me really. There’s just something about getting some records & putting together a mix, playing in a club, or just checking out new music with a friend to compare what we have, when you hear the beat and the energy contained within, it just still works for me. When I received the TAM088 vinyl, which had my first ever track on 12″, I got all emotional when the first kick on my track played throguh the speakers. It’s a bit ridiculous really, but that’s the kind of hold it has on me!

Celebrating the anniversary is the labels next release on June 4 which features four tracks by four artists. How does the release represent 3am’s direction in 2018 and can you tell us about how you choose these productions in particular?

The release I feel showcases what the true ethos of 3am has tried to remain true to over the years; it’s not easy pushing new artists right at the start of their careers, but it’s something I’ve tried to do throughout. So on this release it has Ceri, whose debut ever release was for 3am (a remix of Askani), plus I’m giving Helsinki-based Twisted Puppies their debut on vinyl. Michael Lovatt is an artist who has become close to the label in recent years, representing us at gigs in Berlin several times, plus he’s an artist who is on the rise, so it wa the right time to get him on the label. Danny – aka Dubble D / Moodymanc – featured on 3am a few years back, so he is making a return as a long-time friend of the label. So this EP represents artists who’ve been involved with the label one way or the other over recent years, plus for Ceri she was always going to be back on 3am and it’s a pleasure to get her onto a 12″, likewise for Twisted Puppies – they’re the fifth artist making a debut on vinyl from the last three 3am 12″s, so that’s something I’m really proud of. Especially after I was told I couldn’t sell records without big names…


How did you first get into Dance Music? Which clubs and DJ’s initially inspired you? And how would you describe the scene in Leeds now?

I’m originally from Stockport so it was ventures up the road to Manchester which kick-started it all; predominantly the Hacienda but also The Boardwalk & Konspiracy (!!) were places I went. The Hacienda was the main influence though, I was actually there on the last night it was open too, I’ve got the ticket framed in my hallway even now (geek alert…). Outside of Manc, Leeds was a regular place I visited, Back To Basics and the residents there really adding a new dimension to the music I play; Ralph Lawson & James Holroyd in particular really showcased sounds which still influence to this day. For a relatively small city-centre, there is so much going on – you’ve got smaller places such as 212 & Distrikt which have great DJs on and free entry, then venues such as Wire & Mint which showcase a brilliant selection of styles and nights, up to Church and Mint Warehouse, which have the A-list DJs housed in much larger venues. So there really is something for all tastes; it’s a very strong city for electronic music right across the board, definitely.

Can you tell us what inspires you outside of the world of House Music. Any authors, artists, musicians, writer’s etc you would care to share?

Well my favourite writer is George Orwell; people immediately think of “1984” by him (which is, for me, the best book I have ever read), but his fantastic use of language and his clear distaste for the upper-classes (despite coming from a well-to-do background, which he shunned) is evident in his writing. “Coming Up For Air” is another of his books which still has a relevance in its story today, plus “Down and Out In Paris and London” is a really amazing insight into the North of England at the time of writing. I’m also a bit of a film geek; I tend to watch more films than general TV really; I’d say some of the films from the 70s would be my choices (Godfather, Apocalypse Now, Serpico etc), but more recently films like Shutter Island & There Will be Blood are favourites too. I listen to plenty of other music too, there was particular excitement when confirmation of Arctic Monkeys live tickets was sent to my friend Lyndsey, who managed to sort us two for Sheffield! Really looking forward to their new album, their previous one “AM” is an absolute gem & up there with my favourites of all time.

What are your feelings on nostalgia? Does such great emphasis on the past stifle creativity or enhance it?

Another good question! I’m not too keen on the word ‘nostalgia’ really; what has happened in the past of course is hugely important (otherwise why would I have a Hacienda ticket framed on my wall, from 1997 haha!), but I suppose it’s how these things are done. For example I’m not really a fan of “classics” type nights, where all the music is from say 1989 through to 1991, primarily because that’s not a true representation of what was played, it’s just the biggest/most well-known tracks from that period and it wasn’t really like that at all. I play old records in my sets, I love old records, but I play them within all the new stuff I have – I’ll do it as a little reminder of something from the past and also because it’s something I like and it fits with what I’m playing, but I wouldn’t want to do a whole night of “Hacienda Classics” for example. it’s correct and important to learn from the past, but don’t get stuck in it… When people say “the music’s not like it used to be” or whatever, that does bug me a bit – of course it’s not what it used to be, if it had stayed the same since 1988 then it’d be a bit stale! The whole reason I believe electronic music remains so vital is because it changes and progresses. Yes look back and get excited by old music, see what the early tracks were, that’s valuable and crucial to involve yourself in, but treat it all as an ever-expanding and changing sound – that’s the key for me.

And finally. Can you talk us through the process of creating music for you, from where an initial idea might spring from to how you then produce it, including a favourite piece of hardware/software you like to refer to?

I guess it just all comes from the music I hear and have heard over time – whether that’s consciously or subconsciously. As I’ve been buying records since the mid-80s, It probably explains why I’m rubbish at sticking to one sound. Production-wise I use Ableton; I tend to just muck about with basic ideas of drum/percussion and bass initially, then go from there. Software-wise I do tend to use Sylenth a lot, it’s something of a go-to bit of software for me really. The Eventide plug-ins have also been regular favourites, easy to use and great sounding. I’d love to say I have a studio full of expensive gear and name-drop some super-expensive synths, but I’d be lying I’m afraid! I can’t remember who said it to me, maybe Rob Small who does the 3am mastering, but it was something like “it’s not the gear, it’s the ear” – I’ll use that line anyway 🙂


Bobby Pleasure Q&A

Welcome to Magazine Sixty, Bobby. Can you start by telling us about why you felt there needed to be a label such as Needs – not for profit, in the world today? And can you tell us about your personal philosophy for life and music?

When I conceptualised Needs it was around the time of Trump & Brexit. I was feeling a lot of social dissonance and I wanted to try and do something about it; using the music and scene that I love as a means to spread a message of unity and togetherness. Music is the most powerful force on the planet. In a world of ever-evolving technology, communal centres such as nightclubs are becoming increasingly important in terms of social interaction and it’s here where people and ideas can come together.

The next and third release features five different artists, each with a differing sound. What attributes do you look for when putting together a release?

I look for timeless music from artists that I love. Music that will sound great in 20 years time. With the releases being various artist EP’s I try to group them stylistically as best I can and also try to order the EP in a way that the release flows naturally, and makes sense when listened to as a whole.

*Needs003 is in aid of the refugee crisis. Featuring Lord Of The Isles, Mehmet Aslan, Petwo Evans, Bartellow, Nick Gynn. Released 16th April on Needs not for profit: pre-order link.

And can you tell us why you chosen the charities so far?

I chose charities based on several factors: the work they do, the demographic(s) they help, the reach they have and the areas they offer support. I also looked if they had any previous involvement in the music industry as I thought that would maybe make any potential partnerships easier.

In broader terms do you think Dance Music culture is more or less self-obsessed than other parts of society? Do you think that the ease with which the internet connects us all, also creates a sense of unease?

Definitely. I think it’s a general problem facing all of humanity. More and more we seem to be living a solitary existence as humans, with people mainly socialising and working from their phones and laptops. But like how I mentioned earlier, the thing that dance music culture has is the nightclub and also festivals. It’s quite a rare thing when that many people get together and interact and we should really embrace those experiences. It could be that we see important social movements emanate from these gatherings.

Your new single: Renegade EP co-produced with Adam Curtain is due out in April on Trouble Maker. How did the collaboration come about? And can you tell us about the process of creating the music?

Ahhh yes and I’m very excited about this! Me and Adam have been friends for a while and we hit the studio together about a year ago. We have very similar tastes but brought different vibes to this project. It was a very natural exchange of ideas and we created something separate from our own musical identities. However you can still really hear both of us in the music. It’s super nice when you collaborate with friends and it works out like this.

Do you think nostalgia has helped or hindered music creatively?

I think it can do both. From a production perspective it’s always helpful to look to the past for inspiration but it’s important to also do your own thing and find your own style. From a DJ perspective we’re in the midst of extreme rare record/digging culture, where the emphasis can sometimes be more about how rare or expensive a record is. However I believe dance music and electronic music is evolutionary by nature and will always naturally move to the future.

You recently launched your own night Pleasure Club at The Lion & Lamb in London. How did the night go and what are the ideas behind it? How do you choose a particular guest to play?

It went really well thanks. I’ve been involved in my fair share of parties over the years and I wanted to create an all-encompassing experience that was a culmination of everything I’ve learnt along the way, as well as a platform for me to showcase the music I really love. Pleasure Club will be my ultimate expression of this. Guests are chosen simply because they are the best selectors I have come across in my time as a DJ. Expect the best music, an open minded crowd, plenty of attention to detail and lots of extra treats thrown in. Keep your eyes peeled for a Pleasure Club membership card!

You are part of the first: inner city electronic, event in Leeds this coming June. Tell us some more?

I was label manager manager at 20/20 Vision for 4 years so I know Ralph Lawson really well. I’m so happy for him that this new vision has come together so well. It’s looking like a really incredible event which should be very exciting for not only Leeds but also the UK scene. I’m honoured to be involved at the first one and I can’t wait to see the action unfold.

And finally. What are your plans for the remainder of 2018?

In 2018 I’ll be releasing some more music (including my first solo EP), starting another label, DJing at lots of amazing parties & festivals, and where possible using Needs as a platform to raise awareness for different causes and charities.


P.Leone Q&A

Hello and welcome to Magazine Sixty, P.Leone. Your new release for Rekids Special Projects: Chances We Take EP features four very hot tracks. Could you talk us through how you produced Rose Petal Breaks and where the idea for the title came from?

The idea for Rose Petal Breaks came to life by wanting to combine some home made breaks I finished which I didn’t have a means of using. The title was really just a play on words – seemingly light but not at all really.


How did you team up with the label? And what does having your music released on a vinyl-only series mean to you?

I met Matt Edwards through Spencer Parker…Spen suggested I send over some files to Matt and the rest is history. It’s my first time being a part of a vinyl only series and I think it’s something that is absolutely timeless. I’m extremely thankful for that.

How and where did you learn to produce music?

Loads and loads of trial and error in software and hardware, not to mention absolutely harassing my close friends who had been producing for a bit longer than I have 🙂

How have you found the experience of setting up your own label E-MISSIONS, along with Caizzo? And can you share with us any future plans for developing it?

It’s always hard learning all the inner workings of something, particularly because it was so new to myself and Caiazzo. I’d say after 002 it just became a sort of formula which I think is usually the case with new labels – finding that formula that works and just repeating that over and over again. In terms of future plans… hmmmmm got some humans – specifically two of ‘em! A duo from DC making some of the best techno I’ve heard in years and I can’t wait to put out their record…

The artwork for the label looks really impressive. Who designs it? And can you tell us about the concept behind it?

Huge shout out to one of our close friends who has been with us since day one and has absolutely turned any idea me and Caiazzo had into a reality – Alex Seamens AKA Cranks. In terms of the concept it’s just whatever we can think of within the moment. Sometimes it’s relevant to the actual project and sometimes its not. What Alex is able to do is really incredible and it just gets better when he goes off and gets really creative because he understands the labels aesthetic – we really got lucky with having him on board <3

How would you compare the experience of New York with living in Berlin?

Well they’re two very different cities. Berlin clubs thrive later than most clubs around the world. For someone like myself, who is born and raised in New York, I can’t truly compare the cities. However, even though Berlin is so important for my career and I’m truly falling in love with it, no matter what New York will always be my first love

You are due to play back in New York at Le Bain on February 23 to celebrate the EP’s release? How did the event get organised and how did it feel to play at the night?

Playing at Le Bain for the ‘Chances We Take’ release party was really special and I had some butterflies …nobody wants to blow it at their own release party so I’m happy it went really well!

And finally. What are your thoughts on Techno in general? Do you feel that it is in a healthy, moving-forward position and what is exciting you about 2018?

I think it’s forever growing! And it’s beautiful to see more and more artists be welcomed by it or drawn towards it. I don’t think there’s a dance floor in the world that doesn’t need more dancers 😉 In 2018 I think it’s gonna be a year where I do my best to show some experimentation not too too far from my original projects but I guess to stretch my legs out a bit!


Mutant Disco Q&A

Can we start by asking what is Mutant Disco?

Mutant Disco is an artist name which we were using a few years ago for some disco releases. We decided to reuse the name because it sums up what our sound is about, our brand of Lo-Fi House veers more towards the disco end of Lo-Fi.

Your single: My Donut is due out on Chill Records. Talk us through the story of how it all happened?

We are big fans of early Chicago house, especially the raw stuff – things like Mr Fingers, Fingers Inc, Master C & J as well as the early rave scene. We’re aware of Chill as it was a pioneering early UK house label that followed on from Jack Trax and was fronted by Tim Raidl (who mixed the UK 12” version of Fingers Inc – Can You Feel It). It was only when we contacted Tim about tracking down a couple of releases and sent him some of the tracks we’ve done in the past that we realised we had so much in common and Tim told us he was re-starting Chill with a view to releasing Lo-Fi House and Lo-Fi Disco, that’s how we ended up signing this particular track.

Can you describe the process of producing the single? Any particular favourite pieces of software/ hardware you like to use to achieve your sound?

For this track some of D16 Decimorts’ effect plugins, really achieved that lo-fi sound we were striving for in this track. Can never beat a 303 for bass either. But this sound can be achieved on almost any equipment or DAW if you know what you’re doing with it.

The term Lo-Fi has been applied for a while now. What are you feelings on the genre, and do you think that people applying labels can be creatively restrictive?

Dance music has always had labels, often to help shops, journalists and the end user know what they are buying, which can both help and hinder the producers. Currently listeners/clubbers are fairly open-minded when it comes to music and the term Lo-Fi can relate to everything from left-field electronic hip-hop through to raw, lo-fi house and disco – which is what we do. The term Lo-Fi really sums up the sound that has become so big and perhaps is something that’s developed organically as an antidote to the tech house and commercial house that’s dominated the charts for years a return to the more rebellious side of Dance Music as well as being fun again. Young people want a more raw sound and at the same time are exploring the more melodic sound of early house with strings, textured chords and nice keyboard riffs coupled with rugged beats and often unusual dialogue which makes it so exciting.

How do you feel about nostalgia being so persuasive in our culture?

A lot of the videos for Lo-Fi material are depicting scenes from 90s raves and 80s fashion, younger people don’t remember those times and as such a fascination has grown with everything old-skool. This new brand of Lo-Fi house and disco works brilliantly with those visuals and while the older generation call it nostalgia, for those in their late teens and early 20s, the sound is completely new, so it appeals to people who loved the very early Chicago house scene the first time around as well as the younger generation.

What artists have inspired you both inside and outside of electronic music?

As well as people from the early house scene, there has been countless modern Artist’s popping up in this genre that are pushing boundaries in this tight nit scene, PADDY, Lemin, SHEE, REES and Karl Guest to name a few. All of them have a similar sort of style but are unique in their own way. Some people to look forward towards whenever they release tracks.

Do you think music has, or should have, a political relevance?

It can have – generally dance music is to be enjoyed and is often a way of escaping real life for an evening or while listening for a couple of hours, it always has been. If you look back, notice that certainly in the UK whenever there has been turmoil or political changes, new genres (especially of dance music) have sprung up. It seems people are at their most creative during troubled times.

Moving forward into 2018. What are your plans?

Just to keep doing what we love, producing new music, having fun and getting our music enjoyed by more people.


Reggie Dokes Q&A

Hello and welcome to Magazine Sixty, Reggie. Let’s start by asking about your new release (along with Gari Romalis) on Psychostasia: Feel Me Deep. Can you talk us through how you produced one of your tracks and how you achieve your signature sound?

Producing for me is mostly about feeling. If it moves me, then I feel it will move someone else, or at least someone will get it, lol. There are so many things that inspire me during the course of a day. When I am inspired, I get to work. I don’t agonize over a record for long, I am quick to finish once I have something. Mix it and move on to the next. I just think my sound comes from my experiences and growth as a spiritual being and person. I don’t strike out to be different, it is what comes out of me naturally when I create.

What provided the impetus to relaunch Psychostasia Recordings, and how did the relationship and distribution from Clone Records and Rush Hour come about?

I had just gotten to that point creatively, where I wanted to get back to my label. Serge over at Clone offered to help, and I am greatful to him and the crew. Serge and the Clone family have always been supportive of my work. I have done some great records that I am proud of at Clone, so there was a trust and understanding that I was comfortable with at Clone. Rush Hour in the Netherlands is now my new distributor now. With them, I was able to connect with them personally while at ADE, in addition, they have been supportive of my Hip Hop productions, under the alias, “Detroit Westside Kid”. Right now creatively, I am doing deep house and Hip Hop.

Your music has a playful yet intense funkiness. Who are your main influences both in terms of music and also from outside of the world of sound?

I like the way you put that, ” My music has a playful yet intense funkiness to it.” I have to use that one, lol. I would like to think some of my influences in music are: Jimmy Smith, Herbie Hancock, George Duke, Prince. Rod Temperton, Stanley Clarke. Outside the music world would have to be: Dr. Limuel C. Dokes (RIP), Dr. Frances S. Dokes ( RIP) both of whom, were my parents.

Do you feel that nostalgia helps or hinders the creation of music going forward?

Looking back helps me in moving forward in the creative process. I like listening to great musicians and bands. Look and listen to what they are using and the sounds. Now everybody wants a vintage keyboard or drum machine. Most want those cool sounds from the earlier golden years of music.

What changes for better or worse have you witnessed in music and clubs since your label originally released back in 2001?

I can only speak on music. It appears it has become more of a challenge for me to find good soulful music I like, whether it be house, techno or hip hop. It appears that hype has become the norm, and not substance. As it relates to clubs, give me a few more years. I have really just started to tour, so I really cannot give you a true assessment of the European club scene right now.

You also have releases out on Shift Imprint and We Play House Recordings which highlight the diversity of your sound. How would you describe the differences (if any) between House, Techno and other forms of electronic music?

Yes I do have releases coming on Shift Imprint, which is a fairly new label distributed by DBH music, and We Play House ( Belgium) run by my good friend Bart Van Neste aka DJ Red D. For me I just like to keep my sound diverse. On my label Psychostasia, I purposely like to put deep house and techno on the same EP. Keep em guessing, keep them wondering and make it interesting. You have to remember, that I was exposed to house music back in 83 or 84. Also, I was born and raised in Detroit. So back then, we called it progressive music. House music was very raw and soulful. Techno came later for me, but it was Detroit techno: Juan Atkins and Derrick May, much more electronic and futuristic sounding, but still had soul. Now you have all these different genres, and I get it, but at the end of the day for me, if it is good music, it is good music, lol.

And finally. What are you forthcoming plans for 2018?

My plans in 2018 are definitely to play out more as a DJ and continue to put out interesting and soulful music across all three genres: deep house, techno and hip hop.


Jay Tripwire Q&A

Hello and welcome to Magazine Sixty Jay. Can we start with your new single (with Modern Ancient): Heart432. Can you talk us through the ten minutes of the Original Mix and where the inspiration came from for the track, and what its title signifies?

I started tuning my music to 423 a few years ago, there is a lot of debate about 432 tuning, there are plenty of conspiracy theories about it, but 1st hand I can tell you that music at 432 gets really amazing responses on the dancefloor. The idea in this track is to target the Heart Chakra, its key is F or F#. The main meanings or functions associated with the heart chakra are:
Love for oneself and others
Relating, relationships
Compassion, empathy
Forgiveness, acceptance
Transformation, change
Ability to grieve and reach peace
Compassionate discernment
Center of awareness, integration of insights
When the heart chakra is open, you may feel being deeply connected, the harmonious exchange of energy with all that is around you, and the appreciation of beauty. However, when there’s a blockage in the heart chakra, you may experience difficulties in your relating with others, such as excessive jealousy, co-dependency, or being closed down, withdrawn, I have felt myself dealing with all these issues being a lifelong artist and DJ, it is cathartic to make things like this.
The idea behind this is for dancefloor healing of that chakra, more chakras will follow on upcoming projects, Modern Ancient came up with this idea, and after research into it we decided to test it out in the studio and it became this project.

Tell us about your relationship with the label Superfreq. And about the choice of Dance Spirit for remixing?

Mr. C and I have been homeys for a very long time, he had me out to London to play at The End and AKA back in the day even before I started playing fabric, he has always been a supporter of my music and my Dj’ing. He started to include me more in the label parties and on the label in the last 5 years and we have a good relationship. I often pick his brain for ideas and inspirations, it was people like him and Eddie Richards and Tyler Stadius that really were there since I started putting out records and supported my work.
Dance Spirit are close friends of mine, I think of them as my little brothers. It has been so awesome to see them grow and develop into what they are today, their hard work and talent has been well received by the world. We often collab on things and they really loved the original so it only made sense for them to do a remix.

The release comes with three original versions. The Meditation Mix and Spirit Tool expand sounds without beats, does that feel freer from restriction?

I don’t care about restriction, or making things people might not get, that has been the basis of my career, it only seemed logical to do these other versions for separate times and places away from the original dancefloor mix. Mr. C does these meditation and visualisation workshops, so having the version for meditations that is meant for opening the Heart Chakra makes it an even more versatile tool.

Which people have had the most influence on you both from within and from outside of electronic music, any particular authors and artists?

My favorite author is Haruki Murakami, I feel he writes the kind of books that David Lynch or Jim Jarmoush should turn into films. One of my favorite artists right now is actually Chris Mohn from Dance Spirit, his works are amazing and now that he is doing all the art for Superfreq its going to look so next level. My early musical influences in the realm of electronic are Kraftwerk, Basic Channel, Dj’s like Mr. C and Doc Martin, Jeno from SF, Tyler Stadius, Evil Eddie Richards, and Dj Three have all been tastemakers from back in the day whos taste and programming sets really showed me how to do things without compromise.
I love a lot of Dub, I listen to Johnny Cash, All Them Witches, Wu Tang Clan, and Lotsa Heavy Metal as well, there are only 2 types of music-good or bad, fuck genres.

What importance do you place on vocals and songs in Dance Music? Can something be equally expressed as effectively though rhythms and sound, or vice-versa?

It depends on the vocal, I don’t like vocals for the point of trying to make a hit, I like words to mean something, to have depth and complexity, not just some fucking hook over and over.
I feel it’s more of a challenge to create emotional content that evokes a feeling from only an instrumental song, but on the flip it has a more universal appeal as language no longer becomes a barrier- everyone speaks music.
I play in a lot of places where people do not speak English and playing songs in English I find borders on arrogance, it’s bad enough I don’t speak the language when I go somewhere to do a gig.

What is your favourite instrument (or piece of software)? Do you own one?

I love my Moog Little Phatty, I wrote a whole song dedicated to it called Brothers of Moogtown on Superfreq. I love old novation gear- I have the K-Station and the Nova, both were actually gifted to me by friends who felt I would make better use from them, I have some fucking awesome friends!
I am currently babysitting the Elektron Rytm and the Analog 4 for my friend, I have wrote a bunch of stuff off them, they are fucking awesome units. The crux of being a true artist who doesn’t have a brain for business is that I made decisions based off the bubble I live in and based on the true integrity of my art. That doesn’t make me a top 20 DJ and therefore I struggle with buying new gear and vinyl. I’m looking at selling plasma to buy the Elektron units lol.
I write everything on Logic 8 actually, one day I will upgrade or someshit, but I wrote shit on an Atari Falcon into the 2000’s till it caught fire, so I’m always doing shit my own way and utilizing the things I have and making it all work, that’s how all the best Detroit records were made.

You recently called Tech-House, Bro-Tech. Can you expand your thinking about that? And does it make great music more special and hard to find, or average formulaic music more the norm?

Tech-Bro!! When we started making these records that later became known as “Tech House” it was based of the style of Dj’ing, we played stripped down house records and more Detroit sounding techno in a set in such a manner that it was best of both worlds. I took that idea and started making my own records fusing both sounds. I never expected one day Tech-House would sound like it does now, it’s fairly cheesy with those big EDM-esq drops. The parties I have checked out are mostly dudes in Vnecks attending and it’s pretty contrived sounding to me, but I’m also decades into this and I like subtleties and nuances in music.
Don’t get me wrong- I do like repetitive stuff but it has to have these small details and I don’t hear it in Bro-tech, it’s just EDM laced Velveeta for people that think they are into “the Underground” whatever the fuck that is hahaha.

And finally. What plans do you have for 2018 and beyond?

I broke my head and neck last year so I was busted up, in a neckbrace and no touring for a while.
My 1st dates back were in November In Oslo, then some dates Romania in December and Hawaii in January, I think people were waiting to see if I had recovered before they started booking me again, but I’m 110% now.
Things are picking back up, on the other side since I have been around Vancouver more I have been in the studio like a beast, got lotsa remixes, releases on vinyl and digital coming up. I joined forces with my friends here who do these parties called UnderG, so I’m working on throwing parties with these guys, and we are starting a vinyl label out of it. The 1st release are some tracks I did with a remix from Nu Zau.
The UnderG thing is all about stripped down underground music, and Im all about that haha.
We have Herodot April 6th at a dope warehouse venue called Open Studios.
I still play at Gorgomish in Vancouver, it’s our version of something like Panorama Bar or fabric room 3-I have been playing there for over a decade since it opened and it’s still rockin.
The injury in itself sucked ass but it did have a silver lining and all the love and support people gave me when I was all fucked up thru the bandcamp album I did kept us from going homeless and really showed me that there are awesome humans out there I felt really loved and was super grateful that people gave a shit. I started revisiting being more part of the scene here in Vancouver again instead of being completely absent and away all the time, when Vancouver parties are on they are FIRE and as good as any legendary city.


Crystal Waters Q&A

Hello Crystal and welcome to Magazine Sixty. Your vocal features on the new single by STED-E & HYBRID HEIGHTS: I Am House. How did the collaboration come about and where did the idea for the words come from – What is House for you?

Hi , well I’ve known Eddie and Carlos for a long time, we’ve collaborated on 2 other tracks Synergy and Believe both went to #1 on the Billboard Dance Chart. I posted a pic of me on facebook wearing a t-shirt saying IAMHOUSE and it really resonated with a lot of people, I decided that I would name my album IAMHOUSE. When I heard the track it just all fit together, I decided that would be the hook and commenced to writing. Kenny Dope heard me sing it at the ADE and said he wanted it for his label..couldn’t turn that down lol.
House for me is a community, it’s about the people and the connection to music. It’s always been such a positive vibe, I’m happy and proud to be a part of it.

Having been involved with the music since the early days do you feel House is still the best description for the music, or has the genre now evolved into something else?

Yes I think it’s still the best description , it’s still the root of all the other offshoots..I must say it’s nice to see it still evolving. When I started they said it was just a fad, bullshit music that it wouldn’t last. Great to prove them wrong.

Taking it all back to where you began. Who influenced you most in deciding to sing as a career, and what advice would you give to someone starting out?

Well I come from a musical family.. my father was jazz musician Jr Waters, my Great Aunt was a very famous Actor and singer Ethel Waters. My brother played bass and guitar so there were lots of band rehearsals at the house. Every summer I went on tour with my Father. The turning point for me is when I need some extra cash and took a gig as a background singer on an album project. Once I got in the studio I knew this was it, never looked back. My advice? Study you’re craft first..a lot of people get caught up in the business part of things, trying to outsmart everyone when they don’t even have good music. I’ve seen a lot of people make this mistake.

One of last year’s biggest hits was HiFi Sean’s ‘Testify’ which you also performed on. What made the song so special for you? Do you have plans to record together again?

Ralphie Rosario introduced me to Sean. At the time he sent me the track to write to I was receiving
a lot if EDM , I was getting so sick of all the same rise and fall arrangements..When I got Sean’s track it was like a breath of fresh air!
Finally something different and new. I put everything aside and started writing. I loved the fact that that the track gave me room to put some attitude on it, love that.. Yes we have plans for 2 more tracks , one to release spring/summer and the other one is for my album.

A lot of Dance music is now primarily instrumental. Do you feel something has been lost since sixties Soul, then Disco and House all continued to be based around vocals and songs?

I had a conversation once in Ibiza with several people about the lack of vocals, someone had a very interesting stance about it, the reason they said for the lack of vocals was the fact that most new Dj’s don’t know how to mix in vocals when they play, it’s too hard for them so they just play instrumentals and also the fact they don’t know how to produce vocals in the studio. Something to think about. I do know for a fact that there is a big difference between a Dj and a Producer. Some of the Dj’s think they are producers but they are not..I can tell what they are as soon as I listen to a track I’ve been given. I can’t begin to tell you how much time I’ve spent on arranging and editing tracks. So if anything has been lost I would say production quality.

Tell us about your working day and where you draw inspiration from when writing, plus can you describe the actual process of recording vocals?

My working day ..let’s see depends on the day , most weekends I’m traveling doing shows. Mornings I mediate and workout.
In the afternoons I handle all the business ,calls, emails ect. I’ve recently launched a skincare line for men called Boyface , so I’ve been dealing a lot with that lately ..Then its off to my songwriting studio in my house, it’s just an 8 track enough for me to get a good idea down. If I’m lucky I’ll have a track that doesn’t need an arrangement then I listen , count bars decide where the verse and hooks and bridge are..Then I go in for the melody. If I get a great melody then the rest is easy. Sometimes it takes days to get it right but that’s the fun part. When I get it right then I go for the lyrics..Usually somewhere In that melody I’ve unconsciously said some words and I can pick up on an ideal of what the song is about..there’s a lot of pacing going on lol..this processes may also take days.. once I feel its close enough I head to a studio with a great engineer (this week I’m in NY at Bass Hits Studio with Dave Darlington) Then it all gels together once I’m in the booth. Since I know what I want the vocal to sound like with effects and things I usually send the vocal totally produced wet and dry. All they have to do is lay it in..

Do you have a favourite microphone? Do you own one?

Yes! my favorite is the Manley and no I do not..

And finally. What are your plans for the rest of 2018?

Well I few more releases coming this year that I’m excited about. One with Hifi Sean “Heavy”, another “Without You” Paige & Crystal Waters on Armada .The others the contracts aren’t signed so I won’t say who.. I’m also trying my best to get an album done. I have the boyface skincare line..and my agents are putting my tour schedule together for the summer. i think it’s going to be a fun year…


Yoni Yarchi & Tal Tager Q&A

Hello and welcome to Magazine Sixty, Yoni Yarchi & Tal Tager. First of all thank you for ‘Tel Aviv Morning’ one of my favourite records from last year. Could we start by asking about how you translate the visual into music and is observing images more inspirational than beginning with a singular sound?

Well first of, thank you very much for honoring us with this interview and for the genuine compliment about “Tel Aviv Morning”. We couldn’t be happier about the love, support and positive feedback we’ve received because of it. So let’s begin. As far as visuals, as we produce our tracks, lately we have gotten pretty deep into what’s called “Emotive House” now a days. Those dreamy sounds which makes your body and soul feels as if you were floating somewhere magical, peaceful, maybe somewhere better where you can be your 100 percent true self. I guess that answers the visuals and inspiration. As we produce, hoping to reach such a place, if not physically, then definitely mentally and emotionally.

Your new single for Loot Recordings ‘In Another Dimension’ is equally life-affirming. Can you talk us through the initial ideas and how they were then produced, including any favorite studio hardware/ software you particularly like to use?

We have produced the track in two different sides of the globe via remote control. Yoni is based in Tel Aviv, Israel & Tal is in Houston, Texas. In a way it was feeling at times as if we are communicating through different dimensions. The only way for us to communicate during the work flow is via social media and other devices. During moments of writers block, we were messing around at times until we came up with the idea to name the track “In Another Dimension”. Reflecting our communication between the dimensions. Mainly we have been using the base of every track, Logic Pro X with Adam Monitors, RME Babyface Card, Bluebird Mic, Zoom H4N used to record Tribal Kids, Birds and Forest Atmosphere, Dynaudio MK2’s.

You aren’t afraid of using more traditional instruments in the production such as guitar and piano. I was wondering about the sorts of musicians that have influenced you outside of Dance Music?

We are huge believers in the organic aspects of live instruments. Yoni comes from a classic background of piano and guitars. As for me (Tal), I’ve been a drummer and percussionist since I can remember myself tapping on whatever moves at the age of six. From there it was all self-taught. We love and are influenced from basically almost all types of music. We are both huge fans of Enigma, 80’s and 90’s freaks. So that means anything from Sade, Genesis, The Cars, Tears For Fears, Billy Idol, A-HA, Mike & The Mechanics, Santana to early 90’s Hip-Hop & Rap, 2Pac, Notorious, Warren G, Coolio, as well as the standard stuff like classical symphony music, such as Hans Zimmer. Sure most Deep House producers will include him in their inspiration for the fact that the man is simply a genius with every creation.

Tell us about the choice of remixers for the track: Powel and Rancido?

Well for the fact, this time we both really value the track and think it deserves nothing but the best creative remake. There are only certain individuals out there which are leading the scene musically that we’ve both, including Kered from Loot Recordings – the man with the plan, we would like to give that opportunity. The purpose was to aim big so we offered it to many. Some were occupied with busy schedules and some just don’t do remixes no more. For the fact we all agreed on two different remixes then we wanted each to be as different, but unique and we couldn’t ask for more. Powell of “All Day I Dream” which everything about the label and the army of creative minds behind it is influencing us, plus he’s got a very unique classical style to his tracks that we love. We admire Rancido and his music, especially his affiliation with “Innervisions” of Dixon & Ame which we’re both huge fans of for years now. The tribal, African roots of his deep melodic productions fits perfectly.

How did your Technique Radio Show on HFM IBIZA come about? Why do you think radio is still such a powerful force in the on-line world after decades as a medium across the airwaves?

Technique Radio Show actually started from a weekly podcast Yoni and myself were mixing on a weekly basis. We share this weekly with a solo mix from one of us and alternate. The shows slogan is “TECHing you on a musical journey with our own unique Technique” For the reason each mix is totally improvised and recorded on the spot with a variety of different mixing skills and techniques unique to each one of us. Then here we are a few episodes in with some lack of consistency and there came that huge offer/opportunity to get featured with a weekly radio show on one of Ibiza’s biggest radio stations among some of the pioneers we grew up on. Chus & Ceballos, Roger Sanchez, Chicane, Ferry Corsten, RobbIe Rivera & Cosmic Gate and many others have shows too, as well as some of the leading acts of today’s scene. Guys like Claptone, Coyu, Oscar L and more. Yoni and I have both dreamed about going to Ibiza and eventually spinning there some day and ironically, we are broadcasting a weekly radio show without stepping foot on that magical island. Maybe someday!

What is the best thing about DJ’ing?

We’re glad you asked this! We’ve been waiting to be asked so we can shine some light on that. It can mean many things to many different individuals, but when comes to me (Tal) and in general to the both of us, it goes deeper than deep. Djing is literally everything. It’s like water which equals life. Wouldn’t change nor will you be able to go without it. It keeps us alive during life’s rollercoaster, which at times can be pretty rough ride. From the day of the gig, as you’re getting new music and preparing yourself, it takes you and the dance floor on a musical journey. As it depends on the night, the venue and hours, if we get the chance to go deep and emotional, then it means something deep and meaningful to us. In a way, which is hard to explain at times, it ends with some lessons learned, but it always, without a doubt, also finishes with a big smile and satisfaction. To be able to give such a gift on the dancers, DJing is the best feeling. You are giving people the therapy they need to let go, be themselves and also weather they are aware or not, the only way for them to communicate and see the natural human connection without the decision of color and race.

What for you makes music underground – is sometimes feels like a debate between melody, emotion and rhythm? How do you see the balance between protecting it from ever expanding commercial interests and big money?

That’s as well a great question. What makes music underground for us is the forward thinking, blending tons of elements and creating something unique that one must be advanced with intelligent in order to like and to get for the fact now a days a lot of the House/Techno tracks has got no lyrics whatsoever which means you have got to understand sounds and frequencies to really get the message behind them which is done only with the spirit and body cause of emotions/feelings. Underground music speaks the truth. Anyone can produce something catchy with lyrics that rhymes, yet means absolutely nothing or creates a division with hate to one another. Guns, clubs, popping bottles, degrading sex with catchy beat? No no, that isn’t the message here. Love, unity, joy, happiness, moving and grooving as one under one roof, yes that is definitely how we see it. It’s about cutting edge, and in a way, trying to “break the rules of music”. Being what’s called a sheep, but not the one who follows, the one who leads and make others follow. Now that is our definition of underground house music!

 And finally. What are your plans moving into 2018?

2018 is gonna be big, busy and productive for us as we are planning on getting a full Live PA going, a debut artist album, weekly up and coming acts on our Technique Radio Show, maybe change or should I say add to our sound a bit more verity as we are both coming from more dark percussive tribally tech/techno? And overall, one of the main goals is to take our sound internationally with more club gigs in order to share our vision, spread the unity message for hours on the dance floor. Yoni is the brother I’ve never had for life. We are not just music partners, but share a special friendship that goes very deep!


Moonboots (Aficionado Recordings ) Q&A

Hello and welcome to Magazine Sixty, Richard. Aficionado is due to celebrate twenty years in 2018. Congratulations and what do you remember about, and the reaction to, those first nights you ran along with Jason Boardman?

Hi. Yeah it was a funny time back then. Both Jason (who I knew as a customer from Eastern Bloc) were both bored with the scene in MCR. We’d tried and failed with a couple of experimental nights before starting Aficionado as a Thursday night party at the (now closed) Agua Bar during the ‘98 World Cup. It was only due to run for the Summer until we ended up moving it to a Sunday at Zumbar. That’s when it really started to kick off. It was crazily packed out in there, if you turned up after eight o’clock you couldn’t get in. Think they paid us £50 each and a pizza. Good times.

What makes the night and its accompanying label, Aficionado Recordings as important to you after such a long time in existence?

The night is definitely the place where myself and Jay can play whatever we like. We’re not restricted by genre, tempo or fashion. If we like it, we’ll play it. The label runs off the same ethos. If we like it, we’ll release it.

You are running an exhibition of artwork at Electrik in Manchester. Tell us about the history of the artwork and who currently has been designing it?

The current exhibition has just finished unfortunately. It was the work of our designer, Topsy Von Salkeld. She’s done all the label design, club/gig flyers and also the cover of my compilation. Super talented.

Tell us about the process of compiling your ‘Moments In Time’ compilation for Music For Dreams? And do you feel it’s more important to listen to the message conveyed by an album’s entirety, rather than random choices generated by streaming?

It’s been a slow burn. Kenneth from the label is a good friend and he asked me to start thinking about it 18 months ago. I came up with around 25 tracks which had been whittled down with a couple of new bits added later.

With regards to listening to the album as a whole, that seems to be a generational thing. I love listening to whole LPs. You pick out tracks you like first listen and the tracks that aren’t the most instant end up being the tracks you love the most. However, I have no problem with people cherry picking tracks on Spotify. It’s the modern way.


Does DJ’ing and playing vinyl ever feel ‘old-fashioned’, rebellious and simply a good thing to do, in the digital age?

Ha! No not all. It can be a pain in the arse lumping a heavy bag about sometimes. Plus if I’m playing abroad I’ve been know to play the odd CD or two now. No USBs yet though. Proper witchcraft they are.

I remember you telling me about ‪Danny Rampling‬ playing at The Hacienda (I guess in 1988) and you finding yourself the only person dancing to ‪Barry White‬ ‘It’s Ecstasy When You Lay Down Next To Me’. At what point did the club and the music being played there began to lose its appeal?

That was the Shoom night (12th Oct ‘88). I still have the poster. I think it was Mike Pickering on before him, banging out some Latin acid stuff. I was on the stage, Rampling comes on, first track is big Barry and the stage and dance floor pretty much emptied. He totally tear gassed it apart from a bunch of Shoomers who had come up for the night. They were all going crackers on one of the podiums. I loved it. The Hac was an incredible club. Those two Summers of ‘88 & ‘89 were amazing. And yet by 1990 I was happy never to go in there ever again. It got far too moody.

Do you think Dance Music culture has developed in a good way since then? And what appeal, if any, does it still hold for you?

Yeah of course. It’s such a splintered scene now that you can take whatever you like from it, loft parties or mega festivals. I still love getting on a plane, visiting beautiful settings and playing records to people I’ve never met before. Who wouldn’t?

Who are the most influential artists for you, musical and/ or otherwise?

I’m very fortunate to have many talented friends who make incredible music too. People like Begin, Colorama, Cantoma and Brenda Ray who kindly let me listen to their stuff way before it gets released. Hearing great new music develop is what excites me the most

And finally. Please tell us about your and Jason’s plans for moving into 2018?

Not too much I can tell you right now bar our first party of 2018. It’s an intimate live gig with our dear friends John Stammers, Luca Nieri & Miles Copeland from Wonderful Sound: Jan 31st @ Night People. All future events will be announced via our Aficionado Recordings Facebook page though.



Khristian K. (Moira Audio Recordings) Q&A

Hello and welcome to Magazine Sixty, Khristian. Can we start by congratulating you on the launch of your new label Moira Tools, the sublabel of Moira Audio Recordings. What is the purpose of the additional label and can you tell us about the philosophy behind it?

Hello everybody, thank you for asking me! Thanks your cute words about Moira Tools. The purpose is to make a real heavyweight imprint, with undoubtedly outstanding productions. You know, the place for Music.

The first release is from yourself: Eruption and from Reclame: Riaffiorire. Can you talk us though where the inspiration came from for Eruption and how you then produced the track?

Yes the first one is by me and my friend Reclame. Inspiration for Eruption came actually quickly, when I listened some fieldrecordings we made together with my girlfriend last winter while visited the Danube riverside to watch icebreaking. So I just put a tape delay on one of those recordings started to play with and it’s just catch me, hypnotized me and in the next „moment” it was almost done. So „Eruption” is typically a one-run tune. I use Ableton Live with several controllers to let me adjust the details and used to record my tunes live in few runs. As happened with Eruption too.


You began DJ’ing back in 1996. Which DJ’s/ Clubs first inspired you to do so, and can you tell us about what the scene is now like in your native Hungary?

Hahh Omg yeah it was 21 years ago when I started dj’ing in Moment Club at Szolnok in the teenager disco parties. I really loved at that time Jeff Mills’s dj sets. His mixing style amazed me to start doing it properly.

About the Hungarian scene, the best thing is we have many musically different hubs now, so the „menu” for a partyhead is very colorful. You can and you will find an eventseries serving your kind of music even if it’s dubtechno or tech house or techno. Sometimes even it is simply overdosed with headliners but it’s should be a good thing. So we like many kind of music.. For example during the forthcoming weekend will perform at Budapest: Ame, Monika Kruse, Andrea Oliva, Sis, Gilb’r, Saboar…

You are outspoken champion of the ‘The Underground’. What does the term mean for you? And how do you see the future of ‘The Music Business’ in terms of making a living from it and also about how music is consumed?

Haha, I don’t think so I am champion of anything. I just doing my mission. Anyway, underground means less audience, in pretty short term. But underground should mean that where music is not served FOR the audience linked to 1-2 purpose. Is where the music discover and expand it’s own boundaries. And nowadays we live in an era where there are no boundaries anymore.

In fact, I think we go to a wrong direction with Music Business. Everything is changed and now artists pay for it to show their new content for their own followers. It’s bad. It totally changes the direction and the purposes too. I would not be the person to tell it’s a good thing or not, when a producer is have to be a good social media manager, needs to know about marketing and targeting (wtf) instead of be an outstanding producer/dj. Maybe I am old fashioned, but I cannot believe this is the right way.

How do you feel about songs/ vocals in Dance Music? What do you think can be said without words?

Well, is a hard question. Because I believe we can spread without words. But a voice used as an instrument is organically can make a trustfully and positive vibe within a song. I mean speeches or as effects are okay, but we don’t need singers. We all imagine different things while listening a song, so it’s better for all of us, to not put in our mouth what we should feel or think.

Who designs the Artwork for label? And how do they represent what Moira Audio Recordings is about?
I am who made all the artworks on the labels. The main idea is a connection. This kind of music can be called as lonely music because we usually dance alone on the dancefloor. So that’s why I usually use space or landscape photos and edit them. All in feeling is somehow connected to the music.

You have a label showcase happening in December which looks very exciting. What’s the story behind that?

Oh yes! It will happen on the 2nd of December at RNDM Bar, Moscow. It’s a very meaningful thing, because it is our first label showcase. And it’s happening in Moscow, where I always wanted to play. And I am super excited because finally I can meet with the Russian Moira boys, Vadim Lankov, ENTER and Dip among with Weltschmerz who is the keyperson for this event actually. He came few months ago with an idea to make a Moira Audio Showcase at Moscow. And suddenly it’s happening now.

And finally. What are your plans for moving into 2018?

There will come 2 vinyl releases with me and the third is under negotiation right now. Several interesting collaborations also will pop up with friends, also I would definitely love to continue the showcases around. But my plan is simple: more vinyl’s, more gigs.
Thank you for your time!